EG Books

It is an amazing book for the world of Music Theory. It has a lot of exercises for you to apply the knowledge learned and enables you to check your answer to see if it is correct or not.

I had to use this in college for my music theory I,II and III classes. It is very in depth and requires extensive study. This is definately not for the faint hearted musician. This new version is much better than the one I had because it has CD's for fast access to the music examples. The older additions came with tape cassettes. Also this new book includes CD Roms for computer learning. The book includeds much information. It is a text book and is not meant to be used as a self-learning tool. I would reccomend this only if you are in college and need it for your music theory classes.

It was inevitable with the fall of the Berlin Wall and the demise of Communism in Europe that some artists,musician/ composer would step forward to offer a means of organizing the various nefarious musical pluralities which seemingly has plagued us but most notably the Continent since minimalism. We live under the force fields of an overabundance of musical styles, where the popular strains seem to be like an oil slick that has touched every shore now,that of the consonant triad.Peter Schat is the Man for this to step in and make sense out of this hyperreal reality which has masqueraded as music throughout the world. He himself has practiced every style and musical language known to man, and believes and we can all rightly agree that there has been a persistent fall, a transgressiveness in the art of composition, where we have multiple Copy Cats of All, with plenty of Neo's thrown in the mix to render a kinda conceptual pseudo sustenance, so we have Neo-Expressionists of various sorts, Wolfgang Rihm, Brian Ferneyhough, even Elliott Carter.Of course the market luvs plurality for now it can cash in on everyone, and the fragmentariness of the styles pulverized and multipled over the globe. These terms, as Neo this, are for discussion only and I hate utilizing all these false terms but they do point to a concpetual concretion, a frequency, a reiteration of the musics materials, if you, for example, persistently utilize dissonance as natural to you as shaving then you're an expressionist, likewise if you tend to desire never to change the chord, or fairly infrequently and are enamored over consonant sounding timbres, as open Fifths and Fourths, witrh percolator like rhythms bouncing below, well these features are smatterings of a stout upstanding minimalist, with all due respect to the serious practicioners of all credos. In steps Peter Schat who beleives he can run a pathway uniting both worlds, the Consonance-ites, and the Dissonance-ites,making sense of the vagaries of post modernities extended distended excesses, and he does so admirably with his concept of the Tone Clock. What is the Tone Clock??. It is a way of appraising and utilizing chords, striking a profound resonance(no pun hardly)with our harmonic grandfather Jean Phillipe Rameau around the middle of the 1700s. The Tone Clock's(plural) premise is for instance any three different notes can and may consititute a triad, a three note chord, not simply the 'louis louie' of c,e,g, moving to f,a,c,constitution, but dissonance unified with consonance,in a fairly rational manner, for instance c, c# and d are a legitimate triad. Then scales can be created from these configurations and one is off the the races writing seriously profound music.Does this take the fun outta writing music, I guess so because you need to follow this book, and absorb Schat's trhinking which is fairly straightforward. Schat beleives however that anyone, any persuasion can utilize the Tone Clock and he has done so himself in his interactive opera, 'The monkey subdues the White Bone Demon'. This book is actually also a collection of essays written between 1963 and 1992.

This book explains Schat's "Tone Clock" concept. Schat was a student of Boulez. I have heard his music, and it struck me as very well-composed atonal music, with special attention being paid to sonority. He touts his Tone Clock as a tool which can be used differently by different people, with plenty of flexibility and room for choice, unlike Schoenberg's rigid 12-tone row system. Inside are charts with the triads of each "hour" or tonality shown, as well as each hour's "steerings", which are ways that a tonality of a given hour are "steered" or affected by other different hours. Some tonalities have one steering, others have two, three, and one has six steerings. These steerings can be "stacked" to create further extrapolations of a given "tonality". The triad concept can be seen in simple diagrams of 12-noded circles with various different sized triangles (or in one case a square) drawn inside, connecting trios of notes. As in other modern approaches to post-tonal theory, Schat has eliminated all the redundancies and has distilled the Tone Clock into its most essential triad forms and steerings. There is an elegant simplicity here; perhaps this more flexible manner of handling the materials of music will be adopted and adapted by students and composers of the future. I wonder myself if this approach could be used in jazz, as the triangles-in-circles are reminiscent of the great Pat Martino's diagrams in his "Nature of the Guitar" on his website. I haven't completely absorbed this information yet; I may have to try it out myself in a composition before I will be able to really grasp it. This info was run as a series of interactive articles in a Dutch newspaper, in which readers wrote in with various solutions to Schat's proposals. Apparently the average Dutch newspaper readers there are interested in post-tonal composition, and are not exclusively devoted to football as the average newspaper reader here in America is. Elsewhere in the book he voices his opinions on politics and other subjects, so the book is not dry and theoretical by any means. It is reminiscent of the way Schoenberg wrote in his classic "Harmonielehre". I think any curious composer will be interested in this book, if you're willing to shell out $100 bucks or so.

Great book to share with others. The lyrics are beautiful and the illustrations a great images of "lovin". This book pays homage to jazz legends and the sweetness of love. This book leaves you with a warm feeling. I highly recommend this book. It's like church - good for the soul.

Beautiful illustrated to lyrics with true meaning that reaches to depths and essence of your soul.

Dr. Williams takes what may at first seem like a narrow subject---Irish-American song lyrics---and uses it to tell not only the story of the Irish in America, but of American popular culture as well. This book is full of revelations. Readers unfamiliar with the subject matter will be surprised to learn that not too long ago in our history, Irish-American music and popular culture were practically synonymous. Others with a more sophisticated knowledge of Irish American history will be delighted at all sorts of surprises---e.g., "The Cobbler" and "The Real Old Mountain Dew," two songs popularized by the Clancy Brothers and Tommy Maken early in their career, were actually written by Ned Harrigan, a 3rd-generation Irish-American New Yorker. Through his fascinating account of the lives and careers of Harrigan and other stars of Irish-American culture, Williams re-creates a largely forgotten era in American life. His analysis of the history and meaning of the achievements of these artists helps define this remarkable period of creativity and transition in American cultural expression.

This book won a 1997 Deems Taylor Award from ASCAP.

A Review in the December issue of the Norwegian-American newspaper, Døtre av Norge, a publication of the Daughters of Norway..

Let me begin by saying that Katherine Larson is a member of Nina Grieg Lodge #40 of the Daughters of Norway in Poulsbo, Washington.

Katherine worked with the Nordic Heritage Museum in Seattle and the Vesterheim Norwegian-American Museum, Decorah, Iowa, to develop a major exhibit on woven coverlets from major museums in Norway and the United States that was or will be shown as follows:

* Nordic Heritage Museum, Seattle, Washington, September 13-November 11, 2001;
* The Plains Art Museum, Fargo, North Dakota, May 16-July 14, 2002;
* West Vancouver Museum and Archives, West Vancouver, British Columbia, August-October, 2002.

The first forty pages of Katherine Larson's book are a cultural history of Norway using weaving and coverlets as a unifying theme. Katherine writes extensively and well about the isolation and self sufficiency of rural life in Norway. Although the precise dates that many techniques and technologies arrived in Norway from abroad are not typically known, she does try to frame such introductions in terms of centuries. More importantly, she discusses why weaving was so important to the development of the culture.

My favorite chapter in the first section of the book is titled, "More Than Just a Cover for the Bed," in which she describes the arrangement of farm households, the psychological boost from colorful additions during the long winter months and the cradle to grave use of coverlets, including baptisms and funerals.

Katherine uses historical photographs of women and their equipment; color prints from paintings in the National Gallery and line art of plants used for dying wool, of weaving techniques and of weaving patterns. She presents about 130 high-quality color photographs of finished coverlets, either flat so you can see the entire design or a close up section or in use on a bed. In addition there are many, many black and white photographs of more whole coverlets. Some of the detail drawings would also be useful for embroidery and knitting.

The later chapters of the book are devoted one each to the various types of Norwegian woven coverlets. Some of these are pan-Scandinavian and others even pan-European, but the essence always comes back to what Norwegian women had, wanted to have and were willing to create for their homes from roughly the middle ages to modern times.

Each valley or district in the country had a favorite technique and pattern for its coverlets, providing a rich visual texture to the book. The weaving styles and techniques covered include tapestry/billedvev, square-weave/rutevev, bound-weave/krokbragd, other weft-faced styles, knotted pile/rye, (reversible) double-weave/dobeltvev, and overshot/tavlebragd or skillbragd.

The appendices and closing words include a brief afterword about her family's immigration experience, a conversational and a literal table of equivalent of weaving terms among English, Norwegian and Swedish; notes; a glossary of textile terms in English; a bibliography; and a proper index.

This book is NOT a beginner's how-to. It is a highly readable cultural reference book about weaving. It would be a useful addition for anyone making hand-woven textiles, anyone who likes to apply older techniques in modern textile settings (not just weaving), and anyone interested in the cultural history of Norway and for Norwegian-Americans. In short almost everyone interested in Norway.

I was pleased to find my own family's two dominant weaving styles in the later chapters of the book: Danish weave, common in southeastern Norway, and overshot weave, mostly the Monk's Belt pattern. One of my maiden great, great aunts was a professional weaver and both my grandmother and aunt also wove.

there are many publications about american coverlets, this one attracted me because it concerns coverlets from another weaving tradition.

another reviewer has done a first rate job of detailing many of the books historical strengths. i am adding my review to include the patterns and designs.

this is not, as the other reviewer noted, an instruction manual. but it is a superb design resource, for many other fiber arts as well as weaving.

the photos are fantastic. the examples are inspiring--i'm mentally designing a color pattern sweater from one coverlet, and several beaded pr jects from others. some coverlet designs would translate very easily into several kinds of embroidery.

the author notes the similarities in design among scandanavian, russion, other european and mid-eastern weavings. what i found interesting is the similarities between some of the coverlets and american patchwork quilts. all crafts borrowed freely from one another--lace patterns were made into embroidery, and vice versa, weaving patterns were used in knitting, etc., so finding simialr elements is common. but the designs of several coverlets in this selection could pass for patchwork in their arrangement. since morwegian settlers are credited wtih introding the log cabin to american in the colonial era, i wonder is they also influenced the design of 18th and 19th century quilts.

this is a wonderful book, that would be of use and interest to norwegians and non-norwegians, anyone who designs for any textile craft, and the general reader who is interested in how our forbears lived.

i can only hope that another edition will be brought out.

As a student, I using this book in a Vista system administration course. So far, first week,I have found it well written and very practical.

Acting Antics is a good beginning overview of how drama can be used with students on the ASD spectrum. It is written in a very user-friendly manner so it will be accessible to anyone who is familiar with theatre, but not with ASD and accessible to anyone who is familiar with ASD, but not with teaching theatre. It's exciting to see that many people have started discovering how valuable drama is as a teaching tool for people who are on the autism spectrum!

As an expressive arts therapist who has written about creative expression and grief, I am hard to please. I found The Art of Grief to be much more than pleasing. It is an extremely useful book that covers just about anything a helping professional might want to know in order to use the arts to work with grieving clients. The book is well-ordered, easy to follow and has very specific information and examples from a very wide range of the arts. One does not need to be an artist to make use of the tools as they are designed to be used with a wide range of people. It also addresses the needs of various ages. This book could be used as a class textbook it is so thorough. I highly recommend reading it.

This book is a wonderful entry into the world of groups that specifically use art therapy as the primary modality, altering the group leadership and group dynamics from the traditional group approach. These authors clearly explain how and why. The authors cover a wide spectrum of topics and discuss the intricate dilemmas of leading art therapy groups from the basics to the more advanced clinical and psychodyanmic issues that arise from the art therapy component. In particular they brilliantly address the more advanced issues that arise in art therapy groups regarding the movement between voice and image. This book is convincing, interesting to read and well written with pertinent topics for both introductory and advanced art therapists who lead groups. I use it for my art therapy group training graduate class and it has received high reviews from the students.

Professionals in a range of therapies are often called upon to work with angry clients, and ART THERAPY AND ANGER shows how such a therapy provides a better outlet for expression of complex thoughts and feelings. This isn't just for kids - the usual focus of art therapy guides - it provides adults as well a range of options and details on how to diffuse emotions through art. Contributions from art therapists who work with children, offenders, and clinics alike make for an invaluable set of insights and art therapy applications.