Books on the topic 'Instructors' beliefs'

This volume gives a state-of-the-art overview of assessment in the field of positive psychology, including a comprehensive survey of current theories, approaches, issues, and assessment instruments. In four sections, leading experts look at different conceptualizations of well-being and discuss specific traits, states, and behaviors. New directions in positive psychology are also explored, including measuring primal world beliefs, imagination, self-transcendent experiences, and nostalgia. Each chapter provides an introductory background to the positive psychology topic reviews the most relevant assessment instruments, and discusses the specific assessment-related challenges. Recommendations for selecting assessment tools are included for specific settings, such as school, relationships, health and clinical settings, leisure, and interventions. This book is a must for positive psychology researchers, instructors, students, and practitioners wanting to select the right positive psychology instrument for the right situation.

In this book, a central aim has been to defend what many have taken to be an indefensible view: extreme actual intentionalism about fictional content. This book has the aim of demonstrating that extreme intentionalism should be taken seriously. Meanwhile, if the ideas about fictional content presented here are right, then, as the book has shown, a number of interesting consequences follow for other matters, among them, that a theory of fiction as a set of instructions to imagine certain things is provided with additional motivation. This account also furnishes a neat explanation of how testimony-in-fiction can provide the reader with justified beliefs, and a plausible explanation of what has come to be known as ‘imaginative resistance’. Propositional imagining is revealed to be a flexible action which can be directed at various valuable ends, and which is neither inevitably constrained as belief is, nor inevitably radically unconstrained. A theory of supposition has also been provided.

This chapter guides the law student to the fourth step in the IRAC method of legal essay writing: identification of the conclusion of the argument. Students often overlook the need to have a conclusion in their law essays and exams, or believe that their conclusion must be the same as that identified by the instructor. This chapter explains what ‘conclusion’ means under the IRAC system, outlines the need for a conclusion in legal writing and provides a fast and easy technique that can be used to facilitate the process of writing a conclusion to any essay or exam. The chapter also includes tips on writing legal essays and exams, as well as a worked example.

This chapter defines attitude datives as evaluative and relational pragmatic markers that allow the speaker to present material from a specific perspective and to invite the hearer to view the material from the same perspective. It identifies three types of context that are pertinent to the analysis of these datives. These are the sociocultural context (e.g., values, beliefs), the situational context (i.e., identities, activity types), and the co-textual context (e.g., contextualization cues). The chapter draws on Cognitive Grammar and Theory of Stance and puts forth a sociocognitive model called the stancetaking stage model. In this model, when a speaker uses an attitude dative construction, she directs her hearer’s attention to the main content of her message and instructs him to view this content through the attitude dative as a filter. In this sense, the attitude dative functions as a perspectivizer and the main content becomes a perspectivized thought.

Most obedience research is concerned with the kind of destructive obedience demonstrated in Milgram’s famous studies. A large number of participants in those investigations followed an experimenter’s instructions to administer what they believe to be excruciating if not dangerous electric shocks to another individual. Ethical concerns about Milgram’s procedures have forced researchers to develop new methods to study obedience, such as virtual reality procedures and partial replications. A small number of studies suggest that personality may affect obedience, but there is little evidence to date that culture or gender plays an important role. Milgram’s interpretation of his findings has been largely rejected, but explanations based on the relationship between the experimenter and the participant and on situational variables that affect social influence processes are promising. The extent to which Milgram’s findings help us understand the obedience that contributed to the Holocaust in Nazi Germany remains a topic of debate.

Meditating about death and the afterlife was one of the most important techniques that Christian societies in medieval and early modern Europe had at their disposal for developing a sense of individual selfhood. Believers who regularly and systematically reflected on the inevitability of death and the certainty of eternal punishment in hell or reward in heaven would acquire an understanding of themselves as unique persons defined by their moral actions; they would also learn to discipline themselves by feeling remorse for their sins, doing penance, and cultivating a permanent vigilance over their future thoughts and deeds. The book covers a crucial period in the formation and transformation of the technique of meditating on death: from the thirteenth century, when a practice that had mainly been the preserve of a monastic elite began to be more widely disseminated among all segments of Christian society, to the sixteenth, when the Protestant Reformation transformed the technique of spiritual exercise into a Bible-based mindfulness that avoided the stigma of works piety. The book discusses the textual instructions for meditation as well as the theories and beliefs and doctrines that lay behind them; the sources are Latin and vernacular and enjoyed widespread circulation in Roman Christian and Protestant Europe during the period under consideration.

This book is primarily designed for clinicians and researchers interested in learning how to conduct an empirically supported culturally informed therapy for schizophrenia (CIT-S) that integrates core components of evidenced-based family therapy. It is estimated that approximately 1% of adults in the United States will be diagnosed with schizophrenia or a related schizophrenia spectrum disorder. Without treatment, prognosis is generally poor. Fortunately, traditional family therapies have shown increasing promise in reducing relapse rates and improving mental health for this population. As more and more societies become multicultural, however, there is an increasing expectation that mental health providers will also be prepared to meet the needs of unique and culturally diverse clients in an efficient, skillful, and culturally relevant manner. CIT-S is a 15-week, family-focused, cognitive behavioral approach for managing schizophrenia spectrum disorders. The intervention draws upon clients’ cultural beliefs, practices, and traditions to help them conceptualize and manage mental illness. It aims to improve the quality of clients’ lives in a manner that is in line with their values and takes into account their cultural norms when discussing important issues and addressing challenges (such as mental illness) within the family. CIT-S contains five distinct modules: (a) family collectivism, (b) psychoeducation, (c) spirituality, (d) communication training, and (e) problem-solving. For each module, a detailed rationale, background information, therapy instructions, suggested homework assignments, and a sample case vignette are provided in an accessible, easy-to-use manner.

Approaches towards the formal learning of piano playing with respect to musicianship is one that demands the understanding of musical concepts and their applications. Consequently, it requires the boldness to immerse oneself in performance situations while trusting one’s instincts. One needs only to cultivate an amazing ear and a good understanding of music theory to break down progressions “quickly”. Like an alchemist, one would have to pick their creative impulses from their musical toolbox, simultaneously compelling their fingers to coordinate with the brain and the music present to generate “pleasant sounds”. My exploration leading to what will be considered Keyboard Musicianship did not begin in a formal setting. Rather it was the consolidation of my involvement in playing the organ at home, Sunday school, boarding school at Presec-Legon, and playing at weekly gospel band performances off-campus and other social settings that crystalized approaches that can be formally structured. In fact, I did not then consider this lifestyle of musical interpretation worthy of academic inclusivity until I graduated from the national academy of music and was taken on the staff as an instructor in September, 1986. Apparently, what I did that seemed effortless was a special area that was integral to holistic music development. The late Dr. Robert Manford, the then director of the Academy, assigned me to teach Rudiments and Theory of Music to first year students, Keyboard Musicianship to final year students, and to continue giving Piano Accompaniment to students – just as I have been voluntarily doing to help students. The challenge was simply this; there was no official textbook or guide to use in teaching keyboard musicianship then and I was to help guide especially non-piano majors for practical exams in musicianship. What an enterprise! The good news though was that exemplifying functionalism in keyboard, organ, piano, etc. has been my survival activity off campus particularly in church and social settings.Having reflected thoroughly and prayerfully, it dawned on me that piano literacy repertoires were crafted differently than my assignments in Musicianship. Piano literacy repertoires of western music were abundant on campus but applied musicianship demanded a different approach. Playing a sonata, sonatina, mazurka, and waltzes at different proficiency levels was different from punching chords in R&B, Ballard style, Reggae, Highlife or even Hymn playing. However, there are approaches that can link them and also interpretations that can categorize them in other applicable dimensions. A “Retrospective Introspection” demanded that I confront myself constructively with two questions: 1. WHAT MUSICAL ACTIVITIES have I already enjoyed myself in that WARRANT or deserve this challenging assignment? 2. WHAT MUSICAL NOURISHMENT do l believe enriched my artistry that was so observable and Measurable? The answers were shocking! They were: 1. My weekend sojourn from Winneba to Accra to play for churches, brass bands, gospel bands and teaching of Choirs – which often left me penniless. 2. Volunteering to render piano accompaniment to any Voice Major student on campus since my very first year. 3. Applying a principle, I learnt from my father – TRANSFER OF LEARNING – I exported the functionalism of my off-campus musical activities to compliment my formal/academic work. 4. The improvisational influences of Rev. Stevenson Alfred Williams (gospel jazz pianist), Bessa Simmons (band director & keyboardist) and at Ghana Broadcasting Corporation, Mr. Ray Ellis “Afro Piano Jazz Fusion Highlife” The trust and support from lecturers and students in the academy injected an overwhelming and high sense of responsibility in me which nevertheless, guided me to observe structures of other established course outlines and apply myself with respect to approaches that were deemed relevant. Thus, it is in this light that I selected specific concepts worth exploring to validate the functionalism of what my assignment required. Initially, hymn structures, chords I, IV, V and short highlife chordal progressions inverted here and there were considered. Basic reading of notes and intense audiation were injected even as I developed technical exercises to help with the dexterity of stiff fingers. I conclude this preface by stating that, this “Instructional guide/manual” is actually a developmental workbook. I have deliberately juxtaposed simple original piano pieces with musicianship approaches. The blend is to equip learners to develop music literacy and performance proficiencies. The process is expected to compel the learner to immerse/initiate themselves into basic keyboard musicianship. While it is a basic book, I expect it to be a solid foundation for those who commit to it. Many of my former and present students have been requesting for a sort of guide to aid their teaching or refresh their memories. Though not exhaustive, the selections presented here are a response to a long-awaited workbook. I have used most of them not only in Winneba, but also at the Callanwolde Fine Arts Center (Atlanta) and the Piano Lab (Accra). I found myself teaching the same course in the 2009 – 2013 academic year in the Music Department of the University of Education, Winneba when Prof C.W.K Merekeu was Head of Department. My observation is that we still have a lot of work to do in bridging academia and industry. This implies that musicianship must be considered as the bloodline of musicality not only in theory but in practice. I have added simplified versions of my old course outlines as a guide for anyone interested in learning. Finally, I contend that Keyboard Musicianship is a craft and will require of the learner a consistent discipline and respect for: 1. The art of listening 2. Skill acquisition/proficient dexterity 3. Ability to interpret via extemporization and delivery/showmanship. For learners who desire to challenge themselves in intermediate and advanced piano, I recommend my book, “African Pianism. (A contribution to Africology)”