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medication in the treatment of music performance anxiety. I considered a range of prescribed substances, including beta-blockers,

Kenny, D.T. (2011). The Psychology of Music Performance Anxiety. Oxford: Oxford University Press

Three groups of therapies—behavioral, cognitive, and cognitive behavioral—are all based on the same principles, but use the available therapeutic techniques in different amounts.

These researchers identified six techniques/interventions that are unique to CBT when compared with the spectrum of psychodynamic-interpersonal psycho-therapies, as follows

Google made more than 3,200 changes to its algorithms in 2018, up from more than 2,400 in 2017 and from about 500 in 2010

testing showed wide discrepancies in how Google handled auto-complete queries and some of what Google calls organic search results

Google said 15% of queries today are for words, or combinations of words, that the company has never seen before, putting more demands on engineers to make sure the algorithms deliver useful results.

ALGORITHMS ARE effectively recipes in code form, providing step-by-step instructions for how computers should solve certain problems. They drive not just the internet, but the apps that populate phones and tablets.

how does each author use authenticity as a strategy for making or justifying decisions in music education?

authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation

since the original loses some of its essential qualities in a simplification.5

His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions

Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).

Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"

Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.

Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.

Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.

"World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.

Of course, schools and classroom practices need to be current -- what teacher or district leader would say that we should continue to teach the way we did back in the "good ol' days?" Can you show me a successful organization or business that prides itself on keeping things exactly the way they were?

We need to believe the adults delivering education services are capable of being innovative, adaptive and collaborative and welcome being accountable for student outcomes. Then we need to invest in this belief by providing both the professional development and the infrastructure to make this belief a reality for all students and all teachers.

Ultimately, it is about delivering core education in today's world by today's standards of success.

I believe this is the basic approach: Education needs to be more relevant and rigorous for students. Educational institutions need to be more engaging and empowering for teachers. A high school diploma needs to be more directly applicable and valued in the economy. These are attainable goals; all education investments should be measured against these objectives.