Book Description
This new book provides in-depth projects with instruction and practice for courses involving website production with graphics, animation and sound and creation of optimized and interactive web graphics. Macromedia Dreamweaver MX creates and manages websites and Internet applications. Macromedia Fireworks MX designs and optimizes web graphics for easy integration into a website. Macromedia Flash MX creates rich Internet content and applications. Macromedia Freehand MX creates vector-based illustrations for the web and for print.
Book Description
This best-selling text gives majors a solid foundation in the theory of music - generally and throughout history. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights.
The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day.
Customer Reviews:
Great in a classroom or with teacher's assistance.......2007-06-07
I wouldn't recommend this book for self-study unless you are well acquainted with music theory and are using this as a review. Some of the concepts are not that well explained. However, it is designed as a classroom text, and for that and with a good teacher, it is excellent. Well organized and logical in it's progression. An intro to music notiation would be very helpful before taking a class using this book. It progresses very quickly. The accompanying workbook is highly recommended for reinforcement.
I guesse it's good.......2006-02-24
Not a hardcore music analyst or anything. Just taking a music theory course with this text and it's not too shabby considering that other theory texts can be really vague. I wish in some ways there were more examples and actually that it was more clear in some areas but that's why we have a teacher to teach it to us.
Good Theory Text.......2005-11-26
My class worked with Dr. Benward on this book--we were his test class. Although this may not be the best book for everyone, it is a very comprehensive text that requires the instructor's input. As Benward told us, if we were to teach theory we must work towards the student's understanding of the concepts and not allow the text to work magic. Hence, we must illustrate and re-inforce the principles with our examples and experiences.
I hope I am lucid enough to help.
Good book.
Ian
Music in Theory and Practice.......2005-09-12
It is an excellent resource for basic theory and form. This book got me through 2 semesters of theory in college and I am currently using it for Form and Analysis. Its a bit pricy but has a vast amount of theory knowledge in one place. If you would like more advanced theory look into their Second Volume!
Practical Theory .......2005-04-24
The CD helps with the theory part. I find most theory book lacks practical application. This book will be a good source for those who are interested in applying music theory into real world music playing.
Book Description
Volume II of Music in Theory and Practice is an introduction to musical styles from the Renaissance to the present. It includes more complex chords, an emphasis on larger forms, and strategies for composition analysis.
The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire.
Customer Reviews:
I Took the AP MUSIC THEORY exam using this book Today!!.......2007-05-15
this is what i think. This book is good. no doubt. but not enough. Im a sophomore that understood the whole book about 90 percent yet it was definitely not enough for the ap exam. I think i did ok on the multiple choice but for the ap exam you have to do tons of ear training and aural stuff which this book does not emphasize. and also some of the topics in this book do not cover enough. as an example it does not talk about phrygian cadence or what duplets are. but this is a an excellent book if you want to personally increase your knowledge in music theory. somewhat easy to understand. i loved the little steps for examples but no answer key for the problems. hopefully there is a better book for those who want to take ap music theory........ 7of 10 (only because not enought for aptest)
Good book to aid the study of theory........2007-01-07
I felt like the book aids the disscussions that my instructor has in class. It also explains things very well for me.
Average customer rating:
- Very simple Language! pretty comprehensive! but not very deep
- Unenthusiastic
- Very Good Book!
|
The Practice of Harmony, Fifth Edition
Peter Spencer
Manufacturer: Prentice Hall
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Binding: Spiral-bound
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Music for Sight Singing (7th Edition)
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Ear Training w/Transcription CD
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Studying Rhythm (3rd Edition)
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ASIN: 0131826603 |
Book Description
With an emphasis on learning and understanding by doing, this book takes the reader from music fundamentals through harmony in common practice to some of the more important harmonic procedures of the 20th century. The book, easily accessible to all readers, is an excellent reference for the experienced musician. An abundance of musical examples can be found in every chapter. Analytical examples are drawn from three popular anthologies. Exercises are found in every chapter, often with “Suggestions and Strategies” to help the reader approach the exercises intelligently and systematically.
Foundations, designed to ensure that the reader has a solid grasp of fundamentals,
Harmony in Common Practice designed to develop a complete understanding of the principles of tertian harmony as they pertain to common practice by means of the Diatonic Vocabulary and Chromatic Vocabulary and
Post-Common Practice Harmony designed to introduce the student to some of the more important harmonic procedures that have either evolved from or developed as a reaction to common practice. In all, the book is divided into 30 chapters. Beginning musicians wishing to learn the key elements of harmony or experienced musicians wishing to review the basics of harmony.
Customer Reviews:
Very simple Language! pretty comprehensive! but not very deep.......2007-07-25
I am a mathemaician!! and I am studying this book along with two other books ( the shaping of music by Russel and Elementary harmony by Ottman) to hopefully write music!!
This book as the other reviewer said doesn't have exmples from literature but at the end of each chapter as exercises it referes you to designated pages from three other books that contain examples in literature. Here I should say the book covers the material in a rather easy language much easier! somehow more clear than other two books that I am reading!
In the book (page 261) says that borrowed chords are nearly always appear in the major key! while obviosly, in minor keys the chords: I ( picardy third) and ii, IV ( in melodic minor when 6 is raised) are not unusual.
I guess we have still a long way to see a good book in harmony. something real practical. But for now, i guess if you want to learn harmony by yourself you should read maybe several books!!
Unenthusiastic.......2006-01-17
I'm not as enthusiastic as the previous reviewer. I have taught music theory at all levels for 17 years, and while there is good material in Spencer's The Practice of Harmony, there is much that seems downright peculiar. If your theory professor assigns this book, of course you've got to use it; otherwise, much of the material is presented more clearly in other sources. The problems are twofold: reliance on standard theoretical concepts divorced from practice or context, and Spencer's attempt to either explain concepts in new ways or offer shortcuts in learning or remembering the concepts--it's a laudable effort, to be sure, but one which leads him astray.
Take, for example, this wonderfully abstruse line from his "Suggestions and Strategies" for learning triad quality: "If the root of a triad is natural and the fifth is flat, or if the root is sharp and the fifth is natural, or if the fifth is double-flat, the triad is diminished." (p. 69) All that may well be true, but if you've memorised that and still can't tell that the third of the chord is minor and the fifth is diminished, you have no recognition of what a diminished triad IS. There's quite a difference between naming and understanding, and Spencer ignores this.
Another and much more significant problem occurs with Spencer's explanation of the minor. Frankly, he doesn't seem to understand that there is not a "harmonic minor key" or a "natural minor key"--he does not use the terms, but in the section "Triads in Major and Minor Keys" (p. 68) he shows the triads first on C major, then on A minor (natural), a minor (harmonic), and a minor (melodic)--ascending only. Now, while there are SCALES in these various forms of the minor, they represent quite different things from the triads that are found in most common practice period music. Even triads built on the harmonic minor scale, with a triad of III+ (augmented) do not reflect the actual triads in most music--III is much more commonly found in the music as a major triad than as an augmented one, regardless of the theory. Minor is a complex situation, not easily explained; but a piece is in a minor mode which uses the various forms of minor--melodic for the melodies (mostly), harmonic for the harmonies (mostly, except III), and in Classical music, almost never natural--purely a theoretical construct because of the key signature linkage with the relative major. Natural minor in Classical music occurs as the descending form of the melodic minor. The real problem is that the minor scales are all theoretical constructs and not reflective of the music--the issue is how to handle scale degrees 6 and 7. To solve this, rather than address it directly, Spencer introduces yet another theoretical construct, the 'synthetic' minor scale, made up of a combination of all the other forms together. It's an appalling idea, one I've never seen elsewhere, and totally without context. Spencer would have been better served by introducing the minor mode in its own chapter, rather than trying to tack it on as an appendage to the major mode.
Lack of context lies at the heart of Spencer's approach, and to be fair this is true of far too many theory books. Instead of discussing the basis of functional harmony in the Classical Period, for example, we get the same tired "Primary Triads in Root Position". I'm of the firm belief that discussion function of chords--Dominant preparation for ii and IV, Dominant function for V and vii, Tonic for I and Tonic substitute for vi in major--is much more useful than listing all the "rules" of doublings, etc. Similarly, cadence types are named, but the functions of the various types are not described.
All in all, Spencer's approach in The Practice of Harmony is an odd combination of pretty standard pedantic theory and new, sometimes confusing approaches. Theory is really nothing by itself; without a musical context it is meaningless. Yet Spencer never attempts to provide such a context; indeed, he uses not a single example from actual music literature. You are better served elsewhere.
Very Good Book!.......2000-09-15
It is an excellent book of harmony.It has a great number of exercices.The only thing that i got worried about was the very FEW examples concerning the contents of the book, but if you read carefully you will understand what the author wanted to say!But i still wish the author included more examples of the contents , mainly about the Four-part writing. Anyway, i really enjoyed the book and i am learning a lot from it!
Customer Reviews:
Helpful and Essential accompaniament to the textbook.......2007-06-07
The exercises in this book are extremely helpful for reinforcing the text. Highly recommended for self-students, and commonly used as a college Music Theory text book.
Hmmmm.......2005-09-20
The book had a lot of writing in it and it was said be "be like new." It was nothing like new, the pages were very beat up and much of the comb bounding was broken or broke soon after getting it. The book was in horrible condition to be like new.
Unhappy customer.......2005-09-13
Very fast service, but faulty product. The workbook had missing pages, and this was not described anywhere in the product description. This caused me to earn a grade of zero for my first two assignments, as the workbook pages weren't in my book. Sure, the seller offered me my money back, but what good does that do me now?
Book Description
Volume II of Music in Theory and Practice is an introduction to musical styles from the Renaissance to the present. It includes more complex chords, an emphasis on larger forms, and strategies for composition analysis.
The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire.
Book Description
Volume II of Music in Theory and Practice is an introduction to musical styles from the Renaissance to the present. It includes more complex chords, an emphasis on larger forms, and strategies for composition analysis.
The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire.
Average customer rating:
|
Choir Starters: Games and Activities for Children Ages 3-6
Eileen Jones Straw
Manufacturer: Abingdon Press
ProductGroup: Book
Binding: Spiral-bound
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ASIN: 0687095212 |
Product Description
The study of music theory interacts with intuition-honing,sharpening,and enhancing it with further insights and perceptions. Much of what you learn from this book will at first seem to be simply surface information,but they will eventually amplify and broaden your musical intuition. Included in the book are large number of musical examples.
Book Description
King's Indian chess players revel in do-or-die tactics, but not every opponent wants to cooperate. Some want to bore the pants off you with the Exchange Variation, or the London System. Others go for your throat with the Four Pawns Attack, while some simply confuse you with the Trompowsky. Take heart, for GM Gallagher has provided you with all you need to know.
This book provides a complete repertoire for King's Indian players against all of White's attempts to avoid the main lines. It shows how to defuse attacking systems such as the Four Pawns, and gives you a full repertoire against the Averbakh and h3 systems. It also offers aggressive lines against the exchange variations, and recommended psychology against unambitious opponents.
Customer Reviews:
Excellent book.......2005-07-28
I found in this book everything what i need to know to face White's methods of avoiding the main lines of the KID.
Gallagher's method is to select and recommend one main defense for Black against White's so-called "anti-King's Indian" systems. The author examines and recommends play for fifteen variations:
(1) Four Pawns Attack [6...Na6]
(2) h3 systems [6...e5]
(3) Averbakh[6...Na6]
(4) Early Bg5 [...c5]
(5) Exchange variation [9...Re8 and 13...Nd7]
(6) 5 Bd3 [6...Nc6 and 7...Nh5]
(7) 5 Nge2 [...a6 and...c6]
(8) Miscellaneous unusual lines
(9) Trompowsky [2...Ne4]
(10) Torre Attack: 4...0-0
(11) London System [...e5]
(12) Fianchetto Variations [Pirc-style set-up]
(13) Veresov: [3...Nbd7];
(14) Barry Variation (1 d4 Nf6 2 Nf3 g6 3 Nc3 d5) [...c5]
(15) Blackmar-Diemer Gambit [Euwe Defense, 5...e6].
According to my Fritz Powerbook 2005 reccomended variatons scores wery well for Black in practical play. The analysis are surprisingly original and thorough.
This book is a MUST HAVE for any KID player. In fact, it will be useful to most players who reply to 1 d4 with 1...Nf6.
Excellent for KID players and all 1. d4 players.......2003-06-17
This entertaining and well-written book should have a large audience, as a huge percentage of chess players play king's indian systems all the time with black. This book pretty much describes everything white will throw at you (other than most traditional king's indian lines), including Torre Attacks, Trompowskys, Veresovs, Averbakh, Four Pawns (those last two are the only regular king's indian lines given), Barry Attack, London System, Blackmar-Diemer, and others. The book has lots of explanatory text and twenty-nine annotated games flesh out the main ideas. It is a repertoire book, meaning that the book focuses on recommended lines for black. Burgess' writing is, as always, clear, entertaining, instructive, and witty. The Batsford production is excellent. A fine chess book.
A must have for any King's Indian Player.......1999-06-27
I love both sides of the King's Indian, and nothing frustrates me more than to have white avoid it with some offbeat system, such as the Torre or London. This book does an outstanding job of showing black how to handle these offbeat openings (which are showing up more and more often in tournament play).
Book Description
On a landscape that seems to be transforming itself with every new technology, marketing tactic, or investment strategy, businesses rush to embrace change by trading in their competencies or shifting their focus altogether. All in the name of innovation.
But this endless worrying, wriggling, and trend watching only alienates companies from whatever it is they really do best. In the midst of the headlong rush to think "outside the box," the full engagement responsible for true innovation is lost. New consultants, new packaging, new marketing schemes, or even new CEOs are no substitute for the evolution of our own expertise as individuals and as businesses.
Indeed, for all their talk about innovation, most companies today are still scared to death of it.
To
Douglas Rushkoff, this disconnect is not only predictable but welcome. It marks the happy end of a business cycle that began as long ago as the Renaissance, and ended with the renaissance in creativity and collaboration we're going through today.
The age of mass production, mass media, and mass marketing may be over, but so, too, is the alienation it engendered between producers and consumers, managers and employees, executives and shareholders, and, worst of all, businesses and their own core values and competencies.
American enterprise, in particular, is at a crossroads. Having for too long replaced innovation with acquisitions, tactics, efficiencies, and ad campaigns, many businesses have dangerously lost touch with the process -- and fun -- of discovery.
"American companies are obsessed with window dressing," Rushkoff writes, "because they're reluctant, no, afraid to look at whatever it is they really do and evaluate it from the inside out. When things are down, CEOs look to consultants and marketers to rethink, rebrand, or repackage whatever it is they are selling, when they should be getting back on the factory floor, into the stores, or out to the research labs where their product is actually made, sold, or conceived."
Rushkoff backs up his arguments with a myriad of intriguing historical examples as well as familiar gut checks -- from the dumbwaiter and open source to Volkswagen and The Gap -- in this accessible, thought-provoking, and immediately applicable set of insights. Here's all the help innovators of this era need to reconnect with their own core competencies as well as the passion fueling them.
Customer Reviews:
A paradigm shifter.......2007-04-27
A great book. Reading this was like a breath of fresh air and really changed my thinking about technology, innovation, design and the hope for creating a livable world.
Great Wake-Up Call.......2007-04-02
One of the best books on taking an outside look into how we do business, live and experience the world as people, not just consumers.Get Back in the Box: Innovation from the Inside Out
Great scope and depth.......2007-03-16
I have read tons of books on business practice and ethos. Rushkoff brought a great mix of theory and practical examples that are working in the real world of business. This book is the business version of "positive psychology", which advises that we develop our strengths and most problems will self correct. In this case it is, pursue your deepest values and you won't have to spend all your resources on marketing. I highly recommend this book for anyone who is involved in an organization at any level. I am a pastor of a church and it has provided many thought provoking concepts to explore in our context.
Interesting new perspective on creativity and innovation.......2007-02-25
I'll admit, it took me awhile to really get into this book. Once I got through the first couple of chapters of "Get Back in the Box" though, I couldn't wait to read more of it.
The author, Douglas Rushkoff, feels that we're in the midst of a renaissance in creativity and collaboration. As he puts it, "genuine creativity is a result not of out-of-the-box thinking, but of true expertise." Here's a great example he used partway through the book: The person that decided (years ago) to put a VCR and TV into one device wasn't really innovating. The person who came up with TiVo, on the other hand, was a genius and someone who truly had a handle on people's viewing habits.
He's got an entire chapter on what he refers to as "social currency." The retailers featured as noteworthy examples in this chapter include B&N ("the store is a social hub"), Guitar Center ("it's a place to try out pretty much any piece of musical instrument there is--and to play on it for hours") and the Apple Store (described as "a little cathedral"). I tend to think Starbucks fits the mold as well. In fact, this chapter got me wondering about what would happen if Starbucks and Apple ever decided to create some co-branded shops...
Here are a few of the other interesting tidbits I highlighted throughout this book:
** ...customers don't want to communicate with brands anymore...they want to communicate through them...
** Although we claim we want more leisure time, we are much more likely to find an opportunity for genuinely fulfilling engagement and learning at work.
** It's about learning to tinker, to tweak, and to test the most basic, underlying assumptions of one's core business or technology.
** (Regarding focus groups...) In the vast majority of the dozens of groups I've observed or led, the purpose was less to glean new insights than to confirm the insights already held.
This turned out to be a very enjoyable book with all sorts of great observations.
It should be titled "Get off the sphere".......2007-02-09
Where to start...
I rated this 4 stars; 5 stars for being thought provoking and reinforcing my notions of what businesses should be concerned with, and 3 stars for the authors glaring examples of old-renaissance ideas/execution that didn't/don't work, yet providing nothing more than hindsight.
I agree with the previous post that the first half of the book was better than the second half. There are so many examples that are counter to the authors examples, but I'll give a few here.
First, in the absense of fullfilment opportunity exists. While Wal-Mart may be an evil company for some of its practices it also provides people in developing countries with a job, where none may have existed before. If you have no food and someone gives you a scrap then you at least survive to move onto a larger portion. If those who are employed at Wal-Mart cannot find another job that pays more than minimum wage then I would suggest going to a library and start learning...it has free internet access...
Second, many of the arguments made throughout the book are based on a circular reference that is incapable of breaking down, when in fact it would break down. If a=b=c=d...y=z and z=a then for values of a-z that fluctuate so does the continuum. Every example given in the book relating to whatever currency units are give follows the same principle: that at some point, hidden beneath the guise of logic and play, energy will need to be expended that is not optimally or even close to optimally what any person would normally do in search of or in realizing the new renaissance. This breaks the whole model and I suppose it also degrades innovation at the same time.
Third, open-source software, though trendy, has limitations. Imagine a world where function a is performed via single open-source project composing of a single developer, then fast-foward t years where function a is now performed by 1000 different projects each with 1000 developers (who share the same egos), in the meantime you have some number of function a demand satisfied by 1000 projects so a/1000. All of the sudden you have function b that people just though of at t+1 days, but only a small portion like 1% of function a projects are compatible...but the developers of function a projects not wanting their egos to be crushed realize this and perhaps migrate over to the small % of function a projects that are compatible...leaving the other 99% of function a projects to be picked up by some developer(s), whos egos aren't as big, to try and work something out with function b compatibility. Now you have function a compatible projects with a huge number of developers wanting to make their mark with function b, but the 99% of the people who utilize function a and now function b must switch to projects that are fully compatible and relearn, etc. The point is that people want recognition, however good or bad that may be, but it's the truth...even authors put their name, photo, etc.
Fourth, I agree that understanding your "core competencies" are very important and understanding the "source code" and "patterns" is nice, but what really got me was how high people must be in order to realize that this is the path to eternal bliss or "play." I mean who in their right mind would choose to clean out a septic tank as a way of "playing" or even perform surgery on someone's brain...just for fun, when you know that someone's life depended on whether you were qualified or not. If you aren't qualified then doesn't that introduce a classe system of sorts? Who would regulate this...would this person think that telling someone they are incompetent was "playing?" It's clear that any system which qualifies someone as being able to perform a specific action, no matter how much fun they might have, is clearly old renaissance and the illusion of new renaissance is just that (not in entirety, but practicality).
Fifth, while some people prefer to solve challenging problems, others would rather just sit around surfing, etc. What do we do with those people? Where would they get their surfboards, wax, wetsuits, food? I'll tell you who...the people that have enough resources at their disposal to just sit back and ponder how the old renaissance is coming to an end in favor of the new renaissance.
Sixth, peoples faith often becomes a paramount influence in the actions they undertake. Some are at extreme ends and radicalize what is otherwise a very moral and just view of how things should be. These radicals often carry out actions against others because their convictions are so strong and so outside of the middle that even if the middle moves it will not be enough so enough will be "encouraged." This artificial skewing leads to others ultimately forgoing "play" in order to build a counter-trend necessary to prevent skewing that is non-organic. In the end you have a reduction in pure innovation (good) and an increase in pure existence. I'm guessing that the author was too busy contemplating whether or not we could he didn't think whether or not we should...
Seven, the book discusses how currency became the demise of society as it pertains to interest, greed, etc. However, in the Paypal example he exalts that business for being upstanding and trying this new thing, but it ultimately fails because of the banks...yada, yada, yada. Anyways, Paypal was earning interest on the float vs. charging money for its service. How is that new renaissance? If we take the banks out of the equation so that interest is no longer accrued then who pays for the hosting, data, maybe it's those people who like to play in data centers. But then, who builds the steel racks, elevated floors, servers, ethernet cables, routers, switches, supplies power, constructs the building, stays up all night trying to figure out why no interest is being accrued :)
Well, that was more of a rant than anything else. I'm glad this book cemented my ideas about open-source software and about how so many company executives are in such disrepair. Innovation...hmmm...whenever I have a bug in software I usually just open a debugging program that I purchased and print-out the portion of code via a printer, utilizing a driver, written by some person of gets off on that sorta thing...but would they do it for free if there other needs weren't being met...I don't think so.
There's a reason why doctors get paid so much money, there's are reason why people do jobs they wouldn't otherwise do, there's a reason why the new renaissance only exists in the imagination of Gene Roddenberry. The have's and the have not's exist today, and perhaps in the 21st century we can combat much of this gap; however, until everyone is content with their existence and opportunity for existence then we will not reach the new renaissance. Indeed, it will only exist where truly innovative ideas take place...our isolated dreams...
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