EG Books

From back cover:

"Authentic Movement, an exploration of the unconscious through movement, was largely defined by the work of Mary Starks Whitehouse, Janet Adler and Joan Chodorow. The basic concepts of Authentic Movement are expressed for the first time in one volume through interviews and conversations with these important figures, and their key papers. They emphasize the importance of movement as a means of communication, particularly unconscious or 'authentic' movement, emerging when the individual has a deep, self-sensing awareness - an attitude of 'inner listening'. Such movement can trigger powerful images, feelings and kinesthetic sensations arising from the depths of our stored childhood memories or connecting our inner selves to the transcendent. This book explores how Authentic Movement differs from other forms of dance and movement therapy, and how it may be experienced."

This book covers topics like action metaphors where you can experience a gestalt of the whole experience that also covers nonverbal elements. This is something which talking therapies cannot always capture. Often talking therapies get sidetracked into partial elements where the whole snapshot of that present moment is missed.

Very highly recommended and informative reading for bibliophiles and students of publishing history, British Wood-engraved Book Illustration 1904-1940: A Break With Tradition by Joanna Selborne is a simply fascinating look at a unique graphic art and an historically important aspect of publishing history -- the art and practice wood-engraved book illustration. From the variety of methods that book illustrators used to transcend older nineteenth-century practices, to detailed publishers' and print societies' archives, British Wood-engrave Book Illustration 1904-1940 presents virtually all there is to know about this striking and specialized illustrative craft over the course of the first four decades of the 20th Century.

This book was ordered for one of our school mentors to work with students who have trouble expressing themselves verbaly.

I was looking for a book about art therapy when I came across this book. It has a wealth of information in it about different techniques to use with children. There are also sections in it on helping the handicapped child and helping parents through art. There is a lot of information presented in this book and the information is intertwined with actual case histories so it makes it very interesting to read. Their are also a lot of pictures of the children's actual artwork in this book. It has really sparked my interest in the subject and given my a lot of interesting ideas to use in my work.

I found this book gives great insight to the way children think and react. So many books leave the reader wondering what was really meant at the end of the book, but this book gives great ideas into what children percieve about their famalies, etc. and how this relates into what they draw. I found this book very readable and informative. I really loved this book!!!

As a therapist who is new to art therapy I found this a very helpful overview of how various modalities might be used with different populations. She provides a clear rationale for using each medium with each patient and gives directions for setting the stage and working through the process of each exercise.

An excellent book to acquaint oneself with various schools of music therapy providing two excellent CDs. Well-suited for professionals who are not music therapists but are interested in learning more about it. It describes the theoretical foundations of music therapy throughout history, different models, case studies as well as actual University programs. As a European and a graduate student of speech language pathology in the U.S. I found the comparison between the European and the American approach especially enlightening. A very useful book for those who want to get an introduction into music therapy yet want to go beyond it by understanding its history, its philosophy, and its practical implementations.

Probably most people who appreciate classical music have wondered at one time or another, just what does it take to make a conductor? Why do we need one, anyway? If you've ever attended a concert or opera performance (or watched on in a movie or on TV) you'll derive a great deal of enjoyment from this remarkable book. You'll understand a lot more about your musical life by the time you've finished reading it. And if you're a musician of whatever variety, you'll also appreciate the time and effort expended by Jeannine Wagar to produce this book.

And should you be thinking of studying the art of conducting, or even just thinking about conducting) this book should be required reading because of all the marvelous insights into what makes a conductor-and what makes a conductor tick? Who better to ask all the pertinent (and sometimes impertinent) questions and then tell about it than another conductor?

Jeannine Wagar has been conducting for most of her life, and set out just over sixteen years ago to probe the psyches of orchestra conductors to find out what makes them tick. She wrote to more than fifty of them, but due to travel and other constraints, actually ended up by interviewing fifteen of these fascinating creatures; two ladies and thirteen gentlemen. Of these, two are now deceased and one seems to have retired. The other twelve are all flourishing and you may even have heard one of them in concert last week!

Originally, Ms. Wagar planned to ask each conductor the same questions, but quickly discovered that wasn't very workable. A question or two got things rolling, and then she just sat back and listened, while taking notes, of course. The results are astonishing and fascinating. Not surprisingly, many of them grumble slightly about the differences between being Music Director of an American orchestra and those of a European based Intendant.

They discuss frankly and openly rehearsal techniques, and how this might differ from concert performances; the connection between composing and conducting; metronome markings in Beethoven's symphonies: new music; choosing repertoire; balancing sound when home and away; to memorize or not; advising young conductors and myriad other topics, including that necessary evil-fund-raising. Wisely, Ms. Wagar did not insist on keeping to her original questions, but rather let the conductor's words wander where they might.

There's a photo of each, plus a biography and discography, in addition to the questions and answers. I've always been enamored of Christoph von Dohnányi, Kurt Masur and André Previn, for various reasons. Nothing in this book has changed my mind one little bit, although I hadn't realized what a wonderful sense of humor is housed in Mr. Previn. I was also captivated by the educational insights provided by Charles Dutoit. For a serious conducting student, this book is easily worth the price, if only for the words of wisdom imparted by Mr. Dutoit.

It's my honest belief that every self-respecting music library should include a copy of this book. Originally, I read a copy borrowed from my local library. However, I so totally enjoyed this book; that not only did I buy a copy for my own library, but I've since read it three times! Thank you, Ms. Wagar! Happy conducting!

This has helped our family tremendously. It is the most effective and non retraumatizing technique we have found for using with our attachment disordered children.