Do Fire And Water Signs Match

When it comes to relationships, you're in it for the long haul — which is why earthy Taurus, Virgo, and Capricorn are your perfect matches. They get that romance is a slow burn and are dedicated to seeing it through. You share an almost psychic connection with fellow water signs, Scorpio and Pisces. They understand how deeply you feel things, even when it seems like no one else around you can.

The air signs — that's Gemini, Libra, and Aquarius — open your mind to completely new ideas, and it's always refreshing. You feel a little overwhelmed by the unbridled energy of Aries, Leo, and Sagittarius, even if you wish you could have some of it for yourself. When it comes to astrology, there are a few basics to know in order to understand your zodiac sign and your horoscopes. To start, it's important to know your sun sign—aka the position of the sun when you were born. Finally, discovering what the astrology elements mean for your sign can not only help explain your wants and behaviors, but also your compatibility with other zodiac signs. You love unconventional people with interesting ideas, which is why your fellow air signs Gemini and Libra are your favorite partners-in-crime.

They're always at the forefront of the latest trends, which you find totally inspiring. The fire signs — that's Aries, Leo, Sagittarius — balance out your tendency to sit back and relax with a healthy level of get-up-and-go. Watery Cancer, Scorpio, and Pisces are your go-to guides for all things spiritual, but sometimes they take things too seriously. Finally, the earth signs offer a worldly perspective that brings you down from outer space, for better or for worse. Family-oriented dreamers and artists, water signs are the emotional — and sure, sometimes moody — empaths of the zodiac.

They allow their sensitive, giving hearts to run the show and have no problem diving into the deep end of spirituality, often pouring their experience into their favorite creative outlets. This goes out to the couples that consist of either fire and air signs or water and earth signs. These elements appear directly across from each other on the Wheel of the Zodiac, and they tend to possess very different, if not flat-out conflicting, personality traits. This may sound like a recipe for disaster, but dating someone who's completely different from yourself can be refreshing — and a welcome break from your particular way of viewing the world. It's common for opposing elemental couples to enjoy challenging each other. For example, an earth sign will push a water sign to get out of their feelings, while the water sign urges the earth sign to loosen up.

We are great together but that doesn't mean I would have the same experience with surgery air sign. There is a lot more to astrology than just sun signs and elements. On the surface we make no sense but when you dig down deep you begin to understand. Every once in awhile you get your exceptions but best bet for a water sign is usually other water signs or an earth sign. To start off, it is important to recognize the twelve different astrological signs.

Broken down into fire signs, water signs, earth signs and air signs, all of which contain three signs with different attributes. You completely adore the people you love and you expect the same from them. With fellow fire signs, Aries and Sagittarius, the feeling is totally mutual! Your connection with Gemini and Libra feels like an adventure, taking you to creative places you'd never expected to end up, though with Aquarius it's much more like a homecoming.

The earth signs — that's Taurus, Virgo, and Capricorn — can help give shape to some of your wilder career dreams, as long as you understand their realism comes from a place of love. You appreciate the emotional depth of watery Cancer, Scorpio, and Pisces, but prefer to do so from a distance. Still, water signs Cancer and Pisces help you grow emotionally more than any other connection, and that's powerful. While you look up to the fire signs' full tilt passion — that's Aries, Leo, and Sagittarius — you're seeking something a little more laid back and relaxed. Gemini, Libra, and Aquarius are all intriguing, but their idealism can conflict with your more grounded style.

A fire sign and water sign are not easy signs to get along well and can bring out the worst in each other. This is because water signs are sensitive and emotional beings. Whereas Fire signs are straightforward and will say what they feel. Water likes to flow gently on its own time and rhythm, while Fire ignites and burns bright with a glow. As in nature, water can extinguish fire, so is true in life.

Too much fire can dehydrate delicate sensitivities of watery signs and overwhelming emotions may douse the enthusiasm and drain the energy of Fire signs. Every fire sign is independent and on a certain level, they need the freedom to express themselves to be happy. Water signs love deep and are mostly intuitive, maybe psychic to read between the lines and get easily affected by underlying vibes. Water signs tend to recall what you said to them in the past and also to suffer over harsh words.

The aggression of Aries, the ego of Leo and bluntness of Sagittarius is brought to the surface; often there are ego clashes leaving fire signs snapping angrily and water signs sulking. When they are together, neither of them adopts a logical position, and keep building harmful emotions up inside, until exploding at some point. Fire and Water drain each other's energy and bring out the worst in each other. There is a divine plan in place; the sacred contract ensures each soul mate needs to perfect their soul and find ways to control the worst that surface in you.

The strongest attraction is expected in opposing signs and their potential is always great. Synastry is a branch of astrology where two natal charts are compared in order to determine the quality of the love connections between zodiac signs. Synastry or a relationship horoscope can be a useful tool for partners who want to know the strengths and weaknesses in their relationship. Comparing signs can also help in gaining a better understanding of the partner, which will result in a better relationship. More than anything else, you're looking for a partner you can talk to for hours. Fellow air signs Libra and Aquarius give you the intellectual stimulation you crave, but with Sagittarius, it's a true meeting of the minds.

If you can get past the constant travel and devil's advocate debates, you might just be soulmates. Meanwhile, Aries and Leo offer a more playful alternative. You also find something alluring in the water signs' deep, brooding approach to life — that's Cancer, Scorpio, and Pisces — even if your own style is more upbeat. Finally, if you're being honest, it feels like Taurus, Virgo, and Capricorn work too hard, and play is important to you. For Pisces people, relationships with fellow water signs — Cancer and Scorpion — prove to be the best.

Pisces personalities are very dreamy and passionate as lovers. Pisces and Scorpios both cherish feeling loved, which makes this match extremely fulfilling and beautiful. Earth signs also love worldly pleasures like food, art, and music. They may be immovable when it comes to their opinions, but that immovability often translates to a ride-or-die attitude toward those they love.

Earth signs make perfect partners to other signs in their element because of their loyalty. When two earth signs get together, they tend to mate for life because they like building a solid foundation and sticking to it. They're also very compatible with water signs because water signs' emotional maturity and desire for romance suit earth signs well. Simply put, an earth sign is a solid person in your life who will help you through anything.

Fire signs match well with most air signs, while earth signs are highly compatible with most water signs. In terms of a love match, water signs fit perfectly with other water signs and earth signs. Water-Water signs can relate and understand each other emotionally whereas, Earth signs' grounded nature helps stabilize the tidal emotions of the Water signs.

This could spell trouble for the dating scene, however, because apparently, water signs and earth signs work best together in relationships, as do fire and air signs. The good news is that communication and trust go hand and hand, and compromises can certainly be made. Water signs are very nurturing in relationships of all kinds because they're naturally empathetic. They tend to have a strong intuitive sense about everyone's needs, like the best compliments for a given person's emotional needs. It's easy for water signs to form deep connections because of their sensitive nature. They're likely to respond if someone reaches out, and it's super important for them to connect and feel connected.

If you're a Gemini, Aquarius, or Libra , your two favorite things are likely people and ideas. Of all the zodiac signs elements, this one yields wonderful teachers and party planners. Both activities cultivate community and allow air signs to express their passions. They can imagine a better world, and they are most fulfilled when they can get busy creating it. They sometimes run the risk of too much detachment, so they value things that are truly meaningful or highly functional.

Whether it's in love, friendship, or networking, you're always looking for someone to sweep you off your feet. That's why you find fire signs like Aries, Leo, and Sagittarius so appealing! They're dashing and aren't afraid to make the first move.

You get along famously with earth signs — that's Taurus, Virgo, and Capricorn — especially if there's a business dimension to your power couple status. You also appreciate the commitment Cancer, Scorpio, and Pisces have to their friends and loved ones. Meanwhile, you actually find connections with your cosmic cousins Gemini and Aquarius difficult because of their more casual approach to relationships. Water signs make great friends and partners because they are willing to discuss your feelings and help you work through them. Their sentimentality can make them compatible with each other, but earth signs especially appreciate how water signs prioritize love and connection. If you ever want a night in with a bottle of wine and a rom-com, a water sign is your go-to.

Presided over by trident-wielding ocean daddy Neptune, Pisces may very well be the quintessential water sign. As Astrologyk.com writes, "Pisces people are super sensitive and very easily hurt; they need partners who can share their feelings while providing stability and structure. Pisces could be your soulmate if you're seeking a spiritual union and you don't mind tears. You are the artist, the dreamer, the enigmatic lover of all things ethereal. It appears the talented twosome are merging not only in body and mind but also in style — and after midnight-munchies. "Astrologers often say that the remedy for any sign's neurosis is the enlightened qualities of the opposite sign," McCarthy says.

This water sign usually gets along well with fellow water signs Scorpio and Pisces. They also connect well with earth signs Taurus and Virgo. Those born under this sign are known to be emotional and extremely loyal toward their friends. They are totally committed in their friendships, as long as their trust is not betrayed. However, being introvert by nature, they rarely take the initiative to make friends.

You actually have all the zodiac elements in your full natal chart, but knowing your sun sign element is a great starting point. Read on to learn the zodiac signs elements and find out how they apply to you. Taking a deeper look within your astrology chart can help identify relationship triggers, problems, and compatibility. Looking at the affinity between sun signs only allows us to scratch the surface of the deep connection both parties share.

Of course, many couples whose signs are astrologically compatible do indeed find themselves subliminally drawn towards each other. Take, for instance, my friend Michael Cardenas—a Taurus who also happens to be a professional witch and owner of the magic website Olde Ways. He says he and his Libra partner, Jon, knew right away that they were a perfect match. I'm a water sign who prefer earth signs because I love and respect their control and grounded personalities. Alot of people think Scopio is dominating but we are decisive and we are extremely tight to build bonds with.

We prefer controlling our selves unless you show us you won't abuse that control we keep it for ourselves. The water signs keep everyone in touch with the collective heart and soul of humanity by always staying in touch with their emotions. Being the most intuitive, some say psychic triplicity, this zodiac element is great at speaking and reading between the lines. They can sense the energy of a person just by being near them, and are easily influenced by bad vibes. Water signs are by far the most emotionally intelligent zodiac element.

Do Water And Air Signs Match Pisces is a water sign, and therefore compatible with other water signs, Cancer and Scorpio. With the water signs, the element of romance is very strong and this couple will intuitively understand each other. They base relationships on looking after each other and developing a really strong emotional connection.

They like to share how they feel and create memories together. Scorpio is a water sign, and therefore compatible with other water signs, Cancer and Pisces. Cancer is a water sign, and therefore compatible with other water signs, Scorpio and Pisces. While air signs match well with one another, earth signs match well with the water signs .

Those born under this sign are highly compatible with other water signs Cancer and Scorpio. They also have good ties with earth signs Taurus and Capricorn. Due to their empathetic nature, they are very caring and attentive toward their friends. However, their friendships can suffer due to them being overtly idealistic and secretive about themselves. Dependable and steady, Taureans are compatible with other earth signs Virgo and Capricorn. They also enjoy the company of water signs Cancer and Pisces.

Just like in their other relationships, Taureans are dependable and treat their friends with utmost respect. They are also excellent advisers but can get a little possessive at times. Three zodiac signs falling under the water sign are Cancer, Scorpio, and Pisces. In Astrology, each element has triplicity — a set of three signs related to a particular element. Cancer, Scorpio, and Pisces might share the same water element and have an emotional connection. However, they differ from each other in terms of modes of operation.

Thus, in a water sign, Cancer refers to a cardinal sign, Scorpio as a fixed sign, and Pisces represents a mutable sign. Starting with the most basic needs within a relationship, we found that most fire signs and water signs value communication above all. Alternatively, most earth signs and air signs put trust at the forefront of their relationship. The zodiac signs are separated into four elements — fire sign, water sign, earth sign, and air sign.

When it comes to zodiac signs elements' sentimentality, Cancer, Scorpio, and Pisces take the cake. They have a reputation for being dreamy but don't mistake that for ineffectual. They make wonderful creatives, psychologists, marine biologists, or tarot card readers.

Under Review Meaning In English

The principles of cognitive load, components and clarity of instruction are particularly important for planning the learning of pupils with special educational needs and/or disabilities . Other reviews have already explored the benefits of explicit, systematic instruction and rehearsal of declarative and procedural knowledge for pupils with SEND. The specific curriculum adaptions that some pupils need will, of course, be highly contextual and there is no one-size-fits-all set of solutions.

It is also the case that some pupils with SEND may have enhanced musical perception, just as evidence suggests that some children who are blind may have enhanced working memory. We noted earlier the successes of blind mathematicians and they, alongside the many successful blind musicians, demonstrate how potential can be fulfilled when barriers are overcome. These examples highlight the importance of having high expectations for all pupils, understanding their strengths and needs, and implementing appropriate interventions, including using adapted instruments. In this review, we have focused on how the components of a music curriculum may be best learned in the classroom. While the composites that spring from them will often be more than mere sums of their parts, we have set out the worth of understanding these component parts.

Our understanding sits apart from one philosophical tradition of the mind, a tradition that looks back to Descartes and beyond in its view that 'the mind is entirely indivisible'. To understand the component parts of our wider understanding and capabilities, however, is to illuminate them, not to reduce them. Shining this light on the components of musicality is to liberate our pupils from some of the boundaries that constrain us before we gain more knowledge of the world.

In music, this enables pupils to perform the sublime creations of others, to explore their own creative potential and, through wider listening, to come to a broader understanding of musical culture and meaning. Our musical inheritances, as citizens of the UK and citizens of the world, stand among the great wonders of humankind. In making decisions about curriculum content, it is important to consider how the sequence of content develops pupils' musical knowledge and competencies over time. This review proposes 3 pillars as the basis for progression in the musical activities of performing, composing and listening/appraising.

A good music education is underpinned by robust, direct and incremental teaching that provides knowledge of music's technical and constructive aspects. This knowledge is learned in the context of music's history and provenance, allowing pupils to make increasingly sophisticated, expressive responses and gain musical meaning. Together, these pillars contribute to what could be described as 'musical understanding'.

Across the country, there are schools whose quality of musical education is world-leading and, in some cases, reaches professional standards. Reduced lesson time has been accompanied by lower levels of the staffing that would support a rich musical life. Adequate staffing levels not only support the curriculum but also the balance of formal and informal musical learning that can be so important for musical development. Classes of knowledge Examples Tacit – Tacit knowledge refers to the knowledge gained through experience that is often difficult to put into words. An awareness that the opening of Schubert's 'Erlkönig' is tense and dramatic, even without understanding the text or knowing about minor keys and triplet rhythms. Procedural – Procedural knowledge is the knowledge exercised in the performance of a task.

Declarative – Declarative knowledge refers to facts or information stored in the memory. Factual knowledge about eras, styles, composers or performers, as stated in a written essay about musical culture. This review notes that pupils may forget a lot of what they learn after their first encounter.

Consolidation is therefore essential for newly learned knowledge to become embedded as learning. As an example, devoting a unit of work to the keyboard without considerable further practice and application is unlikely to result in any degree of fluency. In primary schools, an additional consideration is teachers' continual professional development and the curriculum support they receive in a subject in which many do not feel confident. Research suggests that CPD which focuses on the teachers as musicians will be beneficial. By developing teachers' musicianship, their confidence and understanding in delivering a quality musical education to pupils will be enhanced. First, adequate curriculum time will support teachers in enabling learning to take place – the recent 'Model music curriculum' published by the Department for Education suggests at least an hour a week.

Ofsted highlighted the negative impact of limited curriculum time on the quality of the music education in schools in our previous report on music. This section will focus on assessment that is marked, which can be summative or formative. Less formal assessment was covered in our section on feedback and guidance. One purpose of marking is to enable teachers and school leaders to judge whole-curriculum effectiveness. This summative assessment should be infrequent so as not to distort the delivery of the curriculum.

A second purpose is to enable teachers to spot gaps and misconceptions in pupils' learning. A third purpose, or effect, of testing pupils is as a learning activity in and of itself. For the latter 2 points, it is worth highlighting that marking does not always need to be recorded to have been useful. Up to this point, the review has relied heavily on 2 principles – time and cognitive load. Together with a wide body of research, they suggest ways of setting out content to ensure that pupils acquire the tacit, procedural and declarative knowledge intended. For the curriculum section of this review, we have sought evidence and drawn conclusions from the latest research.

Expressive musical outcomes are a function of progressively more advanced technique enabling the colours of the imagination to be realised in sound. This fine motor skill is instrument-specific and is the product of both practice and knowledge of the music. Shallow encounters with lots of instruments will limit pupils' musical outcomes to the most mechanical and least expressive level. This means that school curriculums require either more time or narrower instrument choice to improve the expressive quality of pupils' sound production. It is the presence of this knowledge in long-term memory that allows the conscious mind to process complex concepts. It can be hard to achieve, like putting toothpaste into a tube, to use the metaphor from Oakley and Sejnowski's 'Learning how to learn'.

It is better to give pupils regular, spaced-out re-encounters with lesson content than to block the time, to help them build knowledge in long-term memory. As an example, primary school pupils learning about instruments are more likely to remember through these regular, spaced-out re-encounters than if the learning is gathered into rarely repeating blocks. The active recall that is involved in retrieval practice can also help pupils reinforce their learning of declarative knowledge.

This can be done through informal testing or through asking pupils to restructure information or teach the information to another pupil . A high-quality music education depends on effective subject and school leadership. This starts with allocating sufficient curriculum time to teach the music curriculum. The wider musical life of a school will be underpinned by staff having time outside their curriculum hours to run the clubs, workshops and trips that provide the memorable experiences central to a life-long love of the subject.

This will be hard for single-person departments or when staff are expected to manage this while also teaching a full curriculum load. Musical activities are often vertical, which can be hard to manage in a school system that mostly works horizontally . Schools with a strong musical culture will find creative solutions to enable music to flourish alongside other subjects. At key stages 4 and 5, the design of summative assessment is decided outside schools, but in the foundation years, schools have to design their own assessments. If a school wants to report progress once a term, evidenced through a summative assessment, that might amount to a summative assessment every 5 to 10 hours of learning in music . This could lead to assessment driving the curriculum and is a chief danger of subject assessment schedules being driven by one-size-fits-all, school-wide policies.

The successful implementation of any curriculum will be highly dependent on teachers' effectiveness, as laid out in the research underpinning the education inspection framework. Although this effectiveness is contextual, research does highlight some points to consider. Guidance from teachers should be high for novices, a category that could include A-level pupils for certain learning activities.

One of the most effective ways in which a teacher can support their pupils is through feedback on task components. Finally, levels of pupil attention and motivation correlate strongly with positive outcomes. Further aspects of implementing the curriculum successfully for pupils with SEND will centre more on examples such as the adaptions for learning seen highlighted in Ofsted's music subject report from 2012. As will be discussed further below, the form that this aspect of pedagogy will take is highly contextual. Procedural proficiency, as opposed to expertise, can be gained relatively quickly in narrow areas . If pupils can gain some procedural knowledge in tens of hours rather than thousands of hours, it would certainly put procedural proficiency – crucial for any level of productive musical fluency – within the scope of a school curriculum.

Tens of hours, though, is a substantial amount of lesson time in which to practise, and practice is effortful. It has also been suggested that pupils generally need much more practice than teachers assume to gain procedural fluency. Not all practice is made equal, particularly for novices, whose metacognition is limited. The central finding of this review is that, to become successful musicians, pupils must use both their conscious and unconscious minds, with the latter being developed by learning and experience.

The idea that our actions rely heavily on unconscious processes has been written about widely. Automated low-level processes free the mind from mundane considerations. This cognitive liberty allows a focus on the musical quality in performing and composing. This review has explored a range of evidence relating to high-quality music education. It has identified features that might sit behind high-quality curriculums at primary and secondary levels.

It is not a simple checklist of activities that we expect to see in school music , since there are various ways that schools can construct and teach high-quality music curriculums. Rather, it outlines a conception of quality curricular construction in music viewed through the lens of the education inspection framework. Pupils' performance in a summative examination should be the result of complex layers of learning developed cumulatively across many years of study. Too much focus on examination content in earlier stages of learning is likely to be unhelpful because it may limit pupils' opportunities to develop this wider knowledge and therefore their capacity to learn and remember later content.

Assessment in the early parts of the courses will more usefully be the formative assessment of components that allow the pupils to develop high-quality composites, such as performances or compositions. One purpose of marking pupils' work, as opposed to the informal assessment written about earlier, is to tell pupils, teachers and curriculum designers how well the curriculum has been delivered. This process needs to be managed very carefully so that assessment is used to check on curriculum effectiveness rather than the curriculum being driven by providing evidence for the assessment. Burdensome documentation of progress should be avoided and assessment lessons where learning is interrupted for the purpose of verifying progress may not be a good use of time.

Returning to the power of significance in memory, this review also looks at the importance of teachers setting up the powerfully rewarding experiences that support the attention and motivation that underpin learning. Emotion, or affect, might be one of the most significant factors that determine how and what we remember. It is therefore not surprising that memorable musical experiences are a strong predictor of life-long musical learning. Composing is, in many ways, the ultimate composite activity in music education. It also, arguably, makes composing the most challenging activity for teachers to plan and manage in the music classroom. It is important for the planning of any composing activity to take into account the individual knowledge that pupils bring to the classroom, and to make room that allows for the personal response to composing tasks.

This is true for all learners, from the early years to the sixth form. But, in order for pupils to make progress in composing work as they move through the school, the curriculum should ensure that pupils increase their knowledge of the components that come together to make stylistic wholes. Curriculum leaders therefore need to consider cognitive load when setting out curriculum cope so that all pupils can access the curriculum, consolidate learning in long-term memory and progress further.

Curricular expectations that do not take cognitive load and time into consideration are extremely unlikely to be met. Curriculum scope is therefore constrained by time and realism about the extent of long-term learning that can take place. Inevitably, this involves difficult choices about what to include and what to omit, as understanding is dependent on the procedural and declarative knowledge pupils have acquired and this is often domain-specific. Examples of ways in which knowledge underpins and constrains instances of understanding include Westerners' misconceptions of metre in certain non-Western music, as in these referenced examples from South African and Bolivian music. This review will refer to 'learning' as a change to long-term memory. We consider long-term memory to be the chief enabler of development.

It may be that the success of the country's musical life is underpinned by the variety of pathways into music. Young children can encounter the joy of music through singing and playing in the early years. Pupils' pathways into music might carry on through choir schools and Pentecostal churches, bands in sheds and gigs in pubs, one-to-one lessons, assessed grades, community performances or creative endeavours online. The voluntary sector supports school provision and enhances children's experiences. Music hubs support music education through their core and extension roles, including whole-class instrumental tuition. This review acknowledges England's diversity of opportunity, and the key role played by schools and music hubs.

In England, all pupils should study music until the end of key stage 3. The requirement for maintained schools and academies to offer a broad and balanced curriculum is set out in the Education Act and the Academies Act 2010. This expectation is reflected in the national curriculum and is at the heart of the education inspection framework. Reviewers evaluate article submissions to journals based on the requirements of that journal, predefined criteria, and the quality, completeness and accuracy of the research presented. They provide feedback on the paper, suggest improvements and make a recommendation to the editor about whether to accept, reject or request changes to the article.

The ultimate decision always rests with the editor but reviewers play a significant role in determining the outcome. Review is also used to mean to go over a subject again to master it or to remember the material better. Your school teachers likely reviewed previous lessons with your class more than once before a test. When studying a new language, you will review words and grammar rules many times to help commit them to memory. The HHS declaration to support such use must be based on one of four types of determinations of threats or potential threats by the Secretary of HHS, Homeland Security, or Defense.

This academic understanding of critical race theory differs from representation in recent popular books and, especially, from its portrayal by critics—often, though not exclusively, conservative Republicans. Critics charge that the theory leads to negative dynamics, such as a focus on group identity over universal, shared traits; divides people into "oppressed" and "oppressor" groups; and urges intolerance. Few other subjects are so dependent on this necessary flexible support from the school and its systems to flourish.

The activities that music entails also have financial implications, particularly given the social justice imperative to ensure equality of opportunity for involvement in the school's musical provision. As well as developing the procedural knowledge of how to perform and compose, curriculum music enables pupils to learn about musical culture and history. The literature suggests some broad categories of how musical meaning can be understood. What teachers consider to be crucial components will therefore depend on what the school's music curriculum covers and the level of consolidation that will enable pupils to approach creative opportunities on a firm foundation.

Increasing facility with these components through the curriculum will give pupils an opportunity to build knowledge from diverse starting points and help to avoid any tendency towards cursory encounter. Curriculum designers therefore need to decide which elements to draw out and in which situations, while ensuring that they are not siloed. In the early years, pupils may be gaining a simple understanding of pitch in terms of high or low. As pupils progress, their deepening understanding will depend on the broader choices made by schools. Learning the ukulele, steel pans or violin at primary school will all lead pupils to understand pitch more deeply, but it will be in different ways according to the instrument.

Understanding musical elements involves a trade-off between depth/high resolution and breadth/low resolution. This is why schools should avoid organising their whole curriculum by single elements, even though they may be the focus in particular lessons, such as the importance of rhythm. For example, a major media conglomerate that owns both print media and record companies may instruct one of its employees in one of its newspapers to do a review of an album which is being released by the conglomerate's record company. A book review is a form of criticism in which a book is analyzed based on content, style, and merit. In the case of a work of poetry or fiction, or of nonfiction in which the literary merits of the work are an important element, a review will commonly use the methods of literary criticism. Such a review often contains evaluations of the book on the basis of personal taste.