Journal articles on the topic 'School song-books'

This action research study provided a collaborative social space in which to examine the intersection of shared singing/reading, emergent literacy, and family literacy. In particular, the significance of home literacy engagement with song-based picture books was investigated through the core action of a non-deficit, school-based family literacy program. Data were collected via parent/guardian journals that documented intergenerational home literacy engagement over a two-month period. Findings revealed that shared singing/reading with song-based picture books provided rich opportunities for families to build joyful, literacy relationships while providing kindergarten-aged children with meaningful experiences with text.

This study aimed to determine the metaphorical song lyrics in English textbooks in senior high school. This research is descriptive qualitative. This research's object is the Metaphor found in song lyrics in English textbooks in senior high school. Sources of data in this study are song lyrics found in English textbooks in senior high school. The songs included in the English textbooks are: 1. The world is ours by Alloe Black and David Correy; 2. Heal The World by Michael Jackson; 3. Breakaway by Kelly Clarkson; 4. Shake It Off by Taylor Swift. The method used by researchers is documentation in collecting data and analyzing data. In analyzing the data, the researcher used a Metaphor based on Lakoff and Johnson's theory, namely structural metaphors, orientation metaphors, and ontological metaphors. These are: containers and personifications. The results showed six structural Metaphors, five orientation metaphors, one container metaphor and two personification metaphors.
 Keywords: English Books, Metaphor, Song Lyric

The study aims to develop Audio Media and Song Lyrics Collection Book as a medium of learning history that is feasible and practically used by teachers in history subjects in Senior High Schools. Type of research is research and development using the ADDIE model (Analyze, Design, Development, Implementation and Evaluation). The subjects of this research trial were 34 students of class X MIPA1 and 33 students of class X MIPA2 in SMAN 3 Padang Panjang. Data collection instruments used in this study was a questionnaire consisting of media validation test questionnaire, material validation test questionnaire, practicality test questionnaire by teachers and practicality test questionnaire by students. The research data were analyzed by qualitative and quantitative analysis techniques. The results showed that the validity of audio media and song lyric collection books based on the validation research of the material experts obtained an average of 3.59 and 3.50 media experts with very decent criteria. The practicality results obtained by the teacher averaged 3.36 with very practical criteria, while the practicality results obtained by students averaged 3.39 with very practical criteria. Thuse the audio media and song Lyric collection books developed are very feasible and practical to increase student’s motivation to learn history in high school.

The article is devoted to reflection on the canon and required school reading from the perspective of ecocritical studies, with particular emphasis on the Pieśni Panny XII [The Song of the Virgin XII] by Jan Kochanowski. The author presents the most significant theoretical information on Polish achievements in the field of “environmental humanities” and the role of veganism and vegetarianism in the era of advancing climate change. The article also discusses the dangers of the anthropocentric way of perceiving reality. The author points out the necessity to use the achievements of “environmental humanities” in Polish literature lessons and shows examples of how to read school books through this methodology.

The article deals with the publication of the song for the Holy Mass with the incipit Pozdvihni se duše z prachu [Raise, Thou Soul, Thyself from the Dust] in the 19th century. The author of the text of this song is the Premonstratensian Eugen Karel Tupy, also known under the pseudonym Boleslav Jablonsky. This song for the Holy Mass is included in the current unified hymn book in the section of the Ordinary and common chants of the Mass as number 517. In the 19th century, the song was published in several types of printed media. Its earliest extant edition is a broadside from 1845, which was followed by similar editions from 1849 and 1850, 1854, 1855, 1859 and another two undated. In 1852, the author himself included it in the second edition of the prayer book Růže sionská [The Rose of Zion], although it is not part of the first edition from 1845. In the same year, the song was included in the hymn book Písně ke mši svaté pro školní mládež [Songs for the Holy Mass for School Children] and three years later in a hymn book from the same printing house Písně ke mši svaté, k úžitku osady Hostounské a Únětické [Songs for the Holy Mass to Be Used in the Settlements of Hostouň and Unětice] and in 1860 in the Zpěvník pro chrám, školu i dům [The Hymnal for Church, School and Home]. At that time, it also appeared in the contemporary Perla pravých křesťanů [A Pearl of True Christians], compiled by František Křenek and published in 1860, as well as in the prayer book Květinná malá zahrádka [A Small Flower Garden], published in the printing house of Alois Josef Landfras and his son in Jindřichův Hradec around 1860. The song was also included in Písně a modlitby pro studující katolickou mládež [Songs and Prayers for Young Catholic Students] by Blahorod Čap, who had the collection printed in Litomyšl in 1869. The penetration of the text of the song by a renowned poet and writer from broadsides to hymnals and prayer books provides interesting and rare evidence of the journey of an artificial song to the unified hymn book.

In learning at school, sometimes teachers find it difficult to explain and teach the tembang dolanan due to the lack of teaching materials that explain details about it. The purpose of this study was to determine the teacher's needs for the development of enrichment books, compile a prototype for the development of enrichment books, and describe the results of the expert validation test on the development of enrichment books. This research was conducted using an R&D approach from Borg & Gall. The target sources data are students, teachers, media experts, and material experts. Data collection techniques are interview techniques and filling out questionnaires. The results of this study include (1) the analysis of teacher needs for the development of enrichment books on the material (tembang dolanan), that teachers want interesting complementary teaching materials for learning tembang dolanan for third-grade elementary school students. (2) the development of the prototype includes a book cover designed with children's pictures, while the contents of the book consist of ten lists of dolanan songs and their meanings. (3) The results of the expert validation test got several improvements from the validator, namely, adding page numbers, changing the title font of the dolanan song, correcting wrong diction, correcting wrong lyrics, and replacing some dolanan songs that are not in accordance with learning.

This study is Research & Development which contains three phases (explorative, model design, and try-out). The research aims to develop a teaching material which integrates Javanese local wisdom for the students of secondary school in Semarang. Phase 1 (the explorative study) consists of two parts: book review and needs analysis (questionnaire and interview). The results of the first phase show that the existing three books do not include aspects of local wisdom. While the needs analysis show that the respondents agreed to integrate aspects of local wisdom with the benefits as follows: (a) supporting the learning process, (b) making the students understand the materials more easily, (c) enhancing the understanding of local cultures and character education. In phase 2 and phase 3 (model design and try-out in three schools), the findings indicate that integrating local wisdom, i.e. a traditional song ”menthog-menthog” can enliven the classroom atmosphere. In addition, based on the respondent perception, the integration of local wisdom would enrich the knowledge of local cultures as well as help the students understand ELT texts.

Lowell Mason's The Song Garden (1864–66) is a progressively arranged set of three volumes that may be regarded as the first music series books for schoolchildren. According to the publisher, the series is a “systematic, intelligible, and thorough course of teaching vocal music” (p. ii). Following Pestalozzian principles, Mason believed that students should first learn by rote before actually reading music. Following the singing-school tradition, each book began with a strong theoretical introduction in addition to singing exercises and literature for practice. A comparison with Audrey Snyder's The Sight-Singer (1993–94) reveals both similarities and differences in their approaches to vocal instruction.

Textbooks are a basic requirement in learning. The availability of adequate textbooks determines the quality of learning. The Javanese textbooks used in learning, although generally stated to have met the standards by the government, need to get a feasibility assessment related to curriculum changes and 21st-century learning challenges. This study aims to describe the suitability of the contents of the Javanese textbooks for SMP in Semarang city with 2013 curriculum changes and 21st-century learning challenges.This research was conducted in the city of Semarang for 3 (three) months, starting from October to December 2019. The data in this study is evidence of the suitability of the contents of Javanese textbooks for junior high schools on the demands of 21st-century learning. The sources of data in this study are Junior high school Javanese language textbooks used in learning Javanese in the city of Semarang. The books are Marsudi Basa lan Sastra Jawa published by publishers Erlangga and Padha Bisa Basa Jawa published by Yudhistira publishers. Data collection techniques using document studies and interviews. Qualitative data analysis is inductive, that is analysis based on the data obtained. The data analysis step is data reduction, data presentation, and drawing conclusions, the three of which run alongside the research process.The results of this study indicate that the three textbooks are feasible to be used as textbooks in school with some notes. At present, the indicators need to be modified again by the teacher so that they meet good indicator standards. In terms of song material, the teacher needs to find other references to interpret the song text.

The purpose of this research is to comprehend the learning of group vocal arrangements including their forms and stages for the environment of arts and culture teachers at junior high school in Buleleng Regency and Denpasar City through making related learning videos. The research method used is qualitative and quantitative, with data collection techniques through interviews, observation, document study, discography, and questionnaire. The theory used is the theory of analysis of the form and structure of the song and the theory of function. Primary data sources were obtained from interviews, observations, and discography (VCD). Secondary data was obtained from books, journals, and internet materials. The results showed that by providing material for Balinese folk songs arrangement in group vocals at the level of junior high school teachers in Buleleng Regency and Denpasar City through a video learning process, students' interest in learning music arrangement increased and allowed them to practice directly conveying the results of the arrangement in group vowel form.

This study analyses the Philosophical Semiotics Analysis of the Song Lyrics of Anakkon Hi Do Hamoraon Di Au in Marparbue Do Lojami's Song Lyrics. The data collection technique in this research is library research, by recording all data related to the problem under study with various librarian documents, such as books, articles, and manuscripts published in newspapers, magazines, and the internet. This study shows how songs become a medium used to represent the cultural identity of a society. The community referred to in this study is the Toba Batak community. Batak Toba, one of the tribes in Indonesia, comes from the island of Sumatra, called North Sumatra. The socio-cultural system of the Toba Batak community plays an important role in creating a harmonious culture, especially in the continuity of children's education in the Toba Batak family. Generally, Toba Batak people everywhere have a philosophy of "anakkon hi do Cameroon di au". It means that my child is my treasure. Because most of the active roles of Toba Batak parents in sending their children to school seem so strong, they are willing to fight hard for their children's success.

This article discusses the characteristics of teacher who teaches Islamic sciences in the perspective of the Nahdlatul Wathan educational tradition, comprehensively. On the other hand, this article is one form of response to the moral degradation of teachers that have recently been rife, especially in Indonesia. This article is the result of qualitative research with a literature approach. Primary data are the books of Tuan Guru Kiai Haji Muhammad Zainuddin Abdul Madjid (Sheikh), which include Wasiat Renungan Masa (Book), Batu Ngompal (Book), the struggle song of Nahdlatul Wathan, and the recording of Sheikh's speech during his lifetime. Secondary data consists of scientific journals and relevant research results, as well as Islamic education books, Sufism, tafsīr and hadīth. Data was collected offline and online, then analyzed by using the NVivo 12 Plus software. This study shows that nine characteristics must be possessed by religious teachers who teach in the Nahdlatul Wathan madrasas/pesantrean (Islamic boarding school), namely: murshīd, sincere, obedient, mandate, behave as the teacher's morals, have a clear pedigree (silsilah/sanad), wise and polite in speaking, competent, and straight (istiqamah). This study concludes that the characteristics of the teacher mentioned in the will of the Sheikh are based on the results of contemplation (tafakkur), empirical experience (tajrībah), and extensive knowledge.

Recognizing the broad potential of singing as a facilitator of moral instruction, academic learning, and societal participation, New Hampshire native Asa Fitz (1810–1878) was committed to advancing music and music education. A prolific publisher, editor, and author, he was involved in the production of dozens of works filled with songs and music, designed to further everything from reform movements to congregational singing, spiritualism to family life. As a singing master and music teacher, he instructed both children and other teachers, promoting his song books, his instructional techniques, his personal principles, and his overriding belief that everyone could, and should, learn to sing. Yet, for all that he was well known during his lifetime, little scholarly attention has been paid to the man, his philosophical underpinnings, or his disparate publications. This article focuses on the development of his “new system of figured music,” culminating with the publication of School Songs for the Million! in 1850. It briefly reviews the concept and expressions of alternate systems of musical notation in early to mid-nineteenth-century America and then places Fitz within that context, as he created, developed, and promoted his system to children and teachers. Though School Songs for the Million! was not as commercially successful as some of his other titles, it serves to demonstrate Fitz’s willingness to experiment with unconventional and controversial ideas in an effort to advance participation in music.

As a result of the proliferation of Short literary composition genres (Prabandas), various catalog texts (Paattiyal) arose as a continuation of the tradition of finding literature and giving grammar explanations therefor. Panniru Paatiyal, Venpaa Paatiyal, Chidambara Paatiyal, Navaneetha Paatiyal, Prabandha Deepika, Ilakkana vilakkam, Thonnuul vilakkam etc. and even some grammar books that deal with five grammar forms (Ainthilakkanam) are involved in this grammatical endeavor and have given grammar to different numbers of Short Literary Compositions. These numerical differences record the development of the literature as a result of the passage of time. This number extends from 54 to 360. This genre of 96 Short Literary Works can be attributed to the fact that the number system operating in the set tradition is also applied to Short Literary Works and to be a permanent one. The name of the literary genre, Kalambakam, is given in various ways by dividing its name. There are various reasons for the mix of 18 types of elements (15-21), the proliferation of many types of compositions, and the mixing of Agappaadalkal (Agam songs). This can be explained by the fact that the name is derived from a variety of hybrids rather than one character. Nandikkalambakam, the first and foremost of the Kalambaka literatures, was sung with the third Nandi Varman of the Pallava dynasty as the Leader of the song. 25 years Nandi ruled from (847-872) with Kanchi as his capital, the Pallava dynasty and the wars fought to expand the territory of many Nandikalambaka songs. Although there are some differences in the view of Nandivarman's reign, it is accepted by scholars that he belonged to the ninth century and that Nandi Kalambakam, who led him to the song, and the ninth century. Even though this literature is in our school and college curriculum, its literary style beauty and glossary competency are unknown to the so called scholars too. So this article tries to explain the above said features of the Nandhi Kalambakam.

The author describes and examines the concept of learning in the classical writings of the Confucian school of thought, primarily in the so-called "Four Books" canon: Analects of Confucius, Mencius, Great Learning, and the Doctrine of the Mean. These compilations of sayings and teachings of Confucius and his successors contain the descriptions of learning as the best way toward personal and societal harmony, given that the learning process is identical to ethical development. Therefore, the author first reviews the most significant educational principles of Confucian classics, emphasizing the achievement of virtues as its goal. Another important aspect of the early Confucian classics is the claim that education should be available to all members of society, which led to the establishment of the so-called imperial examination system in the Han Dynasty. The second part of the paper contains a review of this practice and its reforms, especially during the Song Dynasty. Due to Zhu Xi's efforts, Confucian learning became the process of self-cultivation, the entirety of education in China was based on the Four Books, and Confucian academies became the centers of the higher humanistic learning, emphasizing the development of critical mind. However, Confucianism and its system of education were harshly criticized and oppressed during most of the 20th century, which is the main topic of the third part of the paper. The author then examines the reasons for the Confucian revival in China, which was primarily influenced by the economic development of the countries such as Singapore, Japan, and South Korea - all of which kept the Confucian values and moral education. The implications of the Confucian revival and subsequent economic success of China have potential global significance, even in the Western societies, and the author points to the possibility of a similar combination of traditional moral learning and modern education in the Serbian context as a good way for overcoming what both Confucian and some Christian thinkers termed "the decadence" of materialism.

Saksalaisen Georg Joseph Voglerin 1700-luvun lopun Tukholmassa säveltämän Hoosianna-hymnin suosion vuoksi ensimmäinen adventtisunnuntai on tänäkin päivänä yksi suosituimpia juhlapyhiä Suomessa. Alun perin palmusunnuntain kuorolauluksi tarkoitettu sävellys vakiintui 1800-luvulla Ruotsissa, Suomessa ja Inkerinmaalla osaksi adventinviettoa. Alkuun sitä esittivät Suomen kirkoissa koululaiset, mutta vähitellen alettiin varta vasten koota kuoroja sen laulamiseksi. Tapa lähti liikkeelle koulukaupungeista, mutta levisi jo varhain myös ruotsinkieliselle maaseudulle. Vielä 1800-luvulla Hoosianna liittyi myös muihin kirkollisiin juhlatilaisuuksiin, kuten uusien kirkkojen vihkiäisiin. Säätyläiskodeissa sitä esitettiin myös piano- tai huilukappaleena. Suomenkielisille alueille ja Inkerinmaalle Hoosianna alkoi levitä 1870-luvulla. Kansakoulujen yleistyessä se saavutti myös paikan koulujen adventin- ja joulunvietossa. Hoosiannaa alettiin julkaista 1800-luvun jälkipuoliskolla monissa kuorokokoelmissa, moniäänisissä koululaulukirjoissa sekä messusävelmistöjen ja koraalikirjojen lopussa. Vähitellen se yleistyi myös yhteislauluun tarkoitetuissa laulukirjoissa, mutta löysi tiensä virsikirjaan vasta vuonna 1986. Hoosiannan suosiota selittää paljolti sen tarttuva melodia, joka poikkesi voimakkaasti oman aikansa muun jumalanpalvelusmusiikin tyylistä ja ihanteista. Tämän melodian pohjalta muokattiin 1800-luvun aikana myös ainakin kolme ehtoollisjumalanpalveluksen Pyhä-hymnin sävelmää, joista Fredrik August Ehrströmin tekemä oli käytössä vuoteen 2000 asti. Georg Joseph Vogler’s Hosanna from late-eighteenth-century Stockholm is the reason why the First Advent Sunday is one of the most popular Sundays in Finland. Hosanna, originally a choral song for Palm Sunday, became established in nineteenth-century Sweden, Finland, and Ingria as part of the celebration of Advent. At first, it was performed by schoolchildren, but gradually choirs began to be assembled to sing it. The tradition started in the school towns and spread to the countryside. Hosanna was also performed in other celebrations, such as the inaugurations of new churches, and as an instrumental piece. It gained an irreplaceable place in the Advent and Christmas celebrations of primary schools. Hosanna began to be published in many choral collections, school songbooks, collections of liturgical melodies, and chorale books. Gradually, it also became common in songbooks intended for community singing but did not find its way into the Hymnal until in 1986. Hosanna’s popularity is predominantly explained by its catchy melody, which strongly differed from the style and ideals of liturgical music of its own time. Based on this melody, during the nineteenth century, at least three melodies of the Sanctus for the Communion Service were formed.

Abstract. This study aims to develop e-book media piguda Banten and test its feasibility. The background is that the media is still very minimal regarding the introduction of songs and regional languages. The researcher uses the research and development method of the ADDIE model from Dick and Carry which consists of analysis, design, development, implementation, and evaluation. The sample of this study was the fifth grade elementary school students, totaling 12 students. Data collection techniques in this study used expert validation sheets and classroom teachers. Validation results were obtained from media experts with a percentage of 88% and validation results were obtained from material experts with a percentage of 100% and validation results by class teachers with a percentage of 82.5%. The results of the implementation of the use of e-book media were tested with pretest and posttest and got an increase. In the pretest student learning outcomes are 52.5 with a percentage of 32% and as many as 4 students have reached the KKM, while in the posttest the average score obtained is 80 with a percentage result of 75% and as many as 9 students have reached the KKM. The results of data analysis using the N-gain formula got an average value of 0.6 with each category of student answers increasing. The results of the media response of piguda e-books by students obtained a percentage of 91% which stated "very feasible". The conclusion of this study is that the Piguda Banten e-book media is suitable for use in learning.
 Keywords: Piguda E-book, Song, Banten regional language.

<p>The work of gathering information about writers and rewriters started soon after the abolition of Latin press ban in 1904, especially actively participating in the process on the 40th and the 50th anniversary. During the 80s of the 20th century a bibliographer and specialist in literature Aleksejs Apīnis named the writers of Press ban time the farmers’ Prometheus.</p><p>From about 20 currently known rewriters the life and creative work of Andrivs Jūrdžs have been revealed most exhaustively. Many Prometheus are known only by their name, but not the text, that they had recorded. The problematic issue is also the question of how not to mistake the author (a text writer) with the text owner.</p><p>The aim of the article is to have a closer look at some of the manuscripts, which have been so far kept in private collections and seen as an integral part of family history. The authors of these works are known, so the list of the writers of Latin print ban time will be complemented.</p><p>In some 20-page notebook a former soldier Jezups Veituls (1845–?) in 1878 recorded two fasting period and two Christmas time songs. The song of 74 verses “Dzismie ap muku kunga Jezu Chrysta” seems as a summary of several Fasting songs, united by a refrain “Atey Jesu, Atey Jesu, Atej Jesu O! prica./ Miłoju tiewi sirds wysa”. The song tells about Saviour’s pathway of pain. The second song – “Pazamud cyłwaks” – calls for a return to God. Both songs have failed to find originals. Scientists have managed to find the origin of Christmas songs – “Pasokat miłi Ganini” and “Pestitoys dzyma”. The first one is the translation of some variant of the Polish song “Powiedzcie, pasterze mili” (from the book “Symfonie anielskie” (“Symphony of Angels”), 1631), the other one is the translation from Polish “Mesjasz przyszedł na świat prawdziwy” (“W Kanie Galilejskiej”), which was read the first time in Latgalian in the book “Eysas łyugszonas un dzismies” (1824). It is one of the few spiritual songs, that were sung at Latgalian weddings.</p><p>The author of the article finds it essential to search for originals of spiritual songs, because their absence would allow writers to think about the poet’s talent and would enable to see some creative sparkle. Texts are compared with Andrivs Jūrdžs’ recorded works. We would like to believe, that there was an edition of spiritual songs translated under the guidance of some clergyman or organist. References can be found in the Polish Catholic press in the 80s of the 19th century. But it should be inspected separately.</p><p>Veitulu Jezups, who was 33 years old, when he was recording songs, was a farmer and a skilled carpenter. He graduated from folk school, where it was not taught to read and write in Latvian (Latgalian). What made him write? Was it salary for the recorded text, the lack of songs, or maybe it was still wish for self-actualization? The writer’s great-grandson Ivars Vītols has carried out a valuable research on his family, which will be replenished with a proud of great-grandfather’s belonging to the unique recorder’s circuit of Latin Press Ban time.</p><p>One of the first known women transcribers during the Latin Press Ban was Anna Laizāne (1873–1958), who acquired the literacy at home. She was a colorful personality, in Taunagas Manor bill book next to a variety of medical prescriptions and incantations suitable for healing, she transcribed so-called heavenly book – with the registration of unfortunate 42 days and divine instructions.</p><p>The witness of people’s faith in living with superstition is the book written on canvas by the farmer Benedikts Višņevskis (1871–1943), who lived in Atašiene. Heavenly letter transcribed in 1903 (shortly before the abolition of the press ban) revealing many promises and also threats shows the time, when faith is suppressed and books are banned, but superstition replaces enlightenment. But the recorders daring to get into the unknown world through print signs and incomprehensible expressions of rewritable sources must be accordingly evaluated. A small cloth book has been used as an amulet, so it is a value for another Višņevskis family. The work transcribed by B. Višņevskis is the evidence of the existence of hitherto unmentioned heavenly books or genre of letters in Latgalian spiritual literature.</p><p>The works of Press Ban time can also be found today – 110 years after the abolition of the ban, but still there are many, including still unknown and undiscovered written evidences of the life of people at the end of the 19th century – at the beginning of the 20th century.</p>

Setting problems. The Ukrainian Irmologions represent to our contemporaries the musical and analytical knowledge common in the medieval Ukraine. In line with study of the Ukrainian musical-theoretical heritage, it is important to understand what problems our distant predecessors were solving and how they solved them. Relevance of the study. Studying written sources of the formation of Ukrainian science on music, today turn mainly to the first handwritten treatises, "Grammar of Music" by M. Diletsky. However, the traditions of analytical comprehension of music developed in Ukraine a little earlier and were reflected in writing in Irmologions. It is time to analyze this stage in the evolution of Ukrainian scientific and musical thought. Analysis of recent researches and publications. P. Matsenko noted the analytical abilities of the printers of that time, which were similar to the experience of the Irmologionists' scribes. M. Antonovych noticed different principles of styling in handwritten and printed Irmoologions, etc. O. Tsalay-Yakymenko approached the topic of the beginnings of the Ukrainian musical and theore-tical thought mainly in the direction of musical pedagogy. The Catalogue of the notolinium Irmologions by Yu. Yasinovsky made it possible to a separate special study of musical and analytical knowledgeof their authors-copyists. The purpose of this article. The purpose of the proposed study is the most complete and comprehensive characteristic of the medieval stage of development of the Ukrainian musical and theoretical thought with its worldview, spiritual, aesthetic and musical-stylistic traditions, views and norms. Summary of the research. The Ukrainian Irmoloy is a multi-genre song collection, skillfully composed of various (local and borrowed) songs. At the same time, these books contain all kinds of additional information that is carried in the margins of the text by glosses and interpolations. They show not only the acquired singing experience, but also the established system of the corresponding analytical knowledge. Thus, the songs were selected according to local traditions, local preferences, customs of local schools, aesthetic tastes of their scribes. The scribes were well versed in the origin of the songs that lived in their environment. Some of them pointed out the linguistic translation of the song, which, together with its musical translation from nonlinear notation to new linear notes, contributed to the spread of foreign musical material in the repertoire of local singers. The knowledge of genres is evidenced by "scars", "registers" – lists of material contained in Irmologion. The scribes were quite literate people: they combined the activities of professional musicians and skilled copyistseditors-creators of music Irmologions. Appendices to the main text – "Alphabets" – were brief summaries of initial information on the elementary theory of music. Results and their significance. The versatile activity of secular scribes-singers took place meaningfully, on the basis of certain knowledge and practical experience. Particularly noticeable is the knowledge of theological practice, genre diversity, developed musical thinking and hearing, which contributed to the rapid spread of the norms of the European tonal-harmonic system, and also figurative imagination and natural symbolic thinking, which ensured the unmistakable translation of the old Kyiv backdrop writing into a standardized noto-linear notation. Performing skills "gave the right" to edit the musical text according to their tastes and training in the environment of a particular creative school. The study of the note-linear irmoloys as indicators of early fixation of analytical comprehension of the ancient Ukrainian liturgical creativity proves that it was born long before the appearance of its first written evidence.

ABSTRACTThis survey of the mise-en-page of manuscripts that include medieval monophonic song focuses on complex multigraphic written artefacts presenting music on staves. Comparing the formatting of thirteenth-century French chansonniers and fifteenth-century collections of monophonic songs (BnF fr. 9346 and BnF fr. 12744), there are obvious differences in the mise-en-page. But when, where and why did the changes in the production of manuscripts and the materialisation of songs take place? This article proposes a distinction between entirely pre-ruled ‘“full” music manuscripts’, ‘music manuscripts’ employing pre-ruling and ‘manuscripts with music’ where the staves were drawn only after the text has been written. Moreover, ‘songbooks’ mainly interested in lyrics can be distinguished from ‘song books’ focusing on the music. The interrelation of production process, content and manuscript type is discussed using the example of the conductus In hoc ortus occidente. The emergence, interrelation and particularities of layouts are discussed for vernacular thirteenth- or fourteenth-century songbooks with Dutch, English/Anglo-Norman, French, Galego-Portuguese, German, Italian and Occitan texts. The two-column layout is found in songbooks all over Europe (except for Italian laudari). This article examines models such as rolls, libelli, Dominican liturgical books, particularities of layouts such as different strophic page layouts and as the separation of verses in some troubadour chansonniers and Galego-Portuguese cancionieros as well as the dissemination in German speaking regions through minstrel schools. Comparing French, German and Italian song books of monophonic song as well lais/Leich and/or polyphony reveals differences in the production process of Italian ‘“full” music manuscripts’ (BAV Rossi 215/I-OST, I-REas and I-Fl Mediceo Palatino 87), German ‘music manuscripts’ (A-Wn 2701, A-Wn 2777 and CZ-Pu XI E 9) and French ‘manuscripts with music’ (BnF fr. 146 and the Machaut-collections).

This research is motivated by the importance of providing song stimulation in the development of early childhood arts, while in reality the provision of song stimulation by teachers in schools still limited due to the limited production of children's thematic songs. So that it takes the teacher's ability to create simple songs according to the thematic needs of learning. This study aims to provide the elements of children's songs, namely melody, harmony, rhythm, lyrics, and tempo. Type of research used is literature study. Data were collected by reviewing and reviewing several relevant reading sources, such as scientific journals and related reference books. Furthermore, the elements that must be considered in early childhood songs are analyzed. From the research, the results show that the lyrical elements of children's songs must be positive and simple, the range and jump of the melody is right, the use of basic harmony starts and ends with level I chords, the use of a 1/4 or 1/8 rhythm, and the tempo according to the impression of the song to be shown. Thus the teacher can continue to provide song stimulation in the development of early childhood arts.

After the Turkish domination three monastic orders, the Jesuits, the Franciscans, and the order of the Hermits of St. Paul took major part at reconstruction, re-Catholicizing, and education in Hungary. Since the Paulines, as the sole order founded in Hungary, used the liturgy of Esztergom from the beginning of the 14th century, researches on 17–18th century music of the order focused mainly on mediaeval relics: survival of plain chant and the so-called Hungarian notation. Information about the musical life and the music of Paulines can be combined from two types of sources: from inventories, diaries, historia domus of dissolved monasteries, and from musical manuscripts (choir-books, organ-books) written and used by Pauline monks. The song repertoire (hymns) of the Baroque and early Classic era had been regarded of lesser value by Hungarian musicologists although Hungarian translations of some of the songs and their concordance with Franciscan manuscripts suggest a widespread use. Hungarian folksongs and melodies rooted in the folk tradition were not foreign to the Pauline practice: P. Gábor Koncz closed his songbook with Christmas carols which were in wide use in Hungarian folk tradition. Some polyphonic pieces also belong to the accurate and authentic picture of Pauline tradition of the 17–18th century. This polyphony requires no professional singers, it is a very simple, folk-like homophony in pastoral manner appropriate to education at schools.

"The Music Pedagogy Workshop working within the Institute of Music at the University of Nyíregyháza has initiated several programmes related to music methodology, financed by EU funds. Within the framework of subproject entitled “Renewing the practice of teaching music in public education based on folk traditions,” digital handbooks and teachers’ books have been designed for the Grades 1 to 4 of primary schools. The present paper introduces the novel features of the material designed for Grades 1 and 2. It touches upon the issues of the relevant points in curricular regulations, the possibilities of the innovative methods of score notation and score reading, tailored to the age characteristics of students, and the new approach to teaching the musical elements connected to a selected song corpus. The basic concept in designing the material of the first two grades was the amalgamation of folk culture, including folk tales and children’s game songs, and the world around children. The elements of the knowledge of the present and the past appear side by side in the individual thematic units. Interdisciplinarity also gets emphasised. The generative and creative music activities, the tasks aimed at developing receptive competences, games, and the application of graphic notation, targeting the development of fine motor skills and music literacy, have been designed to broaden the toolkit of music pedagogy for junior schools. Keywords: digital education material, folk music, children’s songs, graphic notation, generativity"

1. Alivizatou, M. (2019). Digital intangible heritage: Inventories, virtual learning and participation. Heritage & Society, 12(2–3), 116–135. 2. Billett, S. (2009). Conceptualizing learning experiences: Contributions and mediations of the social, personal, and brute. Mind, Culture, and Activity, 16(1), 32–47. 3. Bonilla, C. M. (2014). Racial Counternarratives and L atina Epistemologies in Relational Organizing. Anthropology & Education Quarterly, 45(4), 391–408. 4. Britain, T. (2007). How We Are: Photographing Britain. 5. Brodie, R. J., Hollebeek, L. D., Jurić, B., & Ilić, A. (2011). Customer Engagement: Conceptual Domain, Fundamental Propositions, and Implications for Research. Journal of Service Research, 14(3), 252–271. https://doi.org/10.1177/1094670511411703 6. Budge, K. (2017). Objects in focus: Museum visitors and Instagram. Curator: The Museum Journal, 60(1), 67–85. 7. Budge, K., & Burness, A. (2018). Museum objects and Instagram: agency and communication in digital engagement. Continuum, 32(2), 137–150. 8. Callanan, M. A., & Oakes, L. M. (1992). Preschoolers’ questions and parents’ explanations: Causal thinking in everyday activity. Cognitive Development, 7(2), 213–233. 9. Callanan, M., Cervantes, C., & Loomis, M. (2011). Informal learning. Wiley Interdisciplinary Reviews: Cognitive Science, 2(6), 646–655. 10. Cameron, F. (2003). Digital Futures I: Museum collections, digital technologies, and the cultural construction of knowledge. Curator: The Museum Journal, 46(3), 325–340. 11. Cokley, J., Gilbert, L., Jovic, L., & Hanrick, P. (2016). Growth of ‘Long Tail’in Australian journalism supports new engaging approach to audiences. Continuum, 30(1), 58–74. 12. Cole, M., & Consortium, D. L. (2006). The fifth dimension: An after-school program built on diversity. Russell Sage Foundation. 13. European Commission. (2015). i-Treasures: intangible cultural heritage of the past available through advanced modern technologies. 14. Fitts, S., & McClure, G. (2015). Building Social Capital in Hightown: The Role of Confianza in L atina Immigrants’ Social Networks in the New South. Anthropology & Education Quarterly, 46(3), 295–311. 15. Francesca, P. (2017). Final Report on User Requirements: Identification and Analysis. 16. Gade, R. (2009). Event Culture - The Museum and Its Staging (Kopenhagen, 6-7 Nov 09). 17. Gibbert, M., Ruigrok, W., & Wicki, B. (2008). What passes as a rigorous case study? Strategic Management Journal, 29(13), 1465–1474. 18. Gillard, P. (2002). Cruising through history wired. Museums and the Web 2002. 19. Goodwin, M. H. (1990). He-said-she-said: Talk as social organization among black children (Vol. 618). Indiana University Press. 20. Hamma, K. (2004). The role of museums in online teaching, learning, and research. First Monday. 21. Henchman, M. (2000). Bringing the object to the viewer: Multimedia techniques for the scientific study of art. 22. Herrgott, C. (2016). Cantu in paghjella: Patrimoine Culturel Immatériel et nouvelles technologies dans le projet I-Treasures. Port Acadie: Revue Interdisciplinaire En Études Acadiennes/Port Acadie: An Interdisciplinary Review in Acadian Studies, 30, 91–113. 23. Howell, R., & Chilcott, M. (2013). A sense of place: re-purposing and impacting historical research evidence through digital heritage and interpretation practice. International Journal of Intangible Heritage, 8, 165–177. 24. King, L., Stark, J. F., & Cooke, P. (2016). Experiencing the digital world: The cultural value of digital engagement with heritage. Heritage & Society, 9(1), 76–101. 25. Lomb, N. (2009). Dip circle used to study the earth’s magnetic field at Parramatta Observatory. 26. Majors, Y. J. (2015). Shoptalk: Lessons in teaching from an African American hair salon. Teachers College Press. 27. Marty, P. F. (2008). Museum websites and museum visitors: digital museum resources and their use. Museum Management and Curatorship, 23(1), 81–99. 28. Moqtaderi, H. (2019). Citizen curators: Crowdsourcing to bridge the academic/public divide. University Museums and Collections Journal, 11(2), 204–210. 29. Müller, K. (2013). Museums and virtuality. In Museums in a digital age (pp. 295–305). Routledge. 30. Nasir, N. S., Rosebery, A. S., Warren, B., & Lee, C. D. (2006). Learning as a cultural process: Achieving equity through diversity. 31. O’Brien, H. L., & Toms, E. G. (2008). What is user engagement? A conceptual framework for defining user engagement with technology. Journal of the American Society for Information Science and Technology, 59(6), 938–955. 32. O’Neill, R. (2017). The Rise of the Citizen Curator: Participation as Curation on the Web. University of Hull. 33. Opie, I., & Opie, P. (2000). The lore and language of schoolchildren. New York Review of Books. 34. Pallud, J. (2017). Impact of interactive technologies on stimulating learning experiences in a museum. Information & Management, 54(4), 465–478. 35. Pallud, J., & Straub, D. W. (2014). Effective website design for experience-influenced environments: The case of high culture museums. Information & Management, 51(3), 359–373. 36. Pozzi, F. (2017). Final Report on User Requirements: Identification and Analysis. Unpublished I-Treasures Project Report. 37. Proctor, N. (2010). Digital: Museum as platform, curator as champion, in the age of social media. Curator: The Museum Journal, 53(1), 35. 38. Rogoff, B., Callanan, M., Gutiérrez, K. D., & Erickson, F. (2016). The organization of informal learning. Review of Research in Education, 40(1), 356–401. 39. Schugurensky, D. (2000). The forms of informal learning: Towards a conceptualization of the field. 40. Scribner, S., & Cole, M. (1973). Cognitive Consequences of Formal and Informal Education: New accommodations are needed between school-based learning and learning experiences of everyday life. Science, 182(4112), 553–559. 41. Song, M., Elias, T., Martinovic, I., Mueller-Wittig, W., & Chan, T. K. Y. (2004). Digital heritage application as an edutainment tool. Proceedings of the 2004 ACM SIGGRAPH International Conference on Virtual Reality Continuum and Its Applications in Industry, 163–167. 42. Taheri, B., Jafari, A., & O’Gorman, K. (2014). Keeping your audience: Presenting a visitor engagement scale. Tourism Management, 42, 321–329. 43. Tan, B.-K., & Rahaman, H. (2009). Virtual heritage: Reality and criticism. 44. Tarlowski, A. (2006). If it’s an animal it has axons: Experience and culture in preschool children’s reasoning about animates. Cognitive Development, 21(3), 249–265. 45. Tate. (2007). How We Are Now at Tate Britain Museum. 46. Taylor, J., & Gibson, L. K. (2017). Digitisation, digital interaction and social media: embedded barriers to democratic heritage. International Journal of Heritage Studies, 23(5), 408–420. 47. UNESCO. (2011). What is Intangible Cultural Heritage? 48. Vygotsky, L. S. (2012). Thought and language. MIT press. 49. Wenger-Trayner, E., Wenger-Trayner, B., & W.-T. (2015). Communities of practice: A brief introduction. 50. Wenger, E. (1999). Communities of practice: Learning, meaning, and identity. Cambridge university press. 51. Yin, R. K. (2009). Case study research: Design and methods (Vol. 5). sage.

Statement of the problem. After receiving the Nobel Prize in 1912 Rabindranath Tagore faced enormous popularity among Western composers. Their attention was mainly drawn to his two collections of poems – “Gitanjali” and “The Gardener”, which were translations from Bengali made by Tagore himself and published in 1912 and 1913 respectively. Interestingly, these poetry books were soon translated into a number of European languages, among which – French, Spanish, German and Italian. These translations were used by hundreds of composers who represented different national schools. In some cases, a number of different composers chose the same poem, which gives us an opportunity to compare their ways to interpret Tagore’s text. This make it possible to better understand both, the individual vectors of composer creativity, and the possible common or different tendencies in the interpretation of the poetic primary source. In this paper, we analyse and compare three songs, written by Franco Alfano, Karol Szymanowski and Alexander von Zemlinsky to the text of the poem № 7 “Mother, the young prince…” from Tagore’s “The Gardener”. Objectives, methods, and novelty of the research. The purpose of the article is to determine the peculiarities of musical interpretations of R. Tagore’s poem by named authors focusing on the compositional, intonation and figurative-emotional aspects, for which the methods of comparative, semantic, genre and stylistic, structural and compositional analysis are involved. Attempts to make such a comparison have not been made previously. Results and conclusion. The first song from “Three Poems by Tagore” (“Tre poemi di Tagore”) by F. Alfano, the second and third numbers of “Four Songs” op. 41 by K. Szymanowski and the second part of the “Lyric Symphony” op. 18 by A. Zemlinsky were compared. It was found that all compositions show bright stylistic differences (late romantic, impressionistic, expressionistic musical complexes), along with conceptual ones, taking into account genre conditions (chamber-vocal and vocal-symphonic models). There are certain common features between the tempo solutions by F. Alfano and A. Zemlinsky, however, these solutions are aimed at different interpretations of the poetical text. The two-stage dramaturgical development laid down in R. Tagore’s text is shown most clearly in K. Szymanowski’s cycle, where the plot of the poem is embodied in two songs instead of one, with obvious tempo contrast between them. While in the impressionistic song by F. Alfano, the image of a young girl captivated by her own feelings in a state of awe-inspiring anticipation appears before us, K. Szymanowski’s music written in line with expressionist tendencies, emphasizes mournful and tragic moods and sounds almost “otherworldly”. In A. Zemlinsky’s late romantic genre concept, R. Tagore’s poem becomes the basis of a vocal-symphonic scherzo with a tragic and philosophical undertone. Taking into account these differences, we will also note an interesting common typological tendency, which is visible in a kind of “portrait of a girl with a necklace”: a departure from the usual romantic musical oriental complex, despite the “exoticism” of R. Tagore’s works.

The paper analyses Syed Amanuddin’s “Don’t Call Me Indo-Anglian” from the perspective of a cultural materialist. In an effort to understand Amanuddin’s contempt for the term, the matrix of identity, language and cultural ideology has been explored. The politics of the representation of the self and the other that creates a chasm among human beings has also been discussed. The impact of the British colonialism on the language and psyche of people has been taken into account. This is best visible in the seemingly innocent introduction of English in India as medium of instruction which has subsequently brought in a new kind of sensibility and culture unknown hitherto in India. Indians experienced them in the form of snobbery, racism, highbrow and religious bigotry. P C Ray and M K Gandhi resisted the introduction of English as the medium of instruction. However, a new class of Indo-Anglians has emerged after independence which is not different from the Anglo-Indians in their attitude towards India. The question of identity has become important for an Indian irrespective of the spatial or time location of a person. 
 References
 
 Abel, E. (1988). The Anglo-Indian Community: Survival in India. Delhi: Chanakya.
 Atharva Veda. Retrieved from: http://vedpuran.files.wordpress.com/2011/10/atharva-2.pdf
 Bethencourt, F. (2013). Racisms: From the Crusades to the Twentieth Century. Princeton: Princeton UP.
 Bhagvadgita:The Song of God. Retrieved from: www.holy-bhagavad-gita.org
 Constitution of India [The]. (2007). New Delhi: Ministry of Law and Justice, Govt of India, 2007, Retrieved from: www.lawmin.nic.in/coi/coiason29july08.pdf.
 Cousins, J. H. (1918). The Renaissance in India. Madras: Madras: Ganesh & Co., n. d., Preface is dated June 1918, Retrieved from: https://archive.org/details/in.ernet.dli.2015.203914
 Daruwalla, K. (2004). The Decolonised Muse: A Personal Statement. Retrieved from: https://www.poetryinternationalweb.net/pi/site/cou_article/item/2693/The-Decolonised-Muse/en
 Gale, T. (n.d.) Christian Impact on India, History of. Encyclopedia of India. Encyclopedia.com. Retrieved from: https://www.encyclopedia.com.
 Gandhi M K. (1938). My Own Experience. Harijan, Retrieved from: www.mkgandhi.org/ indiadreams/chap44.htm
 ---. “Medium of Education”. The Selected Works of Gandhi, Vol. 5, Retrieved from: www.mkgandhi.org/edugandhi/education.htm
 Gist, N. P., Wright, R. D. (1973). Marginality and Identity: Anglo-Indians as a Racially-Mixed Minority in India. Leiden: Brill.
 Godard, B. (1993). Marlene NourbeSe Philip’s Hyphenated Tongue or, Writing the Caribbean Demotic between Africa and Arctic. In Major Minorities: English Literatures in Transit, (pp. 151-175) Raoul Granquist (ed). Amsterdam, Rodopi.
 Gokak, V K. (n.d.). English in India: Its Present and Future. Bombay et al: Asia Publishing House. Retrieved from https://archive.org/details/in.ernet.dli.2015.460832.
 Gopika, I S. (2018). Rise of the Indo-Anglians in Kerala. The New Indian Express. Retrieved from www.newindianexpress.com/cities/kochi/2018/feb/16/rise-of-the-indo-anglians-in-kerala-1774446.html
 Hall, S. (1996). Who Needs ‘Identity’? In Questions of Cultural Identity, (pp. 1-17). Stuart Hall and Paul du Gay (eds.). London: Sage.
 Lobo, A. (1996a). Anglo-Indian Schools and Anglo-Indian Educational Disadvantage. Part 1. International Journal of Anglo-Indian Studies, 1(1), 13-30. Retrieved from www.international-journal-of-anglo-indian-studies.org
 ---. (1996b). Anglo-Indian Schools and Anglo-Indian Educational Disadvantage. Part 2. International Journal of Anglo-Indian Studies. 1(2), 13-34. Retrieved from: www.international-journal-of-anglo-indian-studies.org
 Maha Upanishad. Retrieved from: http://www.gayathrimanthra.com/contents/documents/ Vedicrelated/Maha_Upanishad
 Montaut, A. (2010). English in India. In Problematizing Language Studies, Cultural, Theoretical and Applied Perspectives: Essays in Honour of Rama Kant Agnihotri. (pp. 83-116.) S. I. Hasnain and S. Chaudhary (eds). Delhi: Akar Books. Retrieved from: https://halshs.archives-ouvertes.fr/halshs-00549309/document
 Naik, M K. (1973). Indian Poetry in English. Indian Literature. 16(3/4) 157-164. Retrieved from: www.jstor.org/stable/24157227
 Pai, S. (2018). Indo-Anglians: The newest and fastest-growing caste in India. Retrieved from: https://scroll.in/magazine/867130/indo-anglians-the-newest-and-fastest-growing-caste-in-india
 Pearson, M. N. (1987). The Portuguese in India. Cambridge: Cambridge UP.
 Rai, S. (2012). India’s New ‘English Only’ Generation. Retrieved from: https://india.blogs.nytimes.com/2012/06/01/indias-new-english-only-generation/
 Ray, P. C. (1932). Life and Experiences of a Bengali Chemist. Calcutta: Chuckervertty, Chatterjee & London: Kegan Paul, Trench, Trubner. Retrieved from: https://archive.org/details/ in.ernet.dli.2015.90919
 Rig Veda. Retrieved from: http://www.sanskritweb.net/rigveda/rv09-044.pdf.
 Rocha, E. (2010). Racism in Novels: A Comparative Study of Brazilian and South American Cultural History. Newcastle upon Tyne: Cambridge Scholars Publishing.
 Rushdie, S., West, E. (Eds.) (1997). The Vintage Book of Indian Writing 1947 – 1997. London: Vintage.
 Sen, S. (2010). Education of the Anglo-Indian Community. Gender and Generation: A Study on the Pattern of Responses of Two Generations of Anglo-Indian Women Living During and After 1970s in Kolkata, Unpublished Ph D dissertation. Kolkata: Jadavpur University. Retrieved from: http://shodhganga.inflibnet.ac.in/bitstream/10603/176756/8/08_chapter% 203.pdf
 Stephens, H. M. (1897). The Rulers of India, Albuqurque. Ed. William Wilson Hunter. Oxford: Clarendon Press. Retrieved from https://archive.org/details/in.ernet.dli.2015.156532
 Subramaniam, A. (2017). Speaking of Ramanujan. Retrieved from: https://indianexpress.com/ article/lifestyle/books/speaking-of-ramanujan-guillermo-rodriguez-when-mirrors-are-windows-4772031/
 Trevelyan, G. O. (1876). The Life and Letters of Lord Macaulay. London: Longmans, Geeen, & Co. Retrieved from: https://archive.org/details/lifelettersoflor01trevuoft
 Williams, B. R. (2002). Anglo-Indians: Vanishing Remnants of a Bygone Era: Anglo-Indians in India, North America and the UK in 2000. Calcutta: Tiljallah Relief.
 Yajurveda. Retrieved from: http://vedpuran.files.wordpress.com/2011/10/yajurved.pdf
 Yule, H., Burnell A. C. (1903). Hobson-Jobson: A Glossary of Colloquial Anglo-Indian Words and Phrases, and of Kindred Terms, Etymological, Historical, Geographical and Discursive. Ed. William Crooke. London: J. Murray. Retrieved from: https://archive.org/ details/hobsonjobsonagl00croogoog

Since this field is required for the submission to continue, I am including the same biography as in previous screen:
 Biography
 Paul Cummins’ Poems have appeared in numerous publications including The New Republic, Poetry LA, Whole Notes, Exquisite Corpse, Coracle, Black Buzzard Review, Rattle, Cooweescoowee, Cloudbank, Rockhurst Review, South Loop Review, Absoloose and Perfume River. Also he has won several poetry prizes and has appeared in many anthologies.
 In addition, Cummins is an educator, writer and social entrepreneur. From Stanford (B.A.) to Harvard (M.A.T.) to USC (Ph.D.) to classroom teaching 1960-71, he went on to the founding and co-founding of six schools — including private schools such as Crossroads School and TREE Academy, plus Camino Nuevo Public Charter School. From the creation of educational outreach programs such as P.S. Arts and The Coalition for Engaged Education to all his groundbreaking and innovative ventures, Cummins has been a champion for quality education, especially for at-risk, foster and incarcerated youth.
 His publications include an autobiography, Confessions of a Headmaster, three other books on education, two children’s books, four collections of essays, a biography of a holocaust survivor, Dachau Song, and three volumes of poetry.

This research is a qualitative research. The purpose of this study is to describe the role of teacher’s in SBdP learning at fifth grade primary school in cluster one of Tampan Subdistricts Pekanbaru City. The data collection techniques in this study are observation, interview and documentation. The instruments used are: observation and interview guides that refer to indicators of the teacher's role in learning and have been validated by experts or validators. The subjects in this study were four fifth grade teacher’s primary school in Cluster one. The role of teacher in SBdP learning at fifth grade primary school in Cluster one of Tampan Subdistricts Pekanbaru City has been well implemented, but the implementation is not perfect. On the indicator teacher as demonstrator, teacher presents SBdP material in theory and practice. On the indicator teacher as class manager, teacher carries out SBdP learning in a thematic way and uses a scientific approach. On the indicator teacher as mediator, teacher uses pianics, pictures in student books, audio visual videos of the song Autum Flowers and human circulatory system as learning media. On the indicator teacher as facilitator, the teacher uses thematic printed books, worksheets books and books of national compulsory songs as learning resources. On the indicator teacher as evaluator, teacher has not yet carried out quiz, portfolio or project assessment, but teacher has carried out an assessment process.

This research is a qualitative research. The purpose of this study is to describe the role of teacher’s in SBdP learning at fifth grade primary school in cluster one of Tampan Subdistricts Pekanbaru City. The data collection techniques in this study are observation, interview and documentation. The instruments used are: observation and interview guides that refer to indicators of the teacher's role in learning and have been validated by experts or validators. The subjects in this study were four fifth grade teacher’s primary school in Cluster one. The role of teacher in SBdP learning at fifth grade primary school in Cluster one of Tampan Subdistricts Pekanbaru City has been well implemented, but the implementation is not perfect. On the indicator teacher as demonstrator, teacher presents SBdP material in theory and practice. On the indicator teacher as class manager, teacher carries out SBdP learning in a thematic way and uses a scientific approach. On the indicator teacher as mediator, teacher uses pianics, pictures in student books, audio visual videos of the song Autum Flowers and human circulatory system as learning media. On the indicator teacher as facilitator, the teacher uses thematic printed books, worksheets books and books of national compulsory songs as learning resources. On the indicator teacher as evaluator, teacher has not yet carried out quiz, portfolio or project assessment, but teacher has carried out an assessment process.

Litwin, Eric. Pete the Cat and His Four Groovy Buttons. Illus. James Dean. New York: Harper, 2012. Print. Pete, the laid back, imperturbable puss is back and this time author and children’s performer Eric Litwin incorporates math into the story. Pete puts on his favourite shirt and begins to sing about his buttons. There is lots of repetition to help kids learn about numbers and subtraction. First Pete thinks about the total number of buttons and the numeral is displayed. Then the word “four” appears twice in the refrain: “My buttons my buttons, my four groovy buttons”. One by one the buttons pop-off and each time the resulting equation is displayed: “How many buttons are left? 4-1=3”. This sequence repeats until he is down to his belly button! As with the other Pete books, there is also a very important underlying message: don’t sweat the small stuff. Each time he loses another button, the author asks: “Did Pete cry? Goodness, no! Buttons come and buttons go”. This is reinforced in the conclusion: “I guess it simply goes to show that stuff will come and stuff will go. But do we cry? Goodness, No! We keep on singing”. Artist James Dean first painted an image of Pete in 1999 and the little bluish-black cat with the big yellow eyes is still going strong. His images are composed of bright, high-contrast colours. The visible brush strokes and thick black outlines create lots of interesting textures and highlights. Of particular note are the buttons that leave long spirals of black trailing behind them and look as if they are popping right off the page. Again, as with previous Pete books, ( I Love my White Shoes and Rockin’ My School Shoes), there is a free downloadable song available from the Harper Collins Web site (http://www.harpercollinschildrens.com/feature/petethecat/). The book is certainly engaging enough to be enjoyed on its own. However, there is also a substantial amount of bonus material on the web site that can be incorporated into school lessons or enjoyed at home: the song, links to a YouTube video that pairs animated images from the book with the song, printable activities and a link to a “School Jam” ipad/iphone app featuring Pete. A clever fusion of music and math sprinkled with a life lesson in resilience, this book would make a groovy addition to school and home libraries for preschool to early elementary school-aged children. Highly Recommended: 4 out 4 starsReviewer: Kim Frail Kim is a Public Services Librarian at the H.T. Coutts Education Library at the University of Alberta. Children’s literature is a big part of her world at work and at home. She also enjoys gardening, renovating and keeping up with her two-year old.

Madurese language songs have to be one of the promotional media tourism that needs to be developed with a purpose cultivate and advance Indonesian tourism with love of Indonesian folk songs . This era is a folk song especially regional song speak Madura is less popular to listen to or less common _ heard by the public . Introduction language and values - mark typical area can be channeled or depicted in lyrics , music or background from song. Introduction Language area And values wisdom need introduced since early , that is songs are played to children during school activities. Introduction in children especially child level _ early recognized _ through method sing . Sing is Wrong One method learning Which can used for support education character for older children early . Through the concept of making books and albums for children's songs in Madurese circles especially old children early can access songs anytime and anywhere course without limitation . Therefore this research seeks to do innovation which can be preserved culture wisdom local , preserve existence of children's songs, promote sector tourist Madura through study development model ADDIE. In the process of development and field trials carried out at RA Attahariyah Modung and TKM NU by getting mean values of 35, 36 and 38 indicate that this product managed to improve knowledge around tourism in Bangkalan , capabilities sing as well as ability Madurese language.

Researchers have emphasized that it is necessary to profound the study of the program for training professional singers, as a university education and to carry out the program in a traditional way as well as to direct towards training professional teachers. The purpose of the research is to determine the evidence for reforming the curriculum on the basis of the study of the theory and methodology of training professional singers. The theory books, research materials and curriculum for the preparation of long-song singers of the school of the music art of the MSUAC and the professional organizations which work out the curriculum and training programs of the branch school of the song art of the National Institute of Khukh Khot city of the Inner Mongolia were used. We concluded that it is necessary to update the training program for the development of the singing skills of the students who study in the field of long-song singing at the National Institute of Khukh Khot city of the IMAR through the study of the training theory and methodology of the preparation of the professional long-song singers and it is also significant to test and study its result. “Хөх хот” Үндэстний дээд сургууль болон Соёл урлагийн их сургуулийн мэргэжлийн уртын дуучин бэлтгэх сургалтын хөтөлбөрүүдийг харьцуулан судалсан урьдчилсан дүнгээс Хураангуй: Судлаачид их сургуулийн боловсрол болох мэргэжлийн уртын дуучдын сургалт ын хөтөлбөрийг гүнзгийрүүлэн судалж, хөтөлбөрийг уламжлалт байдлаар хэрэгжүүлэх, мөн мэргэжлийн багш нарыг сургахад чиглүүлэхийн чухлыг онцлон тэмдэглэсээр байна. Судалгааны зорилго нь мэргэжлийн дуучдыг сургах онол , арга зүйн судалгааг үндэслэн сургалт ын хөтөлбөрийг шинэчлэх үндэслэлийг тодорхойлоход оршино. Судалгаанд Монгол улсын Соёл урлагийн их сургуулийн Хөгжмийн урлагийн сургуулийн уртын дуучин бэлтгэхэд зориулсан хөтөлбөр болон Өвөр Монголын Хөх хотын үндэстний дээд сургуулийн дуу урлагийн салбар сургуулийн хөтөлбөр, сургалтын программ, онолын ном, судалгааны материал ыг ашигласан . Бид мэргэжлийн уртын дуу дуулаачдыг бэлтгэх сургалтын онол , арга зүйг судалж, Өвөр Монголын Хөх хотын үндэстний дээд сургуулийн уртын дуунд суралцаж байгаа оюутнуудын дуулах ур чадварыг хөгжүүлэх хөтөлбөрийг шинэчилж, түүний үр дүнг судлах нь чухал хэмээн үзлээ.Түлхүүр үг: сургалтын хөтөлбөр, урын са н, арга зүй, угсаата н, үнэт зүйл, суралцагч, урт ын дуу, дуучин

McAllister, Paul. A New Song for Herman. Herman’s Monster House Publishing, 2017.There are many books designed to help children who are afraid of monsters. This is the second book that Paul McAllister has written on the subject. In this one, Herman, a green House Monster turned Barista Monster, works at Sarah’s cafe and is famous for his mochaccinos. However, his work is suffering because he is being kept awake at night by an Attic Monster. It turns out that the Attic Monster is just baking cookies in an old Easy Bake Oven, so Herman offers him a job baking at the restaurant. The text is simple, but includes some repetition of the Attic Monster’s song “humba rumba lumba rumba gurgle gurgle bing!”, which children will enjoy and will want to repeat during a reading. Both the text and the illustrations help children identify with monsters rather than being afraid of them. Emily Brown has made the monsters look like cuddly stuffy toys. Even the Attic Monster who scares Herman turns out to be “the cutest little monster he’d ever seen.” Brown has also included fun details in the illustrations. For example, when Herman is at his most sleep deprived, he makes the coffee with dirt and Brown shows him holding a coffee pot that has a flower growing out of it. This fun book is recommended for public and school library collections.Recommended: 3 stars out of 4Reviewer: Sean C. BorleSean Borle is a University of Alberta undergraduate student who is an advocate for child health and safety.

Highway, Tomson. Illus. John Rombough. Caribou Song. Markham, ON.: Fifth House, 2013. Print.While Tomson Highway’s English text remains consistent with the 2001 publication of this title illustrated by Brian Deines, this new version has been translated into a colloquial dialect of Cree rather than the original high Cree. It has been revitalized by John Rombough, a Chipewyan Dene artist from the Northwest Territories. His stylistic and intensely coloured illustrations make this a very different viewing experience from that of the softer and more realistic illustrations by Deines. Rombough’s illustrations are infused with great energy, which is especially intriguing since the broad black lines contain only static shapes of colour layered on the variously tinted pages. There is magic here that is highly reminiscent of stain glass artistry and, like the stained glass pieces, engage the viewer into active participation in the storytelling experience.The story, too, contains magic. Set in Northern Manitoba, the tale follows the adventures of two young brothers, Joe and Cody, who call the caribou with their accordion (kitoochigan) and singing. The caribou respond with great vigor, enabling the boys’ parents’ traditional hunt. There is much laughter between the boys but danger as well as the migrating animals enthusiastically stream between them. Thankfully the spirit voice of the caribou leads the boys to safety, much to the relief of their parents and the boys themselves.Many years ago, when speaking with Tomson about the translation of the first edition he expressed sorrow that it was in the more formal Cree language; he felt that it was not the dialect that was easily accessible by the very people he wished to reach with this book. I hope this translation satisfies and ratifies this aspiration for those who read Cree. It certainly satisfies the artistic appreciation of this reviewer. The 2001 version was the first book in a trilogy about Joe, Cody, their family and the traditional culture and life of the Cree in Northern Manitoba. Is this edition also the first in a trilogy? One can always hope.Highly recommended: 4 out of 4 stars Reviewer: Gail de VosGail de Vos, an adjunct instructor, teaches courses on Canadian children's literature, Young Adult Literature and Comic Books and Graphic Novels at the School of Library and Information Studies for the University of Alberta and is the author of nine books on storytelling and folklore. She is a professional storyteller and has taught the storytelling course at SLIS for over two decades.

The bewildering number of articles and books which concern or touch upon the European constitutional debate remind one, at times, of a children's orchestra in which each child plays as loud as possible (more in order to hear themselves than to make themselves heard) and without listening carefully to the parts of others. The result is, simultaneously, an inharmonious cacophony of individual instruments to the skilled listener; an encompassing and confusing wall of sound to the amateur. Refined only slightly, the crude and unoriginal analogy is not far off the mark in describing the community of scholars working in the field of European constitutionalism: it is rare to find a commentator willing to grasp the score as a whole; most choosing, instead, to focus only on their section. Interdisciplinary research seems to be just as often proclaimed as it is ignored. While it would be both undesirable and impossible to have (keeping with musical metaphor) everyone singing from the same song-sheet, an orchestra can accommodate a wide variety of sounds and parts before it descends into the sort of tuneless noise one associates with so many school orchestras.

Corlett, Ian James. E is for Environment: Stories to Help Children Care for Their World- At Home, At School, and At Play. New York: Atria Books, 2011. Print. This collection of 26 short stories was inspired by the author’s friends Matt and Stephanie, who ran around the perimeter of North America bringing environmental messages to schools. Their adventure sets the stage for the book when main characters Elliot and Lucy attend one of their sessions. Corlett brings their message of environmental awareness and conservation to elementary school-aged children in an accessible way. Each chapter is preceded by a full-page image by Canadian illustrator R.A. Holt. Each two-page story focuses on an everyday activity such as playtime or preparing school lunches. A question is posed to get kids thinking about changes Elliott and Lucy can make to help keep the planet a little healthier. Unfortunately, many of the explanations of why change is necessary are either lacking or non-existent. For instance, why is it important to reduce carbon dioxide emissions? This concept might be a difficult one for young children to comprehend without an explanation. Once the answer is given, other questions are presented for discussion and to encourage action. Each chapter ends with a couple of factual statements and a quotation. Families are meant to read the book together and then discuss. A child reading alone would not benefit as much from the prompting questions, as there would be no opportunity for discussion. The messages are short and simple and the language used is generally natural and informal. Though many of the environment-specific words are defined, others like ‘global warming’ would benefit from explanation. There are a few witty word choices with chapter titles that parents will appreciate (one is a reference to a Joni Mitchell song!) The quotations are eclectic from a variety of individuals, but some seem too mature for inclusion in a children’s book. Many are also unrelated to the environment. Though both the author and the illustrator are Canadian, all measurements referred to are American (miles, gallons, degrees Fahrenheit). Conversions should have been included in brackets. In the story about doggy dirt, the author recommends composting dog waste to put in the garden. Another story encourages vegetable gardening. It was not made clear that pet wastes should not be used on plants intended for human consumption because of the risk of spreading disease. Despite this safety concern, the book presents a wide variety of small changes that all families can make to reduce, reuse, recycle, and help keep the planet green. Recommended: 3 out of 4 starsReview: Trish ChatterleyTrish is a Public Services Librarian for the John W. Scott Health Sciences Library at the University of Alberta. In her free time she enjoys dancing, gardening, and reading books of all types.

Bouchard, David. The Song Within My Heart. Markham: Red Deer Press, 2015. Print.Similar to Nokum is My Teacher, David Bouchard and Allen Sapp team up to tell the story of a young boy and his Nokum, his grandmother. Drawing upon his memories, illustrator Allen Sapp paints rich, expressive images of his own Nokum while Bouchard, in the form of a poem, tells the story of a young boy’s first experience of a Pow-wow. Bouchard and Sapp warmly guide the reader to more deeply understand the sacredness of story and song. They highlight the importance of learning to listen with one’s whole being and not just with one’s ears; to crave more than a direct understanding of the words of a story or a song, but to feel its broader presence as a teaching, as a living part of the teller, and as part of an ongoing journey of learning and self-discovery. Through the wisdom of his Nokum both the narrator and we, as readers, come to know that “[a] story is a sacred thing,” and that stories – especially those we carry in our hearts and “call our own” – are more valuable than “toys or clothes,” than “jewels or cars.” Given the sacredness of stories, we are cautioned to “never use another’s tale, [u]nless he knows and he approves.” The book, along with the drum beats and voices present on the accompanying CD, invites us to think differently about what it means to learn and what it means to respect our own voices and internal knowing. As if to remind us that gentleness is always required in processes of learning, the book ends with a reminder not to worry if we cannot yet understand its message and encourages its readers to continue to listen in these more complex ways, to keep listening for a story they might come to hear, that no one else hears - a story of their very own. The book is written for elementary children and yet appeals to all ages. For those wanting to create spaces for the stories of Indigenous children and families, books such as The Song Within My Heart are essential. Not only does it give equal space upon the page for both English and Cree text but with the CD, also inclusive of both English and Cree Language versions and the music of Northern Cree, it also honours oral storytelling traditions.Recommended: 4 out of 4 starsReviewers: Trudy Cardinal & Sulya FenichelDr. Trudy Cardinal is a Cree/Métis scholar from the University of Alberta whose research interests center on the experiences of Indigenous children and families on and off school landscapes. Her passion for stories and storytelling includes a love of children’s literature especially literature written by and portraying the multiplicities in the lives of Indigenous youth and families.Sulya Fenichel is a doctoral student at the University of Alberta. Mindful of important, and increasing, mandates to include Indigenous approaches to living and learning into contemporary curricula she is fascinated by the ‘how’ of interconnection and communication between people(s) and disciplines. In her research, she hopes to explore the ways in which key, and sometimes ideologically entrenched, ‘stakeholder’ groups might improve communication and collaboration in processes of education and sees storytelling, in all its forms, as central to this process.

This article takes a phenomenological approach that combines interpretivist and critical forms of research paradigms to explain mmino wa bana (children’s songs) as a determinant of reading recorded knowledge among teenagers in Ga Molepo, South Africa. Data was collected from focus groups in a purposive sample of rural teenagers engaged in learning through song and repetition. The multiple case study method was employed to draw data from multiple sources including the rural teenagers’ childhood experiences and literature in library and information science, the behavioral sciences (i.e., anthropology, sociology, and psychology), musicology, and folklore. Photovoice was used to visualise rural teenagers in their natural habitat. This research argues that recorded knowledge in the form of books and other printed material is what drives reading within the school system and the purview of mass reading. The findings reveal that best practice in reading programmes should consider ways of knowing from traditional and modern communities. The driving of reading programmes in South Africa and the continent at large requires a critical interpretivist approach that acknowledges the nature of being of traditional communities and their local epistemologies. The article concludes that mmino wa bana should be catalogued and made accessible in new formats that integrate technology. Policymakers in arts, culture, and heritage (i.e. library and information services) should consider the importance music plays in the early development of rural teenagers.

McGowan, Jayme. One Bear Extraordinaire. Abrams Books for Young Readers, 2015.This picture book is a story about a bear who begins the tale as a “one man band”, playing a guitar, drum, cymbals, harmonica and tambourine. Although legendary in the forest, he feels that, “something is missing”, so he sets out to find it. As he journeys, other animals join him, but none of them fill the void. Eventually the group encounters Wolf Pup, who wants to join but has no instrument. Bear offers him several of his instruments, but he just chews them. Finally, Wolf Pup howls at the moon and Bear realizes that what his song needed was a singer. In the end Bear just has his guitar left, but he has four other band members and their tune “sounded just right.” There are two music messages in this book. First, being a solo performer is fine, but making music with others is fine, too. The second message is that everyone has something to contribute, if they are just given a chance. McGowan’s technique for creating pictures is unusual. She builds up layers of paper, and then photographs the image. Children will enjoy identifying objects and creatures in the brightly coloured pictures. This is a good book and should be included in public libraries and school libraries.Recommended: 3 stars out of 4Reviewer: Sean BorleSean Borle is a University of Alberta undergraduate student who is an advocate for child health and safety.

Deal, Laura. In the Sky at Nighttime. Iqaluit, NU: Inhabit Media, 2019.
 This illustrated poem shows what a polar village looks like at night and what is in the night sky. In the Arctic, winter nights are long, and it is dark as people go about their daily lives, so many people are familiar with the night sky. Tamara Campeau’s illustrations, each of which fill two facing pages, are in deep blue and purple hues, with the sky prominent in them. The text is overprinted on the artwork. Campeau’s rendering of the village has accurate details. Some of the houses have heating oil tanks outside. Paths to the doors have snow heaped alongside them. Power lines, attached to wooden power poles with insulators and transformers, loop through the village. The yellow light from electric lighting shines out through the windows of the houses. At the beginning of the book Laura Deal describes observable things in the sky: stars, falling snow, northern lights, ravens. Towards the end she becomes more figurative, introducing a mother’s song and dreams swirling in the sky.
 The text is a six verse poem, each verse beginning with the phrase “In the sky at night time.” The structure of the poem is reminiscent of Stephen Eaton Hume’s 1992 picture book, Midnight on the Farm, which also uses six verses, each beginning with a repeating phrase, to describe a nighttime world, however the two landscapes are distinct.
 Because this is an illustrated poem in the form of a picture book, rather than a picture book with text, some of the words are more difficult than one would expect in books for young children. For example, the dreams are “magical and extraordinary.” As a result, this text, simple as it is, will need some explanation. In the Sky at Nighttime is highly recommended for public libraries and elementary school libraries.
 Highly recommended: 4 out of 4 starsReviewer: Sandy Campbell
 Sandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.

The Jerry Cans. Mamaqtuq! Illustrated by Eric Kim. Inhabit Media, 2018.Mamaqtuq! means “delicious”. This delightful Inuit board book tells a simple story of hunting all day for seal, running out of provisions and finally finding and catching a seal. It is written in Inuktitut and English, appropriately, at an early reader level. Erik Kim’s cartoon-like illustrations are bright, fun, and representative of the hunters, their clothing, and the environment. The book contains images of people using hunting rifles, but there are no images of seals being killed. As a stand-alone book it is a very good presentation of traditional hunting. However, the book is just one half of the story. The authors, The Jerry Cans, are a band from Iqualuit, whose music is a “unique mix of Inuktitut alt-country, throat singing and reggae.” The words in the Mamaqtuq! are the lyrics to a song. You can see the YouTube video at https://www.youtube.com/watch?v=DueVqYKWQxE. The piece looks like a skit, with a cardboard boat and people waving cloth to make waves. The seal is played by a young man, so the shooting part is a little more disturbing than in the book. There is also a realistic scene of lead vocalist, Andrew Morrison, eating raw, bloody meat. However, the production is exuberant, even festive, fun, and true to the culture. The book is highly recommended for elementary school libraries and public libraries.Recommendation: 4 stars out of 4Reviewer: Sandy CampbellSandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.

This study will help you examine the classical music knowledge of school pupils and faculty. We analyzed the musical form and religious mood in this article. Christian Furchitegot Gelato, a German pastor, poet, and hymn writer, composed the poem "God's Glory from Nature." In 1757, it was initially published in Gellert's collection of odes and songs. The words were published as part of a collection of songs in 1803. They are best known for their solo vocal and piano setting by Ludwig van Beethoven ("Die Himmelrühmen der Ewigen Ehre," beginning with Op. 48, No. 4), and for which they are best remembered. The song by Beethoven is commonly known as "Die Himmelsrühmen," which translates to "Heaven speaks" in English. Popular in the United States is Virgil Thomson's organ and choir arrangement of "Heaven Talks" (1925). Beethoven's vocal pieces are occasionally neglected or overshadowed due to his substantial contributions to large-scale instrumental genres such as sonata, symphony, and string quartet. Nonetheless, he had a lifelong passion for literature and poetry, as proven by countless direct and indirect allusions from the literary works that peaked his attention in his collection, correspondence, Tagebuch, and discussion books. Between 1783 and 1826, he created several vocal works illustrating his passion for and connection to the language. Most of Beethoven's vocal compositions have not been exposed to the same level of scrutiny as his instrumental works. This study examines the relationship between lyrics and music in Beethoven's solo songs and other vocal compositions. The intersections between literary and musical expression are analyzed within four dimensions of text setting: structure, rhythm, meaning, and story. To begin, the components of derivation and deviation are analyzed to determine how he built musical structures in response to the poetic (and semantic) patterns of each source text.

Davies, Nicola. The Promise. Illus. Laura Carlin. Somerville: Candlewick Press, 2014. Print.This is a picture book that may be read again and again. Its meaning and message has several layers and needs to be peeled like an onion. Davies and Carlin work together seamlessly to create and build tone and mood throughout the book while the reader is taken on a journey.The Promise is the story of a young girl living and growing up in a “mean and hard and ugly” city who has a chance encounter with an old lady. A promise is made that will change everything.Davies, a zoologist, is an award winning author and has written several other children’s books about nature and animals. In The Promise she develops a story that emphasizes the importance of our relationship with nature, particularly in the urban setting. The illustrations by Laura Carlin, are beautifully crafted from mixed media. For a children’s book, they are at first shockingly gloomy and depressing. This however, perfectly matches Davies descriptive and figurative language of an ugly city where, the “streets were dry as dust… never blessed with rain” and “a gritty yellow wind blew constantly, scratching around the buildings like a hungry dog.” The pages are initially dark, moody and mysterious, playing with various shades of gray and sepia. As the story line becomes more uplifting and lively, so do the pictures with pops of colour. Bright reds, greens, oranges and yellows, show bright displays of life and activity as “Green spread through the city like a song”. Carlin’s illustrations not only enhance the messages portrayed in the words of the book, but also build mood and evoke emotion.The Promise is a story of hope and how one person can be the change in this world. This book is appropriate for all ages, but the depth of the messages and multiple layers make it well suited for upper elementary. Teachers and librarians will want this book in their library.Recommended: 3 out of 4 starsReviewer: Michele Wilson McCuneAs an elementary school teacher for Edmonton Catholic School Division and a mother of four, Michele loves reading and sharing literature with the important children in her life. She is currently working on completing her master’s degree in Elementary Education with a focus in Language and Literacy.

Dear Readers,We are delighted that this special issue includes book reviews from preschool to junior high readers!We would like to acknowledge Michelle St. Jean, Steven Campbell, Natalie Burns—the grade six and eight teachers from Ben Calf Robe - St. Clare Elementary/Junior High School—whose students completed the reviews as part of their class work. Assistant Principal Sonia Mangieri was our contact at the school who coordinated with the teachers to help make the vision of an issue entirely devoted to student reviews a reality. We would also like to thank Principal Rena Methuen for her school’s participation in this project. We are also grateful to teachers Ann Sheehan and Jenn Sych from the Child Study Centre’s Junior Kindergarten in the Faculty of Education at the University of Alberta for helping their students to provide class reviews of The Pirate’s Bed. Finally we would like to acknowledge our reviewers for contributing their thoughts on a wide range of reading materials and for sharing their favorite books and reading spots. Wishing you all a wonderful READ IN Week with enjoyable books and good friends.Warm wishes,Deakin Editors_________________________________________________________________Dear Readers,Welcome to this special edition of the Deakin Review. My name is Dr. Trudy Cardinal and I am very excited to be part of this edition highlighting the reviews of students from Ben Calf Robe St. Clare School and from the Child Study Centre’s Junior Kindergarten program in the University of Alberta’s Faculty of Education as part of the 2016 READ IN Week celebrations. This year’s theme is: One World, Many Voices, which was inspired in part by the words of Indigenous author Richard Wagamese in his introduction to One Story, One Song: “What binds us together as a human family is our collective yearning to belong, and we need to share our stories to achieve that” (2011, p. 5). As a Cree/Métis scholar I have always yearned to find children’s books that were more representative of the Cree/Métis life I lived as a little girl in northern Alberta but I never did find one. Rather I fell in love with Laura Ingalls Wilder from Little House on the Prairie and Lucy Maud Montgomery’s Anne of Green Gables feeling a kindred spirit in both of those characters – and yet, despite this love, I still yearned for more – someone more like me! Now, as a teacher educator and a Kokom (a Cree grandmother) I am so excited to find more and more beautiful children’s books, and more and more brilliant Indigenous authors who are creating stories that resonate with my soul. I can now go on grand adventures with Chuck in Jordon Wheeler’s Just a Walk. I see images of my niece Emma in Elizabeth Denny’s Jenneli’s Dance as she wins her first jigging prize and my heart-strings are tugged as I see the spitting image of my younger brother in the little boy in Peter Eyvindson’s Red Parka Mary. Finally, the yearning I have held for so long is beginning to abate as I come across such rich Indigenous literature depicting stories that are more representative of the life I lived as a Cree/Métis little girl. And in this issue, where the youngest readers are given opportunity to share stories of the books they are reading, Deakin Review helps to create spaces of belonging and nurtures the dreams of our youngest - now published - authors. Literacy, when we honor stories of lives, and create spaces for diverse voices in the ways that this issues does, contributes to that greater sense of belonging to which Richard Wagamese speaks. Happy reading!Trudy CardinalDr. Trudy Cardinal is an assistant professor in the department of Elementary Education at the University of Alberta. As a Cree/Métis scholar and Kokom (Cree grandmother), she has a particular passion for stories and storytelling including a love of children’s literature, especially literature written by and portraying the multiplicities in the lives of Indigenous youth and families. Her current favorite book is Just a Walk by Jordon Wheeler because it makes her laugh and think of the many adventures she went on when walking in the woods behind her house! __________________________________________________________Dear Readers,My name is Jill McClay, and I am a reader. Throughout my life, I have held a number of jobs and lived in three countries, but one constant in my life is that I have been a reader for as far back as my memory goes. I am delighted to co-introduce this special issue of the Deakin Review because this issue reminds me of the great variety of readers of all ages. In reading these young readers’ reviews of their favourite stories, I make many connections –they love some of my favourite books, and they like or dislike stories for the same reasons as I do.These young people love some of the stories that I love—the Harry Potter series, anything that John Green writes, Lumberjanes -- and some others I don’t know but now want to read. They read a wide range of literature, from fantasy, science fiction, nonfiction, romance, realistic fiction, manga other graphic stories, mysteries, stories with movie tie-ins, and more. When they explain why they like reading, I nod in agreement at many of their comments: Jerlaine sums up my thoughts best when she writes that she likes to read “because it makes you feel like you’re with different people and different times.” I too like the feeling Aiden expresses, “The author makes you kind of feel like you’re tagging along with the characters in this story.”The readers featured in this issue also dislike stories for some of the same reasons that I do – Nathaniel notes that he “didn't like the part when Obi Wan got captured because he got distracted by cookies. Jedi don't get distracted by cookies.” Fair point! I note that nonfiction draws both great approval and definite disapproval by various readers, reminding us that we all have different tastes.This issue of the Deakin Review, featuring the responses of young readers to their reading, reminds me of the importance of allowing young people to follow their interests in reading. There are stories and books for us all. As friends, teachers, parents, and librarians, we can help each other and young readers find the books that will be important to us by talking about the stories we like.Best wishes,Jill McClayDr. Jill McClay is the Associate Dean of Graduate Studies in the Faculty of Education at the University of Alberta. She likes to read most kinds of fiction, especially young adult novels, picture books, and stories of families through the generations. Her favourite place to read is in her comfy red chair. She doesn’t have a favourite book but likes to re-read some of her favourites occasionally.

Books reviewed in this article:Zhiyue Bo, Chinese Provincial Leaders: economic Performance and Political Mobility since 1949.Kirk A. Denton. The Problematic of Self in Modern Chinese Literature: Hu Feng and Lu Ling.Ross Garnaut and Ligang Song (eds). China 2002: WTO Entry and World Recession.Neil C. Hughes. China's Economic Challenge: smashing the Iron Rice Bowl.P. R. Kumaraswamy (ed). China and the Middle East: the Quest for Influence.Robert H. Sharf. Coming to Terms with Chinese Buddhism: a Reading of the Treasure Store Treatise.Stephen Uhalley, Jr. and Xiaoxin Wu (eds). China and Christianity: burdened Past, Hopeful Future.Ann Barrott Wicks (ed). Children in Chinese Art.Yongjin Zhang and Greg Austin (eds). Power and Responsibility in Chinese Foreign Policy.David Bell. Chushingura and the Floating World: the Representation of Kanadehon Chushingura in Ukiyo‐e Prints.Eyal Ben‐Ari and John Clammer (eds). Japan in Singapore: cultural Occurrences and Cultural Flows.Mahito Ishimoto (ed). Remembering Aizu: the Testament of Shiba Gorō.Yasuhiro Nakasone. The Making of the New Japan: reclaiming the Political Mainstream.Hiroshi Shimizu and Hitoshi Hirakawa. Japan and Singapore in the World Economy: Japan's Economic Advance into Singapore 1870–1965.Julia Adeney Thomas. Reconfiguring Modernity: concepts of Nature in Japanese Political Ideology.BAABAR (Bat‐Erdene Batbayar). Twentieth Century Mongolia.Wendy Doniger (ed). Splitting the Difference. Gender and Myth in Ancient Greece and India.Diana L. Eck. Dars´an: seeing the Divine Image in India.Jeffrey Hopkins. Emptiness in the Mind‐Only School of Buddhism: dynamic Responses to Dzong‐ka‐ba The Essence of Eloquence: I.Fareed Kazmi. The Politics of India's Conventional Cinema: imagining a Universe, Subverting a Multiverse.Burton Watson. The Essential Lotus: selections from the Lotus Sutra.Leonard Blussé. Bitter Bonds: a Colonial Divorce Drama of the Seventeenth Century.Erik Cohen. The Commercialized Crafts of Thailand: hill Tribes and Lowland Villages.Virginia Matheson Hooker. Writing a New Society: social Change through the Novel in Malay.Peter Riddell. Islam and the Malay‐Indonesian World: transmission and Responses.Richard J. Ellings and Aaron L. Friedberg (eds). Strategic Asia: power and Purpose 2001–02.Peter Francis Jr. Asia's Maritime Bead Trade: 300 B.C. to the Present.David Goldsworthy (ed). Facing North: a century of Australian Engagement with Asia, Volume 1: 1901 to the 1970s.Brian Moeran (ed). Asian Media Productions.

Bouchard, David. Rainbow Crow – Nagweyaabi-Aandeg. Markham, ON: Red Deer Press, 2012 Print and CD-ROM.David Bouchard is a best-selling Métis author who has received literary awards and the Order of Canada. This volume is a retelling of the Lenape myth of how crows became black and acquired their raspy voices. The story is printed in English and Ojibwe. The accompanying CD-ROM is read in English, French (Bouchard) and Ojibwe (Jason Jones) with background music by the Paris-based Ecuadorian group, Manantial. The recordings are high quality and the readings clear and easy to understand. In the English reading, Bouchard incorporates some dramatic reading and changes of voice for different animals.Bouchard opens the book with a description of the appropriate protocol for storytelling. He asks listeners to sit in a circle, on the earth or floor. The story comes from a time before people, when the winters were very cold and the animals thought that they might perish. They send little Crow, a small bird with rainbow-coloured feathers and a beautiful song, to visit the Creator to get help. The Creator gives her a burning branch to take back, and on the return trip she is burned. The Creator rewards her bravery and sacrifices with beautiful black feathers that shine with the colours of the rainbow, a strong family and burnt-tasting flesh so that no one will want to hunt her.In the story, traditional values emerge. We see the Council at work, deciding how to solve the problem and agreeing on who should go to the Creator. We see the exchange of gifts as a method of maintaining relationships and bravery and sacrifice for the community being honoured and rewarded. Throughout, the story is illustrated by the paintings of Toronto artist David Jean, done on traditional drums. The images take up one full page and spill over onto the facing text page. The whole book is grounded in a brown and beige colour palette that incorporates the natural colour variations of the skin on a drum. Highlight colours are used, for example in the crow’s rainbow feathers, but the colours are muted. Overall this is fine book from a master story teller, with the added bonus of the audio-CD. Because traditional stories contain lessons for the whole community, this book is of interest to all ages and the CD makes it accessible to all ages. Rainbow Crow is also available in French and is a wonderful addition to school and public libraries. Highly recommended: 4 stars out of 4 Reviewer: Sandy CampbellSandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.

Abstract: There is an ongoing effort to increase rare disease awareness amongst healthcare providers. This front is important and can help to address several challenges faced by rare disease patients, such as lengthy diagnosis times, difficulty in finding adequate providers of medical services and experts, and adequate treatment if one exists. On another front, there is the need for awareness among citizens and their support in the advocacy for public policies towards rare disease patients and families. Awareness campaigns are prevalent in social networks and fundraising events. In this poster, we present a complementary approach to engage society and promote rare disease awareness through children’s literature and music. A Portuguese teenager wrote a book (‘My Life with my sister’), describing simple and daily moments spent with her teenage sister affected by Sanfilippo syndrome. A professional illustrator designed and illustrated the book. The book is bilingual in Portuguese and English. The author, with the assistance of her music teacher, also composed a song which was recorded with the participation of professional musicians and made into a video clip telling their story and the books. The book and song promote the inclusion and love for people affected by rare diseases and their families. To increase outreach, sister organizations translated the book, adapted the song, and published/ recorded the material in Brazilian Portuguese and French. The proceeds from the sales go towards the Sanfilippo foundations in their respective countries to fund common research projects. The material is being advertised on social media, television, interviews, newspapers, podcasts, libraries, schools, bookshops, book fairs, and others. To date, more than eight hundred books have been sold to individuals and companies. The interviews and video clips add to more than twelve hundred views. The target audience is children, parents, teachers but also companies, and their employees.

Brooks, Martha. Winter Moon Song. Illus. Leticia Ruifernández. Toronto: Groundwood Books-House of Anansi press, 2014, Print.In this beautifully illustrated picture book, a young rabbit uses his magical singing and the bright night sky to not only light “a magical path lighting the darkest month” but also to unite a community of rabbits.The young rabbit sings in a choir. His choir has been rehearsing the song “Winter Moon Song” which will be performed in grand tradition in front of rabbits from near and far. One evening after rehearsal as the young rabbit walks toward home, he notices the outline of a rabbit in the moon. The curious rabbit asks his mom to explain it. The mother rabbit calls it a trickery story. She explains that a long time ago Great Mother Creator Rabbit had come to earth to feel what it was like to be one of her own creations. She did not like it and became very scared. A small bunny came along to help. He offered himself up by jumping into her stew pot. However, the Great Rabbit did not want to see her creation die. She pulled him out of the pot by his ears and threw him into the sky where he landed on the moon.This Canadian author uses a host of descriptive words that help the reader imagine the passion the young rabbit expresses when singing his song on this cool winter eve.The illustrations in this book are uncluttered and enhance the story. One such illustration is of the mother rabbit sharing the story of the Great Mother Rabbit. The young rabbit is sitting in front of his mother listening intently to her as she tells the story. It is so simple yet it portrays the beauty between the mother and young rabbit.This Canadian book should be well accepted by all students and it could be used in conjunction with the Social Studies and Language Arts curriculum.Recommended: 3 out of 4 starsReviewer: Angie McKennaMcKenna is a Grade 5 teacher with Edmonton Catholic Schools. She is currently completing her masters’ degree in Elementary Education at the University of Alberta. Angie enjoys literature and feels blessed that she can share her love of reading with her students.

Cut In 1964, William S. Burroughs' Nova Express is published. Part of the trilogy of books Burroughs wrote in the early 1960s (The Soft Cell and The Ticket That Exploded are the other two), Nova Express explores the problems that technology creates in the information age; and the ways in which language and thought have come under the influence of mass media. The book begins with a broad declaration against consumerism and corporate control: Listen all you boards syndicates and governments of the earth. And you powers behind what filth deals consummated in what lavatory to take what is not yours. To sell the ground from unborn feet forever - "For God's sake don't let that Coca-Cola thing out -" (Nova Express 3) Rather than opt for conventional narrative as a means of uncovering the problems ideology brings with media-driven mass consumption, in the early '60s, Burroughs develops a method of writing he calls "the cut-up". The cut-up method entails taking a page of writing (a newspaper, a poem, a novel, an advertisement, a speech) and cutting it down the middle twice so that four sections remain. One then rearranges the sections in random order to create a new page. Variations of the four section cut are permissible and can lead to further juxtapositions. The purpose of the cut-up is to disclose ideological positions within media, to recontextualise the language of media often taken for granted as natural and not as a socially and economically constructed act. Information has become addictive, Burroughs says, invoking the junkie as a metaphor for mass consumption. Its addictive state leads to hallucinations, distortions of what is real and what is illusion; what do we need to live, and what do we buy for mere consumption. The scanning pattern we accept as "reality" has been imposed by the controlling power on this planet, a power primarily oriented towards total control - In order to retain control they have moved to monopolize and deactivate the hallucinogen drugs by effecting noxious alternations on a molecular level. (Nova Express 53) The cut-up provides a means to combat the "junky" in us all by revealing the powers of technology. In the end, the cut-up leads to a collagist practice of juxtaposition. As Burroughs and collaborator Byron Gysin explained in a later work, The cut-up method brings to writers the collage, which has been used by painters for fifty years. And used by the moving and still camera. In fact all street shots from movie or still cameras are by the unpredictable factors of passersby and juxtaposition cut-ups (Burroughs and Gysin 29). Through its structure, Nova Express is a lesson in making cut-ups, a demonstration of how power might be undermined in the digital age. Paste In 1964, the Center for Contemporary Cultural Studies at Birmingham began. Influenced by Raymond Williams' 1958 Culture and Society, the Birmingham School legitimized the reading of popular culture as a means to uncovering dominant ideologies and power structures within institutional systems. In particular, the center proposed structuring scholasticism so that the study of media texts would allow for the questioning of social and political practices. The Birmingham school advised that curriculae supplement their agendas with the question of class; the complex relationships between power, which is an easier term to establish in the discourses of culture than exploitation, and exploitation; the question of a general theory which could, in a critical way, connect together in a critical reflection different domains of life, politics, and theory, theory and practice, economic, political ideological questions, and so on; the notion of critical knowledge itself and the production of critical knowledge as a practice. (Hall 279) One of the Birmingham School's first works was Stuart Hall and Paddy Whannel's Popular Arts, which searched out ways to teach media. In particular, Hall and Whannel viewed popular culture as a place to teach the power of ideology. There is, in fact, a growing recognition that the media of mass communication play such a significant role in society, and especially in the lives of young people, that the school must embrace the study of their organization, content, and impact. But there is little agreement about how such studies should be carried out. Just what shall be studied? With what precise purpose? In what relationship to the established subjects? Ultimately the answer will depend upon our attitude towards these media, our social thinking about the kind of society in which they wield their influence and, in particular, our response to the things the media offer - individual films, television programmes, popular songs, etc. (Hall and Whannel 21) Today, the Birmingham School is recognised as the beginning of contemporary cultural studies. It answers Hall and Whannel by using texts from popular culture to uncover the semiotic cultural codes that make up popular discourse. These methods shed light on how supposedly naturally constructed messages contain deeper meanings and purposes. Mix In 1964, DJ Alan Freed was convicted of tax evasion as a result of his involvement in the payola record business scandal of 1962. Considered one of the first rock and roll DJs, Freed is often credited for breaking ‘50s racial barriers by playing African-American music on the airwaves and hosting largely attended African-American dances and concerts. Even though Freed didn't invent the phrase "rock and roll," he credited himself with the term's introduction into music vocabulary, a myth-making act with far reaching implications. As critic Nick Tosch writes: "Though he was certainly not the first who had done so; he was only the most influential of those who had - Freed [had] rinsed the Dixie Peach from its image, rendering it more agreeable to the palate of a greater public" (Tosch 9). In the same year of Freed's conviction, another legendary DJ, Murray the K, found fame again by following the Beatles around on their 1964 North American tour. Murray the K had been popular in the late '50s for "his wild stammering of syllables, fragments of words, black slang, and meaningless, rhythmical burbling" to make transitions between songs (Poschardt 75). Mass copying of Murray the K's DJ stylings led to his redundancy. When New Journalist Tom Wolfe rediscovered the DJ tagging along with the Beatles, he became intrigued, describing him as "the original hysterical disk jockey": Murray the K doesn't operate on Aristotelian logic. He operates on symbolic logic. He builds up an atmosphere of breathless jollification, comic hysteria, and turns it up to a pitch so high it can hypnotize kids and keep them frozen. (Wolfe 34) While Freed introduced African-American culture to mainstream music, Murray the K's DJing worked from a symbolic logic of appropriation: sampled sounds, bits and pieces of eccentric outtakes used as vehicles to move from song to song. Both Freed and Murray the K, however, conceived the idea of the DJ as more than a spinner of records. They envisioned the DJ as a form of media, a myth maker, a composer of ideas through sounds and politics. In a sense, they saw their work as disseminating social commentary on '60s racial politics and ideology, working from a fairly new innovation: the rock and roll record. Their DJ work became the model for contemporary hip hop artists. Instead of considering isolated train whistles or glass crashing (the technique of Murray the K) as sources for sampling, contemporary DJs and digital samplers cut and paste fragments from the history of popular music in order to compose new works, compositions which function as vehicles of cultural critique. Groups like Public Enemy and The Roots utilise their record collections to make political statements on drug usage, economic problems within the African-American community, and racism. For Tricia Rose, these artists are the cultural studies writers of the digital age. "Rappers are constantly taking dominant discursive fragments and throwing them into relief, destabilizing hegemonic discourses and attempting to legitimate counterhegemonic interpretations." (Rose 102) Remix The juxtaposition of these three events in 1964 marks an interesting place to consider the potential for new media and cultural studies. Such a juxtaposition answers the calls of Lawrence Grossberg, Cary Nelson, and Paula Treichler in their introduction to Cultural Studies, a collection of essays from the 1970s and 1980s. The editors suggest that cultural studies can be thought of, in some ways, as a collagist practice. The methodology of cultural studies provides an equally uneasy marker, for cultural studies in fact has no distinct methodology, no unique statistical, ethnomethodological, or textual analysis to call its own. Its methodology, ambiguous from the beginning, could best be seen as a bricolage. (2) For these editors, "Cultural studies needs to remain open to unexpected, unimagined, even uninvited possibilities" (3). To consider cultural studies from the perspective of 1964 is to evoke the unexpected, the unimagined, and the uninvited. It is to resituate the demands of cultural study within the context of new media - the legacy of Burroughs' cut-up reborn in the digital sampler. In response to the editors of Cultural Studies, I propose the practice of temporal juxtaposition as a way of critical writing. My initial juxtaposition of 1964 asserts that to teach such a practice, one must teach cutting and mixing. The Break The break, as a DJ method, is "any short captured sound whatsoever" (Eshun 14). The break motivates digital sampling; it provides the points from which samplers appropriate past works into their own: "Break beats are points of rupture in their former contexts, points at which the thematic elements of a musical piece are suspended and the underlying rhythms brought center stage. In the early stages of rap, these break beats formed the core of rap DJs' mixing strategies" (Rose 73-74). Breaks are determined by how DJs produce cuts in previously recorded music. "The cut is a command, a technical and conceptual operation which cuts the lines of association" (Eshun 16). For William Burroughs, cuts create shock in readers; they are tools for destroying ideology. "Once machine lines are cut, the enemy is helpless" (Ticket That Exploded 111). In Nova Express, Burroughs issues the command, "Cut word lines" (62). And in Naked Lunch, the cut provides a set of reading instructions, a way for readers to uncover Burroughs' own ideological positions. You can cut into Naked Lunch at any intersection point . . . I have written many prefaces. . . Naked Lunch is a blueprint, a How-To Book. (Naked Lunch 224 For Roland Barthes, a major influence on the founding of the Birmingham School, the How-To functioned as a place for cultural critique. Barthes felt that semiotic analysis could break ideological positions constructed in popular culture. Barthes used the How-To as one example of what he called mythologies, items of popular culture assumed to be natural but latent with ideological meanings. He treated the how-to tourist guide (how to enjoy yourself on vacation) as one such place for further analysis. The good natured image of "the writer on holiday" is therefore no more than one of these cunning mystifications which the Establishment practices the better to enslave its writers. (Barthes 30) Mythologies has inspired contemporary cultural studies. Dick Hebdige states that through Barthes' work, "It was hoped that the invisible temporary seam between language, experience and reality could be located and prised open through a semiotic analysis" (Hebdige 10). My juxtapositions of 1964, however, tell me that the How-To for cultural studies is cutting and pasting, not hermeneutical or semiotic analysis (i.e. What does this mean? What do these codes reveal?), which have long been cultural studies' focus. 1964 updates cultural studies practices by reinventing its methods of inquiry. 1964 forces academic study to ask: How would a contemporary cultural critic cut into cultural texts and paste selections into a new media work? The Sample Cuts and breaks become samples, authorial chosen selections. My sample comes from Walter Benjamin, an early DJ of media culture who discovered in 19th century Paris a source for a new compositional practice. Benjamin's unfinished Arcades project proposed that the task of the writer in the age of mechanical reproduction is to become a collector. "The collector was the true inhabitant of the interior" (Benjamin 168). Benjamin felt that the "poets find their refuse on the street" (79) preempting William Gibson's now often cited remark, "the street finds its own use for things" (Gibson 186) and modern DJs who build record collections by rummaging bargain street sales. I find in Benjamin's work a place to sample, a break for cutting into Burroughs' nova method. "The basic nova mechanism is very simple: Always create as many insoluble conflicts as possible and always aggravate existing conflict - This is done by dumping life forms with incompatible conditions of existence on the same planet" (Nova Express 53). Like Burroughs, Benjamin expressed interest in the ideological conflicts created through juxtaposition. His collections of the Parisian Arcades led to a cultural history different from that of the Frankfurt School. The Arcades' juxtapositions of consumer goods and artifacts opposed the Frankfurt School's understandings of Marxism and methods of critique. The conflict I create is that of incorporating the concerns of cultural studies into media study as an alternative practice. This practice is a system of sampling, cutting, breaking, and pasting. What might initially seem incompatible to cultural studies, I propose as a method of critique. My initial juxtaposition of 1964 becomes the first step towards doing so: I critique current cultural studies' methods of semiotic and hermeneutical analysis by way of the cut and mix I create. This Benjamin sample is pasted onto the Networked Writing Environment (NWE) at the University of Florida where I teach media classes in one of several computer networked classrooms. Working from a sampled Benjamin and the juxtaposition of the previously described temporal events of 1964, I see a place to rethink new media and cultural studies. The NWE's graphical user interface completes the cut. Our Unix operating system uses X Windows for desktop display. The metaphor of the X, the slash, the cut, becomes a place to rethink what cultural studies admits to be a cut-up, or a non-unified practice (as stated by Grossberg et al). The X also recalls the crossroads, the iconic marker of the place of decision. Standing at the crossroads, I envision the blues song of the same name, which in 1964 was cut from its Robert Johnson origins and remixed as a new recording by the Yardbirds. This decision shifts the focus of media study to cultural collections, their juxtapositions, and the alternative understandings that surface. The tools of technology (like those we use in the NWE: the Web, MOO, and e-mail) cut the structural dominance of critique and encourage us to make new pedagogical decisions, like juxtaposing a William Burroughs novel with the founding of the Birmingham School with the rise of the DJ. Putting these practices into the mix, we redefine cultural critique. 1964, then, is the place where cultural mixing begins. References Barthes, Roland. Mythologies. New York: Hill and Wang, 1957. Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Harry Zohn trans. London: NLB, 1973. Burroughs, William S. Naked Lunch. New York: Grove, 1982 (1959). _________________. Nova Express. New York: Grove, 1992 (1964). _________________. The Ticket That Exploded. New York: Grove, 1987 (1962). Burroughs, William S. and Byron Gysin. The Third Mind. New York: Viking Press, 1978. Eshun, Kodwo. More Brilliant Than the Sun. London: Quartet, 1999. Gibson, William. "Burning Chrome." Burning Chrome. New York: Ace Books, 1981. Grossberg, Lawrence, Cary Nelson, and Paula Treichler, eds. Cultural Studies. London: Routledge, 1992. Hall, Stuart. "Theoretical Legacies." Cultural Studies. Hall, Stuart and Paddy Whannel. The Popular Arts. New York: Pantheon, 1964. Hebdige, Dick. Subculture: The Meaning of Style. London and New York: Routledge, 1979. Poschardt, Ulf. DJ Culture. London: Quartet, 1998. Rose, Tricia. Black Noise: Black Music and Black Culture in Contemporary America.Hanover: Wesleyan University Press, 1994. Tosch, Nick. Unsung Heroes of Rock and Roll. New York: Da Capo Press, 1999. Wolfe, Tom. "The Fifth Beatle." The Kandy Kolored Tangerine Flake Streamlined Baby. New York: Pocket Books, 1965.

Novak, B. J. The Book With No Pictures. New York: Dial Books for Young Readers-Penguin Group, 2014. Print.As the title suggests, this book has no pictures, only words. It all seems very serious, and quite dull. Except there’s a rule about reading books, a rule that the reader might not be aware of.“Everything the words say, the person reading the book has to say.No matter what.That’s the deal.That’s the rule.”This means that the person reading the book has to read all the words, even if it’s a song about eating bugs off the rug or proclaiming out loud that your only friend in the whole wide world is a hippo named BOO BOO BUTT. As you read this book your children’s faces will light up with glee as you, the grown-up, bound by the rules of the book, are forced to sing nonsensical songs and spout funny confessions in silly voices page after page.One of the best features of this book is the use of font. While there are no images, the text decorates the pages with giant colourful words. The read-out-loud thought process of the disgruntled reader is written in small black font, while the songs and nonsensical words are highlighted in colours and exciting lettering. This text differentiation could allow pre-readers to recognize their favourite parts and join in the reading.A metafictive gem, The Book With No Pictures, is an absolute delight for both reader and child and is a must have book for any children’s collection.Highly Recommended: 4 out of 4 starsReviewer: Shaylyn BuchananShaylyn Buchanan is a teacher with Edmonton Public Schools. She is working to complete her master’s degree in Elementary Education and currently teaches music and kindergarten.