The Journal of School Leadership is broadening the conversation about schools and leadership and is currently accepting manuscripts. We welcome manuscripts based on cutting-edge research from a wide variety of theoretical perspectives and methodological orientations. The editorial team is particularly interested in working with international authors, authors from traditionally marginalized populations, and in work that is relevant to practitioners around the world. Growing numbers of educators and professors look to the six bimonthly issues to: deal with problems directly related to contemporary school leadership practice teach courses on school leadership and policy use as a quality reference in writing articles about school leadership and improvement.

Arranged in sixteen musical categories, provides entries for twenty thousand releases from four thousand artists, and includes a history of each musical genre.

Each composer addresses the following topics: Biographical information, The creative process ... how a composer works, Orchestration, Views from the composer to the conductor, Commissioning new works, The teaching of composition, Influential individuals, Ten works all band conductors at all levels should study, Ten composers whose music speaks in especially meaningful ways, The future of the wind band, Other facets of everyday life, Comprehensive list of works for band.

Our everyday life is characterized by a multitude of emotionally relevant cues that we perceive and communicate via various sensory channels. This does not only encompass the obvious cases of auditory and visual modalities, but also olfactory, gustatory, and even tactile stimuli. Any kind of emotional situation in a natural setting is usually a multimodal experience: A friend welcomes us with warm words, a smile, and a happy voice; the sight of our favourite food is accompanied by a seductive smell and a delicious taste; the thrill of watching an exciting movie scene is intensified by a gripping soundtrack. In these situations, the signals from various senses do not stand on their own; they interact and create a unified emotional experience. Recent neuroscientific research has begun to accommodate this inherent multimodality of emotions in natural situations by studying the interaction of affectively relevant information from more than one sensory channel. Fascinating new aspects emerge concerning the neurobiology of emotion processing, and there is evidence that integrating emotional cues from various sources invokes brain processes that go beyond the well-known patterns observed during unimodal stimulation. The aim of this volume is to present novel and interesting studies dealing with the multimodality of emotions and their neural processing. This includes findings from novel paradigms beyond the classical stimulus-response pattern, fascinating new insights into the interaction of the chemical senses, new analysis methods, comprehensive reviews of selected topics, multimodality in social interactions, and clinical perspectives. Taken together, the studies of this volume thus help us to better understand the interplay of various senses in our daily emotional experiences.

Emotions are the gift nature gave us to help us connect with others. Emotions do not come from out of nowhere. Rather, they are constantly generated, usually by stimuli in our interpersonal world. They bond us to others, guide us in navigating our social interactions, and help us care for each other. Paraphrasing Shakespeare, “Our relationships are such stuff as emotions are made of”. Emotions express our needs and desires. When problems happen in our relationships, emotions arise to help us fixing those problems. However, when emotions can become dysregulated, pathology begins. Almost all forms of psychopathology are associated with dysregulated emotions or dysregulatory mechanisms. These dysregulated emotions can become regulated when the therapist helps clients express, face and regulate their emotions, and channel them into healthy actions. This research topic gathers contributions from affective neuroscientists and psychotherapists to illustrate how our emotions become dysregulated in life and can become regulated through psychotherapy.

Motown means different things to different people. The mere mention of perhaps the most iconic record label in history is often enough to invoke memories and mental images of Marvin Gaye, Diana Ross, Stevie Wonder, The Temptations, The Jackson 5, The Supremes and numerous others. With each group recalled, there is an accompanying piece of music of the mind, from Baby Love, My Girl, Signed Sealed Delivered, I Heard It Through The Grapevine, ABC and Tears Of A Clown and countless more. Quite often, you can ask people what kind of music they like and they will simply answer ‘Motown’, and both they, and you, know exactly what is meant. Or rather, what is implied. The Motown they are invariably thinking of is the label that dominated the charts in the mid 1960s with a succession of radio friendly, dance orientated hits, most of which were written and produced by the trio of Brian Holland, Lamont Dozier and Eddie Holland. This period is referred to, naturally enough, as the Golden Era, when Motown was not only the dominant force in its home city of Detroit but carried The Sound of Young America all around the world. The kind of music that had them Dancing In the Street from Los Angeles to London, Miami to Munich and San Francisco to Sydney. It was the kind of music that attracted scores of imitators; some good, some not so good. The kind of music that appealed to the public and presidents alike, and still does. It was that Motown that this book was intended to be about. However, when you start digging deeper into the Motown story, you realise that throughout its life (which, for the purposes of this book, is its formation in 1959 through to its sale in 1988) it was constantly trying other musical genres, looking to grab hits out of jazz, country, pop, rock, middle of the road and whatever else might be happening at the time. Of course it wasn’t particularly successful at some of the other genres, although those who claim Motown never did much in the rock market conveniently overlook the healthy sales figures achieved by Rare Earth, the group, and focus instead on the total sales achieved on Rare Earth, the label. This book, therefore, contains biographies of all 684 artists who had releases on Motown and their various imprints, as well as biographies of 16 musicians, 23 producers, 19 writers and 13 executives. There are also details of the 50 or so labels that Motown owned, licensed to or licensed from. All nine films and the 17 soundtracks are also featured. Every Motown single and album and EP that made the Top Ten of the pop charts in either the US or UK also have their own entries, with 222 singles, 84 albums and five EPs being featured. Finally, there are 36 other entries, covering such topics as the Hollywood Walk of Fame, the Motortown Revues, Grammy Awards and the most played Motown songs on radio. The 1,178 entries cover every aspect of Motown and more – of the link between Granny in The Beverly Hillbillies and Wonder Woman, of the artists from Abbey Tavern Singers to Zulema, and the hits from ABC to You Really Got A Hold On Me. The Motown Encyclopedia is the story of Motown Records; Yesterday, Today, Forever.