Award-winning singer Ian Bostridge examines iconic works of Western classical music to reflect on the relationship between performer and audience. Like so many performers, renowned tenor Ian Bostridge spent much of 2020 and 2021 unable to take part in live music. The enforced silence of the pandemic led him to question an identity that was previously defined by communicating directly with audiences in opera houses and concert halls. It also allowed him to delve deeper into many of the classical works he has encountered over the course of his career, such as Claudio Monteverdi’s seventeenth-century masterpiece Il Combattimento di Tancredi e Clorinda and Robert Schumann’s popular song cycle Frauenliebe und Leben. In lucid and compelling prose, Bostridge explores the ways Monteverdi, Schumann, and Britten employed and disrupted gender roles in their music; questions colonial power and hierarchy in Ravel’s Songs of Madagascar; and surveys Britten’s reckoning with death in works from the War Requiem to his final opera, Death in Venice. As a performer reconciling his own identity and that of the musical text he delivers on stage, Bostridge unravels the complex history of each piece of music, showing how today’s performers can embody that complexity for their audiences. As readers become privy to Bostridge’s unique lines of inquiry, they are also primed for the searching intensity of his interpretations, in which the uncanny melding of song and self brings about moments of epiphany for both the singer and his audience.

"In this collection of three essays, internationally renowned tenor Ian Bostridge explores his relation to the performance of Western classical vocal music through the lens of gender, politics, or the ultimate paradoxical grounding of identity, death. As a performer who needs to negotiate between his own identity and that of the musical text he delivers on stage or in the concert hall, Bostridge asks questions about how the complex identity of a piece of music was creatively configured by composers at particular historical moments, and how today's performers can embody that complexity for their audiences. In lucid and compelling prose, Bostridge guides his readers through an exploration of the fluidity of gender roles in music by Monteverdi, Schumann, and Britten, the questioning of colonial power and hierarchy in Ravel's Songs of Madagascar, and Britten's reckoning with death in works from the War Requiem to his final opera, Death in Venice. As readers become privy to Bostridge's lines of inquiry into the music he performs, they are also primed for the searching intensity of his interpretations, in which the uncanny melding of song and self brings about moments of epiphany for both the singer and his audience"--

Volume 17 of Progress in Self Psychology, The Narcissistic Patient Revisited, begins with the next installment of Strozier's "From the Kohut Archives": first publication of a fragment by Kohut on social class and self-formation and of four letters from his final decade. Taken together, Hazel Ipp's richly textured "Case of Gayle" and the commentaries that it elicits amount to a searching reexamination of narcissistic pathology and the therapeutic process. This illuminating reprise on the clinical phenomenology Kohut associated with "narcissistic personality disorder" accounts for the volume title. The ability of modern self psychology to integrate central concepts from other theories gains expression in Teicholz's proposal for a two-tiered theory of intersubjectivity, in Brownlow's examination of the fear of intimacy, and in Garfield's model for the treatment of psychosis. The social relevance of self psychology comes to the fore in an examination of the experience of adopted children and an inquiry into the roots of mystical experience, both of which concern the ubiquity of the human longing for an idealized parent imago. Among contributions that bring self-psychological ideas to bear on the arts, Frank Lachmann's provocative "Words and Music," which links the history of music to the history of psychoanalytic thought in the quest for universal substrata of psychological experience, deserves special mention. Annette Lachmann's consideration of empathic failure among the characters in Shakespeare's Othello and Silverstein's reflections on Schubert's self-states and selfobject needs in relation to the specific poems set to music in his Lieder round out a collection as richly broad based as the field of self psychology itself.

The second edition of the popular Handbook of Self-Regulation of Learning and Performance responds to and incorporates the wealth of new research that the first edition inspired on the subject. At the same time, it advances meaningful perspectives on the scholarship and history that originally shaped the field. Divided into five major sections—basic domains, context, technology, methodology and assessment, and individual and group differences—this thoroughly updated handbook addresses recent theoretical refinements and advances in instruction and intervention that have changed approaches to developing learners’ capabilities to self-regulate in educational settings. Chapters written by leading experts in the field include discussions of methodological advances and expansions into new technologies and the role of learner differences in such areas as contexts and cultures. As a comprehensive guide to a rapidly evolving and increasingly influential subject area, this volume represents contemporary and future thinking in self-regulation theory, research, and applications. Chapter Structure – To ensure uniformity and coherence across chapters, each chapter author addresses the theoretical ideas underlying their topic, research evidence bearing on these ideas, future research directions, and implications for educational practice. Global – A significant number of international contributors are included to reflect the increasingly international research on self-regulation. Readable – In order to make the book accessible to students, chapters have been carefully edited for clarity, conciseness, and organizational consistency. Expertise – All chapters are written by leading researchers who are highly regarded experts on their particular topics and are active contributors to the field.

Updated to provide a modern look at the daily stessors evolving in our ever changing society, Managing Stress: Skills for Self-Care, Personal Resiliency and Work-Life Balance in a Rapidly Changing World, Tenth Edition provides a comprehensive approach to stress management, honoring the balance and harmony of the mind, body, spirit, and emotions. Referred to as the “authority on stress management” by students and professionals, this book equips readers with the tools needed to identify and manage stress while also coaching on how to strive for health and balance in these changing times. The holistic approach taken by internationally acclaimed lecturer and author Brian Luke Seaward gently guides the reader to greater levels of mental, emotional, physical, and spiritual well-being by emphasizing the importance of the mind-body-spirit connection.

A Mind Full of Music contemplates and celebrates the mysterious, powerful, dynamic relationship between ourselves and the songs we love: the way in which songs work upon our minds and in which our minds, because of the inevitable creative force of our imaginations and memories, work upon them. The book does not propose or develop a unified argument, nor does it tell, chronologically, the story of the author's life of listening. Instead, in recognition of the varied, fluid, and ultimately mysterious ways in which our minds respond to songs, it is structured associatively, with one topic inspiring thoughts of another; the book begins with a song drifting into the author's mind, and it ends with that mind still in the midst of listening, waiting for a beat that will never come.

Take control of your happiness, learn to love yourself, and get the life of your dreams . . . all with your next cup of coffee! Do you want to live an inspired life of sparkling adventure and achieve goals you never thought possible? Start with Coffee Self-Talk. This accessible, powerful routine will show you how to start every day with positivity and energy. By taking just five minutes each morning to practise the art of self-talk, you can reframe the way you think about yourself and prime your mind for happiness, success and self-love. With included self-talk scripts, guidance on how to personalise them for your own goals, and blank pages for journaling and creating your own affirmations, this book will help you: · Learn to love yourself · Unlock happiness, resilience, and confidence · Change your bad habits · Attract wealth, success, and prosperity No matter your circumstances, now is the time to become your best, most magical self - faster than it takes to finish your first cup of coffee! With Coffee Self-Talk you can take control of your life, increase your confidence, and manifest the life of your dreams.

This book argues that a special value of art is the way in which it uses conscious experience -- the exemplars of aesthetic experience -- to autonomously reconfigure how we conceive of our world and ourselves, ourselves in our world and our world in ourselves. Exemplar representation ties art and science, mind and body, self and world together in a dynamic loop reconfiguring them all as it reconfigures itself.

Building on her earlier work, 'The Power of Music: A Research Synthesis of the Impact of Actively Making Music on the Intellectual, Social and Personal Development of Children and Young People', this volume by Susan Hallam and Evangelos Himonides is an important new resource in the field of music education, practice, and psychology. A well-signposted text with helpful subheadings, 'The Power of Music: An Exploration of the Evidence' gathers and synthesises research in neuroscience, psychology, and education to develop our understanding of the effects of listening to and actively making music. Its chapters address music’s relationship with literacy and numeracy, transferable skills, its impact on social cohesion and personal wellbeing, as well as the roles that music plays in our everyday lives. Considering evidence from large population samples to individual case studies and across age groups, the authors also pose important methodological questions to the research community. 'The Power of Music' defends qualitative research against a requirement for randomised control trials that can obscure the diverse and often fraught contexts in which people of all ages and backgrounds are exposed to, and engage with, music. This magnificent and comprehensive volume allows the evidence about the power of music to speak for itself, thus providing an essential directory for those researching music education and its social, personal, and cognitive impact across human ages and experiences.

This book provides clinicians (particularly those specialising in DBT) with music activities and creative ideas to implement with existing practices, to strengthen what clients are being taught in DBT skills groups. These new ideas can be used with clients individually, in groups, or be given as homework. The first part of the book consists of group activities for therapists and group leaders to use. In part two each DBT skill is presented with its own activity, written in with clear step by step instructions. The skills gained will be particularly beneficial for individuals who have difficulty regulating or dealing with their emotions and this guide improves clinicians' confidence and skill in aiding these individuals innumerably.