Suchergebnisse

Combining choirs for a large-scale performance can be rewarding. If the choirs comprise different generations, differing vocal timbres can add musical possibilities. A school in London operates two choirs in partnership: one for adult members of the school community and a student choir. They perform large-scale works together regularly. Interviews were undertaken with adults to understand their experience of the partnership. Frequently research explores students' engagement but rarely are the views of adults sought. Intergenerational music-making involves challenges such as participants working collaboratively and not in competition. Participants in this case study discuss the impact of singing in a choir with sons or grandsons and implications for family and community cohesion through music-making are explored.

'Aroha', as the closest Maori language equivalent of the English word 'love', is a concept now ingrained in practice ideals for youth residential work in Aotearoa/New Zealand, as part of a wider social services framework. This has been a purposeful shift over the last quarter century to align with the principle of bi-cultural partnership in social policy, the intentions of which can be traced to early colonial times. 'Aroha' will be explored as an appropriate, cross-cultural residential practice path in the relationship between young people and residential staff. Observations of how this 'love' has been put into practice while maintaining professional standards will be highlighted, alongside discussion of how this might interweave with similar strands of thought from the discipline of social pedagogy.

In this paper I explore my personal experiences with collaborative music performance projects. Collaborations between different groups of musicians can be a transformative moment in the lives of students and music educators. The process of collaboration provides opportunities that cannot always be achieved when an ensemble performs alone. Many of these projects were undertaken in my role as a music educator responsible for school music ensembles but in one case, as a conductor of a community band. This idiographic auto-ethnographical study is based on my own reflective journal, which was analysed using Autoethnography and Interpretive Phenomenological Analysis. The themes identified include: Isolation versus Collaboration, Social Interaction, and Music on a Grand Scale. The findings support the idea that there are considerable advantages for engaging in collaborative performance projects, which cannot only be musically enriching but provide unexpected social and cognitive benefits.

Can you describe the rules for settling foreign exchange in Jordan? What is strange about the Australian swap market? What are IMM dates, and why do credit derivatives abuse them? Financial markets are exceedingly complex, often to their own detriment. The building blocks of finance are quite simple, however. Complexity arises when these building blocks are traded, combined, and modeled using a myriad of conventions, and using market knowledge which is obscure and hard for outsiders to discover. The Front Office Manual is a practical introduction to the front office, guiding readers through the functions and financial instruments commonly encountered in an investment banking business and importantly, how they work and are implemented in practice. The book begins with a guided tour of the front office, and of how a trade, the life-blood of all investment banks, actually works from inception, through its mid life-cycle events through to termination. The book also introduces the various market participants ₆ investors, hedge funds, banks and asset managers to name but a few ₆ with whom the front office interacts. Finally, the book describes the wide range of financial products used in trading and structuring, providing detail on the products themselves and the techniques needed to produce prices, estimate risk, and produce meaningful analysis. Throughout the book, the focus is on practical implementation, and 'how things are actually done in a banking environment', making this an invaluable working manual for newcomers to the industry, and those looking to move from a middle or back office function, or a different part of the financial community, to the investment banking front office.

Western Australia introduced a new Western Australian Certificate of Education (WACE) Music course for Year 11 and 12 students in 2009. Course construction was protracted due to political interference, input from vested interests within the music teaching community and adverse community publicity. The result has been the creation of a long and potentially confusing syllabus document. This article reports on music teacher experiences with the new course five years after its initial implementation. A questionnaire was distributed to all WACE music teachers asking them to respond to 27 statements drawn from a literature review relating to course design in music education, and the WACE syllabus document. At the end of the questionnaire, participants were invited to provide extended responses regarding the new course. Extended responses were frequently negative and sometimes contradictory, leading the researchers to conclude that after five years, the WACE music syllabus document, as a driver of 'curriculum', is creating a degree of discontent and confusion in the minds of many music teachers. The lessons are obvious: for any curriculum to achieve a desired educational outcome, the syllabus document needs to be clear and consistent, be guided by a philosophy which is coherent and transparent to teachers, and drawn from the relevant literature on the subject.