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Publishers Weekly: Convinced that everyone has an inborn ability to make music (a ''biological guarantee of musicianship''), California neurologist Wilson, who came late to piano playing, here presents a picture of the brain and muscular system to help nonmusicians to understand that the human body is a ''natural learner.'' He describes, in admirably untechnical language, the biology of rhythm and tempo, how we hear and see, the intricacies of musical notation; he tells what it's like to perform in public. Drawing comparisons between music-making and athletic skills, Wilson also tries to clarify such mysteries as tone deafness, perfect pitch, sight reading, memorization and ̀̀pumping ivory
This blend of anecdote and scientific analysis is an absorbing study of our innate musical abilities, for both the adult beginner and the serious listener. Anyone who is either a professional or an amateur musician should find instruction and support in this book.
"A startling argument . . . provocative . . . absorbing." --The Boston Globe "Ambitious . . . arresting . . . celebrates the importance of hands to our lives today as well as to the history of our species." --The New York Times Book Review The human hand is a miracle of biomechanics, one of the most remarkable adaptations in the history of evolution. The hands of a concert pianist can elicit glorious sound and stir emotion; those of a surgeon can perform the most delicate operations; those of a rock climber allow him to scale a vertical mountain wall. Neurologist Frank R. Wilson makes the striking claim that it is because of the unique structure of the hand and its evolution in cooperation with the brain that Homo sapiens became the most intelligent, preeminent animal on the earth. In this fascinating book, Wilson moves from a discussion of the hand's evolution--and how its intimate communication with the brain affects such areas as neurology, psychology, and linguistics--to provocative new ideas about human creativity and how best to nurture it. Like Oliver Sacks and Stephen Jay Gould, Wilson handles a daunting range of scientific knowledge with a surprising deftness and a profound curiosity about human possibility. Provocative, illuminating, and delightful to read, The Hand encourages us to think in new ways about one of our most taken-for-granted assets. "A mark of the book's excellence [is that] it makes the reader aware of the wonder in trivial, everyday acts, and reveals the complexity behind the simplest manipulation." --The Washington Post
(Meredith Music Resource). Student Supplement Book 2 is a continuation of the many concepts and exercises presented in Book 1. The exercises focus the thinking process while expanding student awareness and sensitivity to musical expression. This high priority develops timed mental activity and accuracy throughout the ensemble.
In music, while coaching groups of adults in ensemble settings and teaching them in the independent studio is a longstanding tradition, most tertiary-level music courses do not address the specific issues associated with teaching adults. The Adult Music Student addresses this gap, equipping music educators and professional musicians with the skills to provide optimal learning environments for adult music-makers, and exploring the process of learning and making music across the entire adult lifespan. In chapters rooted in research and real-world experience, adult learning theory, assumptions and philosophy are presented within the context of musical situations. The author also addresses adult motivation, teacher attributes that facilitate learning, and specific strategies to engage adults at different psychosocial or developmental stages. Providing practitioners with both an understanding of how adults learn, and practical approaches that can be used immediately in various music settings, this book offers an essential guide for any instructor working with adult music students.
Within the body lie all the elements (anatomy, physiology and the connection between the mind and body) which are needed to produce sound. Every instrument has a frame. The unique thing about the human vocal instrument is that the body skeleton is the frame. The purpose of this book is to help the voice professional understand this instrument and know how to take care of it. This book defines common problems and discusses how to fix these problems based on the specialization of the voice professional.
This is the golden age of cognitive therapy. Its popularity among society and the professional community is growing by leaps and bounds. What is it and what are its limits? What is the fundamental nature of cognitive therapy? It is, to my way of thinking, simple but profound. To understand it, it is useful to think back to the history of behavior therapy, to the basic development made by Joseph Wolpe. In the 1950s, Wolpe astounded the therapeutic world and infuriated his colleagues by finding a simple cure for phobias. The psychoanalytic establishment held that phobias-irrational and intense fear of certain objects, such as cats-were just surface manifesta tions of deeper, underlying disorders. The psychoanalysts said their source was the buried fear in male children of castration by the father in retaliation for the son's lust for his mother. For females, this fear is directed toward the opposite sex parent. The biomedical theorists, on the other hand, claimed that some as yet undiscovered disorder in brain chemistry must be the underlying problem. Both groups insisted that to treat only the patient's fear of cats would do no more good than it would to put rouge over measles. Wolpe, however, reasoned that irrational fear of something isn't just a symptom of a phobia; it is the whole phobia.
Lawrence Meredith writes with one question in mind: What constitutes life before death? The Hindus teach that there is life before life. So do the Mormons and the primal-scream therapists. The Muslims teach that there is life after death, and so does just about anybody else who's willing to be called religious. Meredith argues that these views are "felonious." We have the responsibility, he writes, to live life in the here-and-now and seek to experience our own religion of the body. Defining and exploring the different stages of the body is key to understanding Life Before Death: -The body as God -The body as Christ -The body as spirit -The body as dance -The body as play -The body as mortal What readers are saying about this book: It takes no courage to say one is a Christian, but it takes great courage to be a Christian. It takes no courage to say one is a writer, but it takes great courage to be a writer and write so others can comprehend the content. Larry Meredith, in Life Before Death, shows that he has enormous courage. After finishing this book, the reader is more prepared to face death and even more prepared to face life. - Maya Angelou, Author Life Before Death reminds us of the value of our todays, the here and now, and the joys to be savored one day at a time, one victory at a time, one championship at a time. And when Life is the ultimate championship, we don't need 'just a little bit more.' - Cedric Dempsey, President, NCAA Meredith's vision is kaleidoscopic, and his supreme revelation is that 'the Word made flesh' is a vital form of Amazing Grace - Earle Labor, Ph.D., Wilson Professor of American Literature and Director of the Jack London Research Center