EG Books

Caplin's book is, on the whole, an excellent revival of the Formlehre (study of form) tradition. His methodology of examining "formal functions" (i.e. how a particular musical module functions in the context of a full piece, rather than just labelling it) is incredibly revealing, and therefore his explanations of the various classical theme types (period, sentence, and small ternary) are likely the best you'll see in any study. The one caveat that I should express about this book is its reliance on the Riemannian and Schoenbergian traditions of harmonic theory: that's not necessarily a drawback, but to Americans who are used to the Schenkerian and roman numeral traditions of harmonic theory it can take a little getting used to (well worth the effort though).

This book is an in-depth outline of the four major forms of the classical era: Sonata, Rondo, Minuet/trio, and concerto. Before it covers them, however, covers the parts that make them, i.e. subordinate theme. Each of these small parts takes up about thirty pages, where the author covers tonal regions, structure, dynamics, etc. This book is a must for the music theory student/professional, or the composer.

Communing With Music was recommended to me by a friend who had just attended one of Mr. Cantello's workshops. My friend did not steer me wrong! After reading this book, I feel as if I perceive the world of music through a more sharply focused lens -- or with a new pair of ears, more appropriately. Matthew Cantello's ideas about sound and music are accessible, yet evocative and compelling -- a combination I'd been searching for in such a book. The exercises contained within the chapters are really revelatory; mindfulness applied to the practice of listening, all leading toward increased harmony and well-being. Cantello's knowledge of the origins of musical expression, as well as his compassionate insights into the emotional terrain of our lives left me convinced of the healing power of conscious, mindful listening. Finally, I was amazed at the listing of suggested musical pieces for my communing experiences. What an intriguing variety! Even if the book didn't have so many other qualities to recommend it, this list would be enough for me to do so without hesitation.

I just picked this book up and finished it within a few days. Anyone who loves music and who also enjoys the stillness of meditation, would benefit greatly from this amazing publication. I found it to be well written and the author easily allows us into HIS world, gently guiding us to another way of "hearing". I now listen differently, I listen with a different part of myself, a part of myself that hears something Deeper, if you will. It's hard to explain unless you read the book and just ease yourself into a new way of hearing things. I also got to meet the author at a book signing and he is really one of the nicest people I ever met, very "down-to earth" and very gracious. Anyway, buy the book. you'll be glad you did. Good luck!

Shirley Riley has synthesized her vast clinical experiences with adolescents into a wonderfully pragmatic, insightful, and realistic text which addresses contemporary adolescence and today's priorities in adolescent treatment. While other authors have described the use of art therapy with adolescents, Riley goes beyond classic and often outdated developmental and psychological theories about adolescence and takes a refreshing look at adolescent therapy within a contemporary context. The significance of societal, cultural, and familial inlfluences is emphasized along with the importance of narrative approaches, post modern thought, and short-term, solution-focused treatment. Riley also infuses a variety of salient clinical issues such as distancing, reflecting, and timing in adolescent therapy, addressing and respecting metaphorical communication, and understanding the therapist's countertransference or "entanglements" that inevitably arise when working with adolescents. Additionally, the reader is treated to lively case descriptions and practical clinical applications of art therapy in adolescent group treatment, adolescents and family therapy, inpatient and outpatient populations, residential programming, school settings, and a wide range of individual treatment situations.

This is one of the best,if not the best art therapy books out there.It is intelligent,practical,and easily understood.
She combines her extensive experiences with adolescents along with contemporary family therapy constructs,combined with illustrated case studies,humor,compassion and openness.
she oudid herself.
brings excitement to the art therapy field...

In the area of dance and healing the name Anna Halprin, Ph.D. is a beacon of hope and strength. And, in the area of cancer support and education, Anna's name is legend. This prolific author, dancer and healer now brings us Dance as a Healing Art, which hows us the connection between dance and spirituality as a means to fight cancer, AIDS and other terminal illnesses.

Anna Halprin, now 80 years old and a cancer survivor herself, brings not only years of experience and training in her art and craft, she brings vast quantities of love and understanding. Dance as a Healing Art exposes the viability of movement as a"...vehicle for releasing feelings which are essential to the healing process. Repressed or incongruent emotions shut down the immune system, causing pain and illness" relates Dr. Halprin.

Dance as a Healing Art, by definition, is an effective guide to healing for both teacher as well as student. It is filled with lessons to facilitate understanding of getting in touch with yourself (or patient) both physically as well as emotionally and spiritually.

Anna Halprin re-defines ritual to refer "...to an artistic process by which people gather and unify themselves in order to confront the challenges of their existence". That, in turn, defines Dance as a Healing Art as a process that enables the person in a health crisis to reach within and apply their emotional and spiritual healing tools to help.

Dance as a Healing Art is a powerful book from a pioneer and innovator. Anna Halprin offers a healing modality that uplifts by implementing a healing process through movement and imagery. This is a book, in this reviewer's opinion, not only for the stricken, but for the well!

Dance As A Healing Art: Returning To Health With Movement & Imagery is based on Anna Halprin's many years of practical experience in collaborative programs incorporating modern American dance with treatment protocols for cancer and AIDS patients. Dance As A Healing Art is a vital, innovative resource and practical, effective guide for people involved with any kind of chronic health crisis, -- including terminal illnesses. As a cancer survivor herself, eighty year old Anna Halprin brings a genuine authenticity to her presentation, offering uplifting insights and the wisdom off a great creative artist, teacher, and facilitator for healing. Dance As A Healing Art is highly recommended, life enhancing reading for medical care providers, patients, and their families.

After receiving a strong recommendation from a knowledgeable friend, I managed to track down a fantastic copy of Federico Rocca's book down on Amazon's U.S. site..... I only wish it was freely available in the U.K!!!
I can wholeheartedly say that every single person I have shown this book to has totally drooled over its content!!!!! It is a fantastic visual of all the astounding embroidery work that is going on in Italian Fashion. It is already a most treasured possession!!!

I originally saw this book at one of the bookstores in the Louvre. It was all in French and was pricey (95 Euro - or about $135 U.S.dollars). The photographs are beautifully detailed on glossy pages. The close-up shots allow you to see the detail of the embroidery. If you are interested in the type of embroidery that is done in fine houses like the Ecole Lesage, then this is the book for you.

This book provides excellent details of various embroideryand applique techniques found on Palestinian garments. It is a worthy companion to Ms Weir's fabulous book, Palestinian Costume.

I bought this book because so much of Palestinian culture has been crushed under decades of war and I wanted to do my little bit to keep it alive. However, I got more than I bargained for. Not only does the book explain the 'language' of the embroideries, tying them to villages and regions, it provides very explicit, beautiful photos showing the stitches very clearly.

Never having been a particular fan of cross-stitch, I have now been converted. Many of the designs use this stitch to absolutely wonderful effect, and the colours riot across the pages. I don't mean to imply that cross-stitch is all the Palestinians use, because it isn't. Anyone who can embroider can see how different patterns are sewn and what stitches are used.

It is so inspiring to see the exuberance of these patterns. By our standards the execution is rough, yet the overall effect is stunning. When you see pages of excerpts from a garment and then see the whole garment on the next page, you can put each piece in context. My response was to make three dresses (using the Gaza Dress pattern from Foklore) and I have started embroidering the first one. I'm a bit of a perfectionist so it may take some time, but I remember what Chesterton (I think) said about the journey counting as much as the destination.

This is a fairly small book, suitable for putting in you bag and looking at while waiting at the supermarket checkout, or in your holiday luggage. If you love colour and stitchery in general, it will give you lots of ideas. It's overall effect on me was one of joy.

This book was recommended by a teacher of mine at the Art Institute.
The inquiry was for further study of the various printing mediums available to artists. This book details styles and techniques used in older times as standard press practices, but, maintained today for use by artists around the world to make multiples of their original artwork.
Awesome read, and techinical enought to provide the means to apply the knowledge.
Highly recommended

I found this book led me gently through the techniques required to produce the finest prints. It is well illustrated, showing not only the more traditional black line on white paper but also complex colourful images. Step by step photographs show how individual processes should be carried out. It is written in the simplest of langauge - without being either patronising or condesending. This simple use of language, along with the examples shown and step by step photographs, should enable anybody to understand the process's involved to produce etchings.

In this book, John Ardoin takes the reader on a journey through Furtwangler's recorded legacy. Instead of writing a biographical account of the conductor, he digs into his musical achievements and strings along biographical material here and there. The main focus is on the recordings and the chapters are listed by the various composers that Furtwangler specialized in.

The biggest focus is obviously on the Austo-German mainline of classical music. We get quite a lot dedicated to the recordings Furtwangler made of Bach, Mozart, Beethoven, Schubert, Schumann, Wagner, Brahms, Bruckner, R. Strauss. We also get shorter entries dedicated to such different composers as Weber, Berlioz, Verdi, Tchaikovsky, Hindemith and others. The composers are discussed chronologically of course. This book is full of insights and comprehensive in it's overview as it goes through all known Furtwangler recordings and there are quite a few of them.

I've been listening to Furtwangler for years and this book is a great supplement to understanding Furtwangler's style and artistic thought process. If you own the Beethoven and Brahms symphony sets released by Music and Arts, there are excerpts from this Ardoin book printed into the liner notes of those CD sets. That will give you an idea about what kind of writing this book contains. Ardoin is an intuitive writer and he lets Furtwangler speak for himself many times, taken directly from his notes, letters and talks.

I wish I had a book like this dedicated to Herbert von Karajan! The Karajan books I've found on the market are akin to the standard biographical model. Give me a biography of the recordings Karajan made like with this Furtwangler book. That would make my day. Of course since Karajan recorded so much, a book exclusively about every single record he ever made would be like 2000 pages long!

I think this book is useful primarily for classical CD collectors and Furtwangler's fans. It consists of a biography, recordings reviews and a discography. The biography describes Furtwangler's career using historical context. Recordings reviews are grouped by music eras and composers. Reviews cover all available recordings. You can read about performances of every opus, Furtwangler's thoughts from his books and letters concerning music of Bach, Mozart, Beethoven, Brahms, Wagner and others. It is unique and often previously not published information. And at last you can read a comprehensive review of every recording. I found the reviews useful as it helps to decide whether to buy the recording or not. In Appendix you can find the discography by John Hunt. It covers all available CDs till 1992. LPs are mentioned only if there are no CDs for the item.

While the collection of images included is not exhaustive of all work done by Baumann, it provides a thorough sampling of his life work and details the process by which he created his masterpieces. Excellent book. FYI, my understanding is that a new compendium will be done in 2008 that should be a good complement to this book.

A nicely crafted book that covers all bases in this artists career. Great reproductions of the prints, well-written text and a solid book to hold in your hand. History on Baumann covers beginning of career to the end with just a touch of the technical side of this art form. Certainly inspired me!

When I studied conducting I thought only contemporary works will give one a technique,but no matter what you conduct Scherchen's book here makes you realize that music is music and we are simply examining timbre,and balance,its structure(top to bottom or vice versa) its shape and articulation.Whether you want to conduct only the new or only the old this is a wonderful compendium of basic problems. Scherchen focuses upon timbral problems, articulation and dynamics,what it means and how certain instruments "speak" or fail to within certain contexts.
The shapes and direction of phrases and musical lines are explored here and it makes you search for similar passages from Beethoven to Stockhausen. The structure of this book is by orchestral familes with an ample amount of real examples, excerpts from primarily classical literature, some excerpts by Hindemith.And I can tell you from experience that there is no shortage of knowledge in learning the unique features of each instrument. You can also accomplish this work from a rich survey of solo unaccompanied literarture. Bach's famous "Sonatas and Partitias" for solo violin, Berio's numerous "Sequenzas" would be great places to start.

There are no interpretive insights offered here as none can be. Scherchen lets you, he respects one's intelligence to make up your own mind and simply gives you the problem to be resolved and contemplated.

Scherchen was a seminal figure for post-war Europe, the new and old where young conductors as the young Pierre Boulez and Bruno Maderna had attended his rehearsals. Scherchen also encouraged young composers to submit works to him for performance. Xenakis tells a story where he had visited Scherchen in his hotel room where he found him covered in the enormous pages of his "Metastasis" 3 foot by 3 foot (on the bed)

This book leads any students conductor through a series of excersises and musical examples that cover nearly every combination of ritards, stops, pauses etc. By this book, even if it is only for a reference or opinion on how you might handle a particular situation.