Jane Davidson - Böcker

The Musical Mind, published in 1985, was written by the relatively unknown John Sloboda. It made ground-breaking inroads in raising crucial questions relating to music's status as a form of human expression and has become the seminal text in the field of music psychology. The scope of that book was impressive: from music perception to production, embracing topics as diverse as music's origin and the circumstances that encourage its skill acquisition. Musical structure, grouping, and perceptual processing, including memory, were key areas where John Sloboda had made early empirical investigations. Discussion of emotional responses and creative processes were far more inductively written, based on his own personal experiences. The Musical Mind laid a research agenda in asking those crucial 'how' and 'why' questions that have since occupied a growing body of researchers from all over the world. Following a quarter of a century after that seminal work, Music and the Mind celebrates the life and work of John Sloboda whilst taking stock of where the field of music psychology stands 25 years after The Musical Mind first appeared. It reviews key areas of current research in the field, written by world-leading authors, each making a significant and original academic contribution. Offering a timely review of the field of music psychology in the 21st Century, the contributors to Music and the Mind also reflect on how the field has been significantly stimulated by the influential work of John Sloboda. This book is fascinating reading for students and researchers in music psychology and musicology, as well as music professionals.

There can be little doubt that opera and emotion are inextricably linked. From dramatic plots driven by energetic producers and directors to the conflicts and triumphs experienced by all associated with opera’s staging to the reactions and critiques of audience members, emotion is omnipresent in opera. Yet few contemplate the impact that the customary cultural practices of specific times and places have upon opera’s ability to move emotions. Taking Australia as a case study, this two-volume collection of extended essays demonstrates that emotional experiences, discourses, displays and expressions do not share universal significance but are at least partly produced, defined, and regulated by culture. Spanning approximately 170 years of opera production in Australia, the authors show how the emotions associated with the specific cultural context of a nation steeped in egalitarian aspirations and marked by increasing levels of multiculturalism have adjusted to changing cultural and social contexts across time. Volume I adopts an historical, predominantly nineteenth-century perspective, while Volume II applies historical, musicological, and ethnological approaches to discuss subsequent Australian operas and opera productions through to the twenty-first century. With final chapters pulling threads from the two volumes together, Opera, Emotion, and the Antipodes establishes a model for constructing emotion history from multiple disciplinary perspectives.

There can be little doubt that opera and emotion are inextricably linked. From dramatic plots driven by energetic producers and directors to the conflicts and triumphs experienced by all associated with opera’s staging to the reactions and critiques of audience members, emotion is omnipresent in opera. Yet few contemplate the impact that the customary cultural practices of specific times and places have upon opera’s ability to move emotions. Taking Australia as a case study, this two-volume collection of extended essays demonstrates that emotional experiences, discourses, displays and expressions do not share universal significance but are at least partly produced, defined, and regulated by culture. Spanning approximately 170 years of opera production in Australia, the authors show how the emotions associated with the specific cultural context of a nation steeped in egalitarian aspirations and marked by increasing levels of multiculturalism have adjusted to changing cultural and social contexts across time. Volume I adopts an historical, predominantly nineteenth-century perspective, while Volume II applies historical, musicological, and ethnological approaches to discuss subsequent Australian operas and opera productions through to the twenty-first century. With final chapters pulling threads from the two volumes together, Opera, Emotion, and the Antipodes establishes a model for constructing emotion history from multiple disciplinary perspectives.

There can be little doubt that opera and emotion are inextricably linked. From dramatic plots driven by energetic producers and directors to the conflicts and triumphs experienced by all associated with opera’s staging to the reactions and critiques of audience members, emotion is omnipresent in opera. Yet few contemplate the impact that the customary cultural practices of specific times and places have upon opera’s ability to move emotions. Taking Australia as a case study, this two-volume collection of extended essays demonstrates that emotional experiences, discourses, displays and expressions do not share universal significance but are at least partly produced, defined, and regulated by culture. Spanning approximately 170 years of opera production in Australia, the authors show how the emotions associated with the specific cultural context of a nation steeped in egalitarian aspirations and marked by increasing levels of multiculturalism have adjusted to changing cultural and social contexts across time. Volume I adopts an historical, predominantly nineteenth-century perspective, while Volume II applies historical, musicological, and ethnological approaches to discuss subsequent Australian operas and opera productions through to the twenty-first century. With final chapters pulling threads from the two volumes together, Opera, Emotion, and the Antipodes establishes a model for constructing emotion history from multiple disciplinary perspectives.

There can be little doubt that opera and emotion are inextricably linked. From dramatic plots driven by energetic producers and directors to the conflicts and triumphs experienced by all associated with opera’s staging to the reactions and critiques of audience members, emotion is omnipresent in opera. Yet few contemplate the impact that the customary cultural practices of specific times and places have upon opera’s ability to move emotions. Taking Australia as a case study, this two-volume collection of extended essays demonstrates that emotional experiences, discourses, displays and expressions do not share universal significance but are at least partly produced, defined, and regulated by culture. Spanning approximately 170 years of opera production in Australia, the authors show how the emotions associated with the specific cultural context of a nation steeped in egalitarian aspirations and marked by increasing levels of multiculturalism have adjusted to changing cultural and social contexts across time. Volume I adopts an historical, predominantly nineteenth-century perspective, while Volume II applies historical, musicological, and ethnological approaches to discuss subsequent Australian operas and opera productions through to the twenty-first century. With final chapters pulling threads from the two volumes together, Opera, Emotion, and the Antipodes establishes a model for constructing emotion history from multiple disciplinary perspectives.

'What Wales is doing today, the world will do tomorrow.' –Nikhil Seth, UN Assistant Secretary General‘...the story of this revolutionary engine for change holds enormous possibility and is a true beacon of hope.’ –Michael Sheen OBE, actor and UNICEF ambassadorThe story of how one small nation responded to global climate issues by radically rethinking public policy for future generationsIn #futuregen, Jane Davidson explains how, as Minister for Environment, Sustainability and Housing in Wales, she proposed the Well-being of Future Generations (Wales) Act 2015—the first piece of legislation on Earth to place regenerative and sustainable practice at the heart of government. Unparalleled in its scope and vision, the Act connects environmental and social health and looks to solve complex issues such as poverty, education and unemployment.Davidson reveals how and why such groundbreaking legislation was forged in Wales—once reliant on its coal, iron and steel industries—and explores how the shift from economic growth to sustainable growth is creating new opportunities for communities and governments all over the world.#futuregen is the inspiring story of a small, pioneering nation discovering prosperity through its vast natural beauty, renewable energy resources and resilient communities. It’s a living, breathing prototype for local and global leaders as proof of what is possible in the fight for a sustainable future.

As the veterinary nursing profession continues to develop beyond the traditional caring and support roles, more and more academic rigour is expected of veterinary nurses. Exams, CPD and repeated testing and study throughout the nurse's career are now requirements. Aimed at veterinary nurses and technicians this book will guide the reader through the various research and study disciplines required of them. Research and Study Skills for Veterinary Nurses discusses why these academic skills are now required of the veterinary nurse, different types of source material, how to complete written assignments, how to reference properly, how to approach different test questions, exam preparation, how to respond to oral exams, how to complete OSCEs, CPD training and work-based practical assessments. Research and Study Skills for Veterinary Nurses provides information and advice - from successful exam technique, to revision ideas, and study styles - for student vet nurses who need a reliable resource to guide them through their course.