This book provides a hands-on resource for the development of essential skills and competencies in clinical neuropsychology. On a very practical level it addresses a question frequently asked by students, trainees, interns, and newly qualified psychologists: what do I need to know in order to perform the everyday tasks involved in clinical neuropsychology? The authors distil, from a vast knowledge base, the practical skills and knowledge needed to lay the foundations for working with brain-injured patients, especially within the developed and developing world where time and resources are limited.
The book is divided into three main sections: Basic Foundations, Clinical Practice, and Professional Issues. Together these sections cover 18 fundamental topics, each representing a key part of the life of a practitioner. Each chapter contains practical tips, points for reflective practice, and suggested further reading, with a particular emphasis on issues pertaining to working in under-resourced clinical environments. The book draws upon landmark academic papers and textbooks, and also the authors' experiences of working in state hospitals in both South Africa and the National Health Service in the United Kingdom.
Working with Brain Injury will be essential reading for clinical psychology trainees and their supervisors, for newly qualified psychologists in clinical settings, and for students and practitioners in other clinical professions seeking an introduction to clinical neuropsychology.
This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music and other genres. It offers a rich tapestry incorporating both analytic and continental philosophy, musicology and performance-practice issues. It will be a provocative read for philosophers of art and musicologists and, because it eschews technicality, should appeal to general readers, especially those who perform.
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