EG Books

I found this book to be tremendously inspiring. The inherent turth of Mr. Fritz' premise, that we can choose to be the predominate creative force in our lives and that what we choose to do or not do can and does influence what comes next immediately resonated with me. Our lives follow a path of least resistance and we can choose to "create" our lives ... by making intentional and deliberate choices that encourage the intended result we can create the lives to which we aspire. I immediately "got it."

I also immediately ordered two companion books by Mr. Fritz and am now reading them. I am finding similar inspiration, insights, and information.

This is an excellent book. The author logically and intuitively guides any "thinking" reader through a new view of human circumstances and opens a door to creating one's reality rather than being stuck with only problem solving. I am an artist and a spiritual student and this book is a revelation on breaking bonds and choosing to live creatively.

"The greatest leaders and statesmen in history have not been problem solvers. They have been builders. They have been creators." ~ Robert Fritz from "The Path of Least Resistance"

The theme of Robert Fritz' brilliant book, "The Path of Least Resistance" can be summed up in three words: "Structure determines behavior."

Like you, before reading the book I had no idea what the heck that meant. Nor did I have any idea what "structural conflict" vs. "structural tension" was all about--let alone why creating structural tension is the core attribute of creative genius.

As you gain an understanding of how structure determines behavior, you'll also gain a sense for why Fritz believes affirmations and willpower and all that other "positive thinking" stuff will never give you sustainable creative powers.

For that? We need a whole new structure. And that's what Fritz great book helps us create.

I participated in Robert Fritz' DMA course way back when. It was the only so-called "transformational" course which not only resulted in clear and very specific accomplished goals, but which also explained how and why those goals were achieved. The years had faded my memory of the theory and techniques, although they had not faded the shock I felt when, after two weeks' work (about 20 minutes a day), the very specific event I was focused on was accomplished. So I bought this book as a refresher.

Fritz does not disappoint. He explains, with great clarity, why we experience life as a series of "one step forward, one or two steps back," what's wrong with the way we view life that makes that happen, and steps to creating a new way of living your life. It's all deceptively simple, but often the simplest ideas are the most profound.

The book suffers from a writing style that's dry as dirt. It sometimes interfered with my ability to really grasp the material. That said, it's also very easy to understand and avoids the goofy jargon of most self-help or "transformational" books.

Overall, it's a really valuable book for anyone who would like to learn how to "create" your life, as opposed to suffering through it.

Upon first glance you might think that this book is just another typical self-help book, but it is actually much more than that. You might think that what the author discusses, that you need to determine what you want and decide upon the steps is overly simplistic, and you might be oversimplifying it.

Fritz is first and foremost and artist. He is a musician and composer and his work deals with his analysis of structures, which are often hidden from plain view. Why do you do the things you do? It is often because you are moving along the easiest path, one which you or others may have constructed for yourself, but not necessarily one you would have thought about.

You can think of it this way. If you are like most people, it takes 20 - 30 days to form a new habit. At first it is easier for you to stay where you are, and it will take effort to overcome the resistance. However if your goal, desire, etc. is to achieve the result, then you will shift your internal structure to where it is easier to do the steps to achieve the goal.

Like a recipe however, if you are not clear on the steps or the results, you may wander off track. You really need to focus on the outcome you are trying to create.

This is the essence of the artistic process, the one that professional creators use to achieve their results. This process can be learned and put in place to achieve whatever outcomes you desire.

The catch is, more often than not once you start achieving, you may slack off and fall back into your old structural pattern.

A worthwhile read. I re-read my copy at least once a year and each time I find new insights as I have grown since my last reading.

Highly recommended for you.

Cheers!

I have read most of the reviews already posted and wish to add a conciliatory thought.
I am a professional musician in the Cleveland Orchestra. In the interest of objectivity and credibility, I will concede that the book is largely an autobiography and that there are anecdotes and opinions which are gratuitous to the main thrust of the topic. However, I think it is well worth reading this because of the underlying wisdom gained by the experience of someone who started a significant education-oriented music festival and kept it running for so long. Allow yourself to be amused by the stories and experiences and glean the volume of intelligence in the analysis of the problems confronting the classical music world and orchestras today.
I think the fact that this book has stirred so much controversy implies that there is plenty of substance within the narrative so it ought not be dismissed because of its many personal and provocative opinions.

Having known Mr. Morgenstern from years ago in college as well as attending Transylvania Music Camp in Brevard NC with him, I believe he "Tells it like it is" both in his memoirs & in the state & future of music in America. His experiences in his life combined with a long list of professional accomplishments more than qualify him to tell of the problems facing & eating away at the American musical scene. Agree or not with what he has to say, I found comfort in knowing him personally that it was "The truth & nothing but the truth"

Morgenstern relates the inner workings of conducting, teaching, managing, and performing that goes with being an orchestra player in the U.S., and does so concisely and humourously.

This book starts out with the stated goal of assessing the decline of classical music in the United States and the reasons for it. However, it turns out to be essentially Morgenstern's personal behind-the-scenes memoir of venality and corruption and, in the process of writing it, he limns the all-too-human foibles of the great and near-great. In truth, it is a series of generally none-too-flattering vignettes with interspersed musings. Had the author stated at the outset that his goal was to write his own memoir, the book would have merited at least 4 stars because it is quite readable. Nevertheless, some of the author's more salacious tidbits cannot be confirmed and some have been outright denied by those he claimed participated in certain of the events mentioned. This, in turn, calls into question Morgenstern's ultimate veracity, although not the book's fascination for readers interested in the classical music scene. In fact, the author's conclusion that classical music needs to be more emphasized in elementary school in order for it to continue to (or begin to) thrive in this country is hardly a new insight. I have been hearing it for at least 30 years and perhaps longer. So, take this book for what it is--one man's memoir of his life in classical music. Enjoy it, but don't assume you're reading some sort of ultimate truth.

The state of classical music in America is precarious. Nowhere will the orchestras fill a stadium sized arena like the Rolling Stones are doing in Boston. Why is it in America that the best music of the generations is going so unappreciated?

Mr. Morgenstern writes with a great deal of sadness about the state of classical music in the United States. He offers little encouragment for the future. He would like to see the NEA increase funding to the arts. But in a time like this, the asking of everyone in the country to pay a contribution to arts that they find useless if not objectionable is out of the question.

A good book that clearly states and understands the problem.

I would recommend this book to anybody that is about to take 70-270. I would say a word of caution though about this book. It is truly intended to be a suppliment to actual training from either a interactive self-paced class like Test Out or Prep Logic. If you try to pass the 70-270 with this book alone you may run in to difficulty. Also, I would recommend exam insurance from Microsoft if your testing center allows it.

This book helped me to pass the 70-270 test. It had some information that I did not see anywhere else. I have used cram exam books before and I love the series. I would recommend this book and others for anybody studying to pass any tests. Awesome book!

This book provides a real good start with less than 500 pages. But you will never pass the test just from the material in this book. Taking the advice of others before me, I obtained all the info I needed from this book, plus the Windows XP resource kit (available free online or in paperback) and "Changes to Functionality in Microsoft Windows XP Service Pack 2" (Also an online microsoft resource).

Overall, I find this particular book useful in combing through a lot of intricate details of the Windows XP operating system. Though given that, I don't think this resource alone will help you adequately prepare for the exam, which is something the authors themselves note. This book I feel tries to strike a middle ground, but fails in a few regards:

(1) As many topics like IPP printing is inadequately covered, readers will not be able to install and configure, IPP for example, with the scant coverage.

(2) There is over emphasis on tools like that are not apart of Windows XP, like USMT and RIS. I have never come across such questions in the exam.

(3) Material is not aligned with the actual Microsoft study material, and as such important topics are inadequately covered, omitted, or over covered.

The bottom line is that you might be spending more energy studying unnecessary material, while at the same time, not studying key concepts and topics needed to pass the exam. One definitely needs additional material to study and pass the exam, but still despite my grief this book did actually help me, and rigorous relentless study combined with actually tinkering with Windows XP on material related to the book, did help me pass the exam. I am now a Microsoft Certified Professional.

Having passed my MCSE NT 4 exams using the Exam Cram guides, I knew that getting my 2003 MCSE would be no different. This is the first exam I have taken for my 2003 MCSE and I'm glad I picked up this book. It totally prepared me for the exam with the exception of an exam simualtion. I would say, however, that this book gave me 80-90% of what I needed to pass the exam. To sum it up, I will be going to the bookstore tomorrow to buy more Exam Cram books to finish out my quest to get my 2003 MCSE.

I've done an semi instructer led classroom training, where I recieved the Microsoft official Course books (MOC) aswell. I used these books to lookup the subjects that weren't covered in the MOC book like load ballancing and clustering.
Also after the training with the MOC was finished I used this book to read up about the subjects I failed in the test exams, because this book has a different way of explaning things.
I did the exams about 8 weeks apart and I passed every single exam without much trouble.

Absolutely Brilliant! Get your MCSE by buying this book. Who better to teach how to pass the exam then the people who designed the exam.

If your going MCSE this book pack is the best way to go. While the discount vouchers are lower then what I can normally get searching online the books themselves are great. Get it from the people that made the teset. This is hands on practical learning complete with a demo good for half a year!

I don't know how I'll fare on the exams, but these books are easy to understand, well laid out, and thorough. If you follow the exercises, you can't help but learn the material well.

Microsoft is finally getting it right. These "Blue Books" used to really suck before. My skepticism has been put to rest.

arrived very quickly & in great condition - many thanks!!
Also heaps cheaper than buying here in NZ.

Get this book. Not only does it contain all the recepies you could ask for, it is actually possible to ask the more artistically oriented suppliers of chemicals for a liter of, say, nr. 314 and they'll mix it for you.

The only thing I can say against this book is it should have more chemical explanations about the corrosion products formed as patinas, everything else is good.

I could read for hours and hours about the different colors that are discussed is this book. I would consider this book an excellent source for information on just about any color patina you are looking for on silver, bronze, brass or copper. There are several beautiful color plates, but not nearly as many as there are colors that are given. I am also very interested in specifics and would have like to have seen some color photos of the processes in action, but, I am now just making my own. Anyway, it is a great book and I am glad to have it in my collection.

Very nicely done, but I concur with those who believe additional photos are a must. A CD-ROM with high resolution images to go with each of the authors' experiments would be a useful upgrade to an otherwise astonishing book.

I do feel that this book flags the hazardous materials very well, in fact, included are recipes which are subsequently not recommended by the authors based on the total risk or risk/reward ratio. The authors do assume some basic intelligence on the part of the reader.

There are in addition examples of some very effective patinations, as evidenced in the color plates, which are achieved with relatively benign chemicals and methods; these should appeal to those who are not willing or prepared to work with more hazardous materials. Know your limits.

The techniques employed are described clearly. To cap it off, recipes which give consistently good results are highlighted by an asterisk, a very thoughtful feature to help navigate through the abundance of esoteric and useful formulae.

Bravo!

More than pleased with this purchase. These guys put serious time and energy into relaying info about patination. They leave no questions unanswered, as well as, they give tons of formulas to create with. The amazon price is the best out there!

Although I have only had 5 years of experience in play therapy with elementary-age children, I felt that the techniques described in this book were basic and not very imaginative- in other words, I had already thought of many of them myself. Several of the techniques described are similar variations on the same theme; for example, the assigning colors to emotions and having kids color in hearts/bodies/etc. strategy was echoed numerous times. I suggest borrowing this from the library rather than purchasing it.

Definately not as good as the other volumes. Techniques aren't as interesting and kid friendly. If you are trying to choose, go for volume 2.

This book offers several great ideas for play therapy. It is so important for therapists to remember that play is one of the only ways to communicate with young children. The book uses sound research and evidence from well known experts to validate claims. This book is a little 'heavy' for anyone who is not already in the world of psychotherapy. I would recommend it for therapists and educators but not for parents or laypersons.

I am giving this book the same review as it's more current version, 101 More Favorite Play Therapy Techniques. There are a lot of really good, creative ideas in this first version, just as there are in the newer version. However, the one thing that is lacking in both books is a quick statement at the begining of each activity that identifies what age group and what general problem the activity is most appropriate for. Such information allows me to decide, right away, whether to invest the time in reading further about the activity if I think it would be relavent to a particular child I am working with.

A wonderful resource for therapists seeking new and creative techniques. The book includes therapeutic games, art, stories, and other techniques developed by play therapists from across North America. The one drawback--it would be helpful to have a theoretical overview of play therapy at the beginning of the book.

Therapists who like this book and who are looking for additional books on play therapy/child counseling techniques may be interested in the following books:

101 More Favorite Play Therapy Techniques (Child Therapy Series)

Creative Interventions for Troubled Children & Youth

More Creative Interventions for Troubled Children and Youth

This is a great starter book for veneer work. For making repairs or going beyond the reading is easy, direct and helpful.

For the raw neophyte wishing to gain an insight into the various methods of gluing veneer using a variety of different adhesives and their accompanying techniques, this book more than adequately serves to address this function. However, the all-important minutiae of veneering are not touched upon in any respect. The art of veneering lays not so much in the methods of gluing-up, but in the laying-out and trimming, particularly where the edges are concerned. An examination of any piece of pre 20th century cabinetwork will bear out this conclusion: the edges are blended with an almost surgical degree of precision to give the impression that the piece has been hewn from a solid piece of wood. This book's title should read: "A Beginner's Guide to Gluing Veneer" which is a far more accurate description of this book's contents and function.

This book is okay. There really aren't that many new books on this subject, and it's cheap, hence the 4 stars. It's worth buying, though more for non-professionals.

I was hoping to learn more than I was able to in this book. This book covers small veneering projects. If you build cabinets, entertainment centers or other large pieces, you'll find better sources for info online.

The section on vacuum pressing was a joke. I feel as if he was forced to include the subject by his editor and he made up the most ghetto vacuum press I've ever seen (don't waste your time or your tools following his instructions). On that subject, don't let some moron try to convince you there is something wrong with a vacuum press. It's simply the only economical way for a small shop to properly adhere veneer, especially on large panels. If you hate excellent results, good tools and modern ways, then avoid the vacuum press.

He also makes strong statements, then ignores them in his projects (I'm thinking about facing MDF, specifically). I turn to books like this to guide me with examples and I lose faith in the authority when they cannot follow their own advice.

This is a really, really good book. The format is excellent (color photos, well organized) and he covers all of the important topics including flattening veneer, substrates, shop-made equipment and of course, cutting and fitting veneer.

However, there is a big gap in his coverage: the use of a vacuum press.

I've used a vacuum press numerous times and have excellent results. Mr. Barton, on the other hand, has never wanted to make the capital investment (~$700) in a quality vacuum press and consequently a lot of his projects didn't go well. Because he didn't have success with a retrofitted vacuum cleaner and thin plastic bags (both are inadequate for the task), he ignores a very useful tool.

Nice, relaxed writing style. Good information for anyone interested in learning about veneering from the ground up.

I was browsing this book at Border's and all of the sudden I was deep into it. Osborne is obviously a scholar and he took extremely serious the job of writing this book. The topic that interested me the most was life in Germany during the wartime and in Austria after war.

Despite the myth, Karajan was not a Nazi and even less an Anti-Semite. He was an extremely talented and opportunistic musician. However, there was a lot of provincial Austria with him and I sensed that he never lost that side of his personality. The Austrians - as well as Germans - can be very sophisticated, but they never abdicated their fascination with kitsch.

I also understood the importance of the classical music industry in the 50s. There was a huge market for classical music records and Karajan, Walter Legge among others visionaries pioneered in the sense that recording music is an art by itself, ie, that records are made for innumerous repetitive listening and they consciously took that into consideration during the recording sessions.

Karajan needs to be in the Top 10 (or maybe Top 5) of the most influential personalities of recording music history. It is said, for example, that he told Akio Morita that a CD should store 80 minutes of music, so it could fit Beethoven's 9th without interruption. Morita was influenced by Karajan and they were friends. I wonder if they imagined that the CD would be legacy technology 20 - 25 years after its initial public release.

On the podium, Karajan's central message was that the first step to be successful is when we listen to each other. Believe it or not, this gave me a new perspective of how I see the world. I'd never imagine that I could learn so much with this book.

This book is really impressive. Richard Osborne's meticulous reserach cannot fail to impress one. If I want to know anything about any time from Maestro's life, I will certainly have a look at this book.

But if I want to feel the man and musician closer to me, and if I don't want to be bored to death with the lots of nonsense from the critics, I will take Roger Vaughan's biographical portrait and I will leave myself to be enchanted by the charm of Herbert von Karajan.

Three starts for Mr. Osborne's fantastic research and immaculate style, but I can't help myself feeling a bit contemtuous about the paper that was waste for printing so much, so pointless criticism - both positive and negative.

I have to be honest and say that I had this book for quite some time before I read it, but I am glad I did take the time. It was a pleasurable and engrossing read. Osborne is well known to British lovers of classical music for his work for Grammophon magazine. Osborne knew and interviewed Karajan, interviewed people connected with Karajan privately and publicly, researched contemporary evidence, and as far as one can tell listened to and evaluated all Karajan's monumental musical output (audio and visual/audio).

In a style that is intelligent and highly readable, Osborne treats all aspects of Karajan's life and evaluates his recordings and films. The bulk of the book treats Karajan's early and middle years, whilst the later years are dealt with more leanly; endnotes provide additional comment and all the necessary references and recording details.

Osborne is clearly sympathetic to Karajan, but not in such a way that he cannot be critical when necessary. He is sober and balanced on the question of Karajan's status and movements during the Third Reich, and, importantly, he quotes relevant documentary evidence. For these reasons this is an important biography. Too much of what has be written about Karajan's life and conducting is blatantly and thoughtlessly hostile and a corrective has long been needed. This book provides it.

This is a glorious,all encompassing book which lives long in the memory and repays re-reading.Osborne succesfully demolishes a number of myths about Karajan's assosciation with the Nazi's and gently suggests that we shouldn't be excessively righteous with the benifit of hindsight (Rubenstein used to dine out on stories of his refusal to work with karajan).It must be remembered that we don't think anything less of Shostakovich/Oistrakh for their complicity with Stalin's equally tyrannical regime.
Interestingly,karajan's sexuality (more than a hint of bi-sexuality emerges) is tackled in some depth but without ever being scurrulous or insensitive.This is typical of the even-handed,flowing manner of Osborne's writing.
Perhaps the maestros enthusiasm for avant-garde music is slightly understated:I once heard from a good source that Karajan financially backed either the first recording of Stockhausen's Gruppen (on DG)or the initial performance of that work: most admirable when you consider the reactionary tastes of all too many conductors.An even more colourful picture emerges!

The late Herbert von Karajan was and still is a controversial musician in many circles. Now that 15 years have passed since his death, perhaps the time has come for a calmer reappraisal of the maestro and his work.

Richard Osborne has produced an exceedingly well written and well researched book. I was impressed by just how much of Karajan's personality he was able to capture. His focus on Karajan's use of technology is highly appropriate. Karajan helped to develop the compact disc, was one of the earliest conductors to switch over to digital recording, worked to develop a market for classical music home videos, and was very much interested in musical/medical research.

This is a calm and measured approach to Karajan's legacy. In this biography, we find that Karajan the man was quite different to the stories told about him. It also deals with the highly controversial aspects of Karajan's membership in the Nazi party.

I gave this two stars... but don't be completely pushed away. I would have gone two and a half if it was available. The overall idea of the book is great. It will help if you are starting to write lyrics. If you already write a lot I would suggest not to spend the money. I write for a band that's been around for a while and figured I would try to spice some things up. The only things that seemed to be of any use to me were just reaffirmations of things that we all know. Having been written in the 80's the content is not very current. Essentially, this book could be condensed into the following ideas: Have a strong control of language and vocabulary, REALLY know who/what you are writing about, Don't write poetry and expect people to connect, Have a strong lyric you build around.

If you are planning to just start writing lyrics... it's a good book. Overall though, it was not for me.

When I first got this book, I couldn't put it down. It was so easy to read, so overflowing with great information that time just flew by as I sat on my sofa. By the time I was a few chapters in, I found myself spending less time with the book and more time writing. By the time I got to the last chapter, I was reading a small segment and then off to write some more.

Anyone who is thinking about starting a career as a writer should get this book.

Let's get right to it. If you truly want to be successful at something, find a mentor - someone who has been there and done that (and is still there and is still doing that).

The "that" in this case is songwriting, and Ms. Pamela Oland is the mentor who is still in the thick of things, decades after her ride to the stars with Frank Sinatra.

You can take decades to learn which turns to take and which to avoid, or you can buy Pamela's music road atlas, THE ART OF WRITING GREAT LYRICS, and get to your destination with fewer detours and disappointments.

Grab your poetic license, start your creative engine, and hit the freeway - and the Top Ten - courtesy of your tour guide and her fine book.

While I am only half way thru reading "The Art of Writing Great Lyrics" I can already tell you that it is a very useful piece of literature. I have been singing since I was a child. I started writing my own songs about 5 years ago. I decided to purchase this book because I feel no matter how much natural ability you have education can NEVER hurt. I was surprised that much of what the book teaches you I already knew and practiced by instinct. It was a good feeling to know I am already doing it pretty much the way the professionals do. Now Ms. Phillips Oland does pump-up her own songs and she does do a bit of name dropping, but I also found that beneficial........you want to know the person teaching you is an expert of the field. Ms. Phillips Oland writes in a comfortable style. Reading her book is more like casual conversation rather than formal educational type verbiage. If you are looking for a book to get you well on your way to writing popular songs this is the book for you.

Ms. Oland provides helpful advice for the person wishing to write and market commercial songs. She gives tips on becoming familiar with language, building vocabulary, and learning popular song structures. She also dissects her own writing process, step by step, for the reader.

Later chapters deal with the challenges posed by collaboration, strategies to deal with criticism, and the music business.

This book is primarily for the commercial lyricist, not the musician or the artist who writes for self-expression. Ms. Oland is of the opinion that a lyricist shouldn't write too much from personal experience, and that a commercial song should make the audience feel good because "no one wants a loser." But some of the most sincere music, which ended up being "commercial," was written out of angst (Alanis, Nirvana). Oland's term for this kind of music is "living room hits." (In her defense, she does state that when an artist writes this type of song for himself, the song may become a hit.)

Ms. Oland also mentions that she is a much stronger lyricist than melodist, and although she does mention using "dummy melodies," musician-lyricists might find a different method than Ms. Oland's.

However, this book does include much wisdom and helpful information culled from years of experience.

...I don't know what the other reviewers read but seriously doubt it was this book...after wrestling with it off and on now for almost seven years, I finally realized it must be some sort of pathetic joke...before I could make any headway I first had to go through and white out all the meaningless transcendental, hypermystical shambala dakshana gumballpollyanna references...then I had to go through and practically rewrite every sentence into a more conventional subject-verb-object format...and I also had to translate a great deal of his explanations into conventional music notation since, of course, only oddball frequency ratios and Indian swaras meet his elevated criteria for understanding harmony...so don't you know I was SERIOUSLY disappointed when I realized, after doing all that, even if I did finally understand what on earth he was trying to achieve that I STILL wouldn't be able to find a single practical use for anything I MIGHT learn...so if you're looking for practical information about harmony then consult any of the many available theory and harmony texts; if you want a deeper understanding of harmony and its inner workings then look at books by Charles Taylor, Leon Harkleroad, and Ian Johnston...but unless you're a swami looking to boogie down on some heavy hamds and naats then I recommend leaving Mr. Mathieu's new age gibberish on the shelf.

I purchased this book from Amazon, upon the suggestion of the author, after lamenting that I had not seen it available in local bookstores.

This book offers food for the soul - as it blends the technical with the experiential in its lucid exposition of the universal art of music.

Here, analogy and humor balance with science to evoke a deeper cognizance of the varied facets of this multi-cultural form of human experience.

Here too, the universal power of the 'Divine Art' of Music is well-expressed, so that it may be passed on - in the tradition of the 'bards' of every age.

Any musical novice, journeyman, or master would benefit from the experience that this book offers. Many thanks to Maestro Mathieu.

Mathiew really helps you get into your bones what all the tuning systems are about and, in process, I really got some deep insights into a variety of scales.

Mathieu's Harmonic Experience is a delight to read and look at and ponder over. Incredibly, one day I ordered some CDs of his piano compositions, mentioning that they would provide nice listening while I make my way through the book. The next thing I knew, I got an email, "Hello. Allaudin Mathieu here. I'm glad you are reading "Harmonic Experience" and evidently getting something from it. I'm glad you bought some of my records. I have a wee request. Please don't even THINK about using my music as a background for reading my book. It will do both of us more good if you really listen to music when you listen to it, and really read my book (and do the practices best you can)when that's what you're doing."

And this is still my problem, I am reading but not practicing, and I am still missing the real point of this book, which is EXPERIENCE, not just technical mastery of his elegant method of fathoming harmony. Perhaps this admission will prompt me to finally take the bold step of actually playing the drones and singing the intervals and really gathering the experience. Meanwhile, I love and treasure the book; it's beautifully written, profound, complicated but within our grasp, and fun. It's time to take a swim beneath the surface - I think I'll start right now.

This book has changed the way I hear music. I hear things I never heard before, but were always there. I am much more sensitive to tuning now. And I'm only at the beginning of the book! Wonderful