Book Description
Volume 2 of this set includes an outline of organ history, external design and decoration, internal arrangement and mechanical systems, acoustics and theories of sound-production in organ pipes, tonal structure and appointment, compound stops of the organ, more. Complete with illustrations, tables, and specifications. Set includes 385 figures and 15 plates.
Customer Reviews:
Excellent but in need of a re-write.......2007-02-21
This book and the somewhat more interesting Volume 2 are, to be sure, excellent if you want to know the basics about the construction of the pipe organ. The illustrations are mainly drawings (excellently presented) and some rather uninspiring black and white plates (photos).
I have issues with the text, Mr. Audsley's language is extremely flowery. He makes comments about the organ in Sydney (for example) and its voicing (esp. the lack of swell boxes for non-swell divisions). To be sure this was an issue when the book is written but, he doesn't validate his comments by stating that he actually heard the beast in operation.
The second criticism I make is this: if your French is not good the wonderful quotes contained will be meaningless. And certain ones are by the highly esteemed Cavaille-Coll and worthy of an appendix giving translations (which is missing).
However, I adored Book 1 as its history of the organ is fascinating reading. Indeed, Volume 2 gets down to the nuts and bolts of design, acoustics, couplers, action, wind-chests, pneumatic levers ... et cetera et cetera.
A wonderful tome, to be sure ... if you can tolerate the ponderous Edwardian language.
Dated, but still useful information in many areas.......2005-11-23
The book is a complete treatise on the field of Organbuilding, albeit the information is a bit dated! The original copyright date was 1905!!! With that aside, there is still very useful information in regard to various mechanical actions, pipe building and mitering, well, everything relevant to organ building! There are some obvious mis-telling of the future, as for the very unlikely adoption of fan type blowers (now virtually universal) and the comdenation of unification!
Not a book for starters in organ building for sure, but with a basic grasp of apprentice level organbuilding skills, the book is informative. Be forwarned: George is willing to share an opinion or two! Highly recommended for somone wishing to learn about organ building practices in common use in the early part of the last century.
technical.......2002-01-27
A nice fascimile of an old book. It has his own value as a historical piece. Though the interesting stuf is published in volume two, which apparantly is not jet reprinted by doover
Excellent text on organ building.......1998-09-28
This as well as volume 2 is a critical part of anyone's library who wish to learn about construction of the pipe organ. Although the books are very old, they are a treasure of otherwise unpublished information on the historic details of organ building world-wide.
Great book!!!.......1998-01-01
This book has almost every thing about pipe organs.Fun and enjoyable to read.The Windchests part was very well explained.
Product Description
Catalog. Heavy deep green paper wrapper stamped in gilt and pale green, depicts Grecian musican. Tied with red cord, detailed plates of organs (Gothic, Old Dutch, Romanesque, etc.) offered in addition to specifications. A lovely advertising piece from a premier Vermont manufacturer in times gone by.
Average customer rating:
|
Building a business one sale at a time. (Field's Piano & Organ)(Company Profile): An article from: Music Trades
Manufacturer: Music Trades Corp.
ProductGroup: Book
Binding: Digital
 General
| Business & Investing
| Subjects
| Books
Management
| Management & Leadership
| Business & Investing
| Subjects
| Books
Manager's Guides to Computing
| Business & Culture
| Computers & Internet
| Subjects
| Books
General
| Business & Investing
| Subjects
| e-Docs
| Formats
| Books
Management
| Business & Investing
| Subjects
| e-Docs
| Formats
| Books
General
| Business & Investing
| HTML
| Formats
| e-Docs
| Formats
| Books
Management
| Business & Investing
| HTML
| Formats
| e-Docs
| Formats
| Books
ASIN: B00097B8RI
Release Date: 2005-07-28 |
Book Description
This digital document is an article from Music Trades, published by Music Trades Corp. on February 1, 1997. The length of the article is 2391 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Building a business one sale at a time. (Field's Piano & Organ)(Company Profile)
Publication:
Music Trades (Magazine/Journal)
Date: February 1, 1997
Publisher: Music Trades Corp.
Volume: v145
Issue: n1
Page: p178(5)
Article Type: Company Profile
Distributed by Thomson Gale
Amazon.com
A high-speed tour through the high-tech underground and its denizens. Dery introduces us to those who embrace computer technology, figuratively and literally -- cyberpunks, cyberhippies, cybersexers, and would-be cyborgs who believe the body is mere meat, and await the day when man-machine union is much more than mere science fiction. Dery draws heavily on academic theorists such as Bataille, Foucault, Baudrillard and McLuhan, yet his writing style makes for a highly accessible book.
Customer Reviews:
Cybersourcebook.......2002-09-04
"Escape velocity is the speed at which a body...overcomes the gravitational pull of another body," begins Mark Dery in his non-fictional amalgamation of the current state of computer culture, Escape Velocity. Dery uses the concept as a metaphor for what is happening to the many memes--concept viruses--of the on-line and turned-on and their relation to the greater society (mainly American, although some service is given to Japan and Europe). Like the emergence of the Internet (and the 'net concept of on-line connectivity) into the mainstream, the ideas of body sculpting, merging with machines (either virtually or prosthetically), and transhuman growth, among others, are just below the cultural surface, according to Dery.
To be a cultural historian to the fast-paced world of computers is a difficult one, because the cyberculture, far more so than any subculture before it, is as varied in its parts as it is separated geographically. It exists on change. In ways, the myriad differences in the cybercrowd is what makes it a culture rather than a cult--it encourages the free range of expression from left to right, and all the fringes top and bottom, and there is no single authority to consult. Mark Dery's job, therefore, was to piece together a picture of a living community that is less than 30 years old and is more malleable than one of his favorite images, that of the T-2000 liquid-metal android from the movie Terminator 2. He assembled this jigsaw by grabbing at the outward manifestations of the culture--its art--rather than focusing on the nuts and bolts of how it came and stays together. Dery's goal was to achieve a focus on where cybernauts and cyberpunks are headed, rather than where they have been. Within the cybernetic expressions in print, screen, music, body art, performance, and philosophy lie the seeds of a cultural revolution that began with the home computer, according to Dery.
Any cultural representation requires a polymath to untangle the multitude of threads that bind it together. When that culture is the front end of the runaway train of technology, the examiner must also be moving at the speed of information. Dery, for the most part, rises to the challenge, able to quote both fiction writers and art critics, social commentators and "hackers" within the same page. His profiles of those on the fringe and those with the mainstream are balanced, except when he pauses to regroup his thinking at the end of each chapter and his own impressions slip in. One of the most rewarding aspects of Dery's compilation is that he went beyond the most visible proponents of cyberculture (William Gibson, Mark Pauline of the Survival Research Laboratories, Hans Moravec) to also get the equally important contributions that have not engendered cultish followings (in fiction, for example, Dery quotes the work of Pat Cadigan and John Shirley as well as that of Gibson and Bruce Sterling), as well as progenitors to the culture (again in fiction, the work of Philip K. Dick and J.G. Ballard).
As a document of fact about what happened and is happening in the computer subculture, Escape Velocity is hard to fault. But Dery's goal was to portray where the culture is headed (in his eyes into the larger mainstream), and it is herein that trouble lies. To extract the future of society from this mismatch of ideas would be like portraying the future of cinema in the 1960s by examining both Easy Rider and La Dolce Vita. Yes, these movies had a profound effect on the cinematic culture at large, but it was subsumed into the larger whole. Dery quotes Gibson's oft-touted refrain, "The street finds its own uses for things." Just so, the mainstream often finds its own uses for the street, as evidenced in the music business by the commercialization and marketing of punk, rap, and grunge, each a thriving subculture at one time.
Escape Velocity is an intriguing volume, and Mark Dery is to be commended for attempting to achieve a cyberculture gestalt. For those interested in what is happening "in there," Escape Velocity is a one-stop shop, a veritable sourcebook of cyberdom.
Slightly outdated, but still an excellent survey.......2001-03-29
Mark Dery does an excellent job in this book of presenting elements the post-industrial fringe culture to the reader. This is a bookshelf essential for those with an interest in cyberculture, robotics, trans-humanism, body modification, and cultural criticism. Some of the references are now outdated, but that is inevitable in the print medium, given the rapid advancement of technology.
Still applicable.......2000-03-28
I read this about 3+ years ago and I was just discussing it last night. This book presents "cyber-whatever" in a way that is not bound by your typical Newsweek-esque angle of "Boy genius makes millions, blah blah" or by the approach of overwhelming the reader with senseless techie watchwords and jargon that are made up to confuse and confound the reader into thinking that the subject is important because they don't understand it. Escape Velocity presents real people doing wierd things with more esoteric aspects of our accelerted culture. A man who attached his computer to the nerves in his arm to invoke spasms of thrashing and flailing, all the while injuring himself in the process of making performance art is a whole other realm from Bill Gates' pedestrian spreadsheet programs. Don't read this book expecting "Pirates of Silicon Valley" or "the Road Ahead" or whatever drivel Bill wrote. But DO read this book.
good job putting pieces together.......1999-03-03
His thesis hangs in mid-air, not fully articulated, but if you relax, it should wash over you. Well-written, flows nicely. Excellent job defining buzzwords/key concepts others don't bother to. I found his book to be the best on the topic I've found so far and invaluable in my own studies.
However, he does get a bit redundant and didactic, keeps resorting to catch-all phrases to explain what people are trying to escape from, e.g. economic inequality, environmental pollution, yah-dah-yah-dah. I wish he had drilled down a bit here.
Also, his groupings seems a bit forced, he seems to have dug himself a hole in his overall design. But it was probably a difficult project, so you have to forgive him that.
Sober observation of the hyperbole.......1998-03-04
An entertaining and insightful analysis of cyberculture from a man with the sense of detail of an archeologist and the wit of Voltaire.
Book Description
With a New Introduction
Unsurpassed since its first publication, Inside Prime Time is the only book to take us behind the scenes to reveal how prime-time shows get on the air, stay on the air, and are shaped by the political and cultural climate of their times. Using more than 200 interviews with network executives, producers, writers, agents, and actors, as well as months of on-set investigation during the networks' more prosperous years, sociologist and critic Todd Gitlin takes us into a frantic world searching for hit shows. The result is both a lucid picture of the mechanics of prime time and a series of vivid stories of what succeeded or failed, and why. His analysis includes a blow-by-blow account of how the exceptional police series Hill Street Blues succeeded against all odds before eventually succumbing to formula itself.
No one else has analyzed, as Gitlin has, the inside track that links executives and producers, or the efforts of worried advertisers, hopeful writers, and the lobbyists of the fundamentalist right to shape America's waking hours. In a new introduction, Gitlin describes the elements of the new television order, and argues that the proliferation of cable channels and the decline of the old networks have not fundamentally changed the business mentality that guides decisions about the entertainment that will fill Americans' leisure time.
Customer Reviews:
Dated but still interesting.......2002-01-29
Written in the early '80s, Inside Prime Time was long considered to be one of the quissential books to be written about the business about how a small group of insiders shaped American culture through television. The book has since become quite dated. Author Gitlin, best known as a former '60s radical and a co-founded of the SDS, is highly complimentary of what -- at that time -- was then the dominating creative forces on television, the socially relavent comedies of Norman Lear and the humanistic dramas -- like Lou Grant and the White Shadow -- that came out of MTM productions. As such, many of his predictions for the future of television would be blown out of the water by the advent of such comedies as Seinfeld and, to a lesser extent, less topical dramas like ER and the rise of HBO programming like the Sopranos, OZ, and Larry Sanders Show. That being said, the book still remains an interesting look at how television shows were sold and produced during the '70s and '80s and his argument that television is essentially controlled by a network of "insiders" and "social friends" who go out of their way to prevent any outsiders from getting a hold in their industry (and therefore prevent anything new or unusual from reaching the screen) remains relavent and, probably, accurate. Less succesful are Gitlin's attempts to argue that the entertainment industry, despite all appearances to the contrary, is actually a right-wing institution with a strong Republican bias. In these chapters, it appears that Gitlin allows his own political feelings to get in the way of serious scholarship and his own rather paranoid prediction that the then-recent election of Ronald Reagan would somehow lead to an artistic wasteland on television have since been descredited. (For all the dark portense that entertainment folks seem to use when talking about how Republicans equal censorship, it was during the Reagan/Bush administration that networks were actually willing to risk airing quality but hardly widely popular TV shows like St. Elsewhere, thirtysomething, Hill Street Blues, Cagney and Lacey, Moonlighting, and Twin Peaks.)
However, its perhaps unfair to condemn this book for making a few incorrect predictions. Afterall, hindsight is 20/20 and certainly, its easy to forget just how much of a mystery Reagan and conservatives in general were back when the '80s were just beginning. The book's true value remains in its two most interesting chapters. Since these chapters are both histories as opposed to analysis, one can simply focus on Gitlin's lively and witty writing style and enjoy the way he makes even the most mundane details seem like pivotal moments of human drama. The first of these chapters tells the story of American Dream, a forgotten, one-hour drama that lasted for only a few episodes in the late '70s. American Dream, produced by future Cagney and Lacey producer Barney Rosenzweig (who is widely quoted in the chapter and becomes a vivid character as a result; one is torn between sympathy for his obviously sincere artistic intentions and disgust by his banal attempts at self-promotion), was the story of a white man who decides to move his family to a widely black section of Chicago in order to teach his kids what real life is like. It sounds like a typical '70s television show and, despite Gitlin's claims to the contrary, it also sounds like a rather annoying, typically elitist example of '70s liberal chic (while many people are quoted in the chapter saying that the show had to be toned down to appeal to the widest possible audience, nobody seems to wonder what the point is of making a "realistic" television show about life in a black ghetto where all the main characters are white). Anyway, what were told about the show and the scripts make it all sound terribly banal and the chapter, despite Gitlin's intentions, becomes a rather compelling look at how entertainment insiders often delude themselves about the value of their product. Beyond that, however, the detailed stories of the conflicts that doomed the show (from the miscasting of Ned Beatty as the lead to the firing of the head writer and the eventual forcing out of producer Rosenzweig) make for interesting reading and should serve as a strong cautionary tale for anyone who wants to make it in the industry.
The other chapter deals with the creation of Hill Street Blues and remains the most important and detailed analysis of what made that show ground breaking television. Drawing from revealing interviews with men like Steven Bochco and Brandon Tartikoff (at the time, neither was as well known as they'd become), Gitlin reveals how sometimes the insider politics of the tv industry somehow conspire to create something special and groundbreaking and its rather inspiring. After the discouraging portrait painted by the failure of American Dream, Gitlin's analyis of Hill Street Blues is a nice reminder that sometimes, somehow, things actually do work the way they should. Though Gitlin admits that he felt Hill Street Blues eventually sold itself out in the name of ratings, he still shows why the success of that show proves that television actually can play an important and positive role in the American culture it has so often been accused of corrupting.
Inside Prime Time isn't perfect but its must reading for anyone planning on pursuing a career behind-the-scenes entertainment or who occasionally watches the flicking onscreen images and wonders what chaos raged behind-the-scenes to create the slick world they're now viewing.
Average customer rating:
|
Inside Prime Time
Todd Gitlin
Manufacturer: New York: Pantheon Books, 1983
ProductGroup: Book
Binding: Hardcover
ASIN: B000NXKDL0 |
Customer Reviews:
Quality TV in the 1970s.......2007-07-13
William Link and the late Richard Levinson (d.1987) were widely celebrated by TV critics in the 1970s as the co-creators of the "Columbo" series, as well as for writing and producing made-for-television films that tackled thorny social and political subjects ("My Sweet Charlie," "That Certain Summer," "The Execution of Private Slovik," "The Gun," among others. They would go on to create the "Murder, She Wrote" series as well). After leaving Universal Pictures at the end of the decade, the two collaborated on this book, first published in 1981 by St. Martin's Press (the edition on which this review is based).
A quarter-century later, "Stay Tuned" is a snapshot of the television industry at the tail end of the pre-cable, pre-VCR era, when U.S. program creators were largely limited to three markets -- CBS, NBC, ABC -- and when some had succeeded in pushing the envelope regarding subject matter and censorship. In the 1970s, mainstream American culture, including television, was running to catch up with the countercultural sensibilities of the serious '60s, and Levinson/Link were considered by some as the foremost practitioners of "relevant" television drama. Given the "reality" drek that dominates so much of today's network and cable TV, the goal of creating quality television fiction seems almost quaint. But one should give Levinson/Link substantial credit for their efforts, which helped break the trail for series like "Homicide: Life on the Streets," "ER" and its imitators, "The West Wing," and the "Law and Order" franchises. (Steven Bochco was a writer and story editor on the early "Columbo" episodes, long before he created "Hill Street Blues," "LA Law," "Murder One," and "NYPD Blue.")
"Stay Tuned" is a highly readable description of how network TV dramas were created in the '70s. Writing mainly as "we," Levinson/Link describe the process of coming up with program ideas, selling them to their production company (Universal), then pitching them to the networks. They go into the nuts and bolts of actually shooting a TV movie, the inhuman pressures of turning out a weekly series, and the ups and downs of dealing with network censors and would-be censors from various pressure groups. Most of their examples are drawn from a chronological account of their major productions, and they have some amusing stories to tell. And, considering the "Hollywood liberal" slant of most of their output, the book largely avoids sanctimony and undue self-congratulation. These were two very smart men who had some important things to say but never forgot that their first task was to entertain.
I would recommend this book to anyone interested in the history of American popular culture or who may fondly remember '70s TV. Younger readers thinking about going into today's television industry might not find the book exactly up to date, but it still contains valuable insights. (Unfortunately, while some of their work is still around on VHS, Levinson/Link's '70s TV films -- except for the Columbo series -- have yet to be released on DVD, at least according to Amazon.com.)
Book Description
Researchers, graduate students, and practitioners in the financial market now have the first reference-style handbook detailing the mechanics of statistical testing on financial and accounting data. This one-of-a-kind book illustrates how to use SAS software to conduct basic empirical analyses of stock market and financial statement data. It covers various research topics, including investigating the predictability of stock returns, estimating the risk of common stock, and analyzing the impact of earnings and other financial statement information. The use of the SAS language to investigate these issues is demonstrated with numerous real-world examples employing traditional to state-of-the-art analytical estimation techniques. Main topics covered are variance ratio testing, capital asset pricing model, event studies, value versus growth, earnings response coefficients, and microstructure analysis. Readers will find the merging of theoretical and practical concepts unique and informative. The format of this book enables users to go directly to the research tools and techniques required by the task at hand. In addition, a line-by-line discussion of all SAS code is provided, enabling users to interpret all variables and syntax easily.
Customer Reviews:
Only a few examples; no mass appeal.......2007-05-11
I don't understand why the other three reviewers liked this slim volume. It just has a few code examples covering a handful of niche topics that I feel few people know or care about. Financial research is a really rich and diverse field, ranging from accounting to options pricing to technical analysis. This book covers a minimal amount of topics. I don't think this is helpful at all. If someone could write a "SAS cookbook" a la "Perl Cookbok" that would be great.
Great introduction.......2007-01-12
I enthusiastically recommend the book to others, but hope that second edition will add discussion of PROC SQL - its knowledge is a must for any serious data manipulation, and its omission a major flaw - and SAS graphics.
Useful if you must use SAS.......2005-09-23
Programming in SAS is soul destroying, and being chained to SAS is equivalent to being on Devil's Island, but it has turned into a lunatic asylum. Add to that the fact that you are trying to deliver financial analysis or support trading strategies, risk management, or option pricing, and you have a recipe for succumbing to insanity.
If you are in that unhappy state, this book is very useful in the "cut-and-paste" world of cobbling together Franken-code to get a job done. I have not gone through every routine to check for bugs (I mercifully have escaped from the asylum), and I suspect they are there, but nothing would be beyond standard de-bugging.
If you are in finance and have to use SAS, this book is an excellent edition to your weapons arsenal.
Read-to-use SAS code in financial research.......2004-11-27
SAS, like income tax and Microsoft Office, is a necessary evil in the daily existence of a well-educated but poor white-collar worker such as myself. I've used SAS for many years and I'm a fairly good programmer (though not a profesional one0, but I still get frustrated over SAS all the time. The way the data steps work just kills my imagination and motivation.
The present book offers some relief in the form of ready-to-use code segments for various topics in financial research. It's a thin volume at 150 pages, so its usefulness and coverage are limited. Covered topics include variance ratio testing in a random walk model, building event study code, and (most useful of the bunch) processing stock transaction data and running VAR regressions.
Of course, if you are using SAS, chances you are smart enough to figure out most of the stuff on your own, but the book serves two good purposes: 1) to save us the time and frustrations of working with SAS, and 2) to help the SAS beginner learn how to think in SAS and program in SAS. This is NOT a SAS primer. Each chapter dives into the topic right away, first offering some research background (e.g., what is a random walk) and then offering detailed analysis of the sample code.
In the end, it's the SAS code collection in this book that wins the book 4 stars from this harsh book critic. There are a few errors but no hideous hidden bugs. If you want to use SAS to quickly carry out some financial research, this book may be right for you. On the other hand, it doesn't cover a lot, so those looking for a more comprehensive code compendium will be disappointed.
Books:
- The BEAD Method of Fretboard Mastery
- The Beatles: Postcard Box
- The Cambridge History of Western Music Theory (The Cambridge History of Music)
- The Clash: Return of the Last Gang in Town - 2nd Edition
- The Complete Idiot's Guide to Starting a Band
- The Complete Operas of Puccini: A Critical Guide (Da Capo Paperback)
- The Concise Oxford Dictionary of Music (Oxford Paperback Reference)
- The Dulcimer Book (Dulcimer)
- The Expert Encyclopedia of Recording
- The Field Guide to Elvis Shrines
Books Index
Books Home
Recommended Books
- How to Prepare for the AP Microeconomics/Macroeconomics
- A Long Way Gone: Memoirs of a Boy Soldier
- Principles of Accounting, with Annual Report, General Ledger Software Data Disk
- The Middlegame - Book I : Static Features
- The Fair Tax Book: Saying Goodbye to the Income Tax and the IRS
- A Midsummer Night's Dream
- Wave-Swept Shore: The Rigors of Life on a Rocky Coast
- The Accounting Profession in Washington State: A Century of Progress
- Statistical and Econometric Methods for Transportation Data Analysis
- The Less-Than-Perfect Horse: Problems Encountered and Solutions Explained
Organ-Stops and Their Artistic Registration
All the Stops
The Organ of the Twentieth Century
The Cambridge Companion to the Organ (Cambridge Companions to Music)
An Introduction to Organ Registration (Church Music Pamphlet Series)
