Music Books

I laughed, I cried, it became a part of me. Take a look at ..... site regarding the first chapter of Crackpot. It is as wild as the book. Many of the links are gone, but many are still there. Loved this book.

This collection of essays is one of the most compulsively readable, and re-readable, books I have ever owned. I was drawn to it, as you might expect, by my enjoyment of Waters' camp classics. But to be honest, I enjoy Waters the essayist at least as much, if not more, than Waters the filmmaker. Waters' films, and particularly Pecker, Serial Mom, and Hairspray, set the scene for the miscellany of obsessions which animate this book. Crackpot offers a comforting way to understand Waters' recent turn to a more conventional cinematic venue: these films are *also* celebrations of his passionate likes (and dislikes).

Waters writes a witty and acerbic prose, which conveys genuine passion for his obsessions, obsessions which include trials, the National Enquirer, Woody Allen's Interiors, dangerous candy, menthol cigarettes, and Christmas. His preferred methods seem to be the catalogue and the reminiscence: Waters' list of 101 things he hates, and 101 things he loves, are obsessive ruminations on the everyday, and Waters' methodical survey of his everyday touches gives new meaning to the sublime *and* the ridiculous. Most memorable to me, perhaps, is his LA Tour, a pre-OJ intinerary of murder, mayhem, and showbiz, and his loving tribute to the Enquirer. But his celebration of William Castle, or shame-faced coming out as a fan of avant garde, his ritualistic account of Christmas and his loving descriptions of his interests, home, and personal history all make for a case study of obsession that feels both candid and arch, in Waters' inimitable, and paradoxical way. If you read it once, you're going to read it again.

First, let me say that this book should have more universal appeal than do his movies. We all know that his movies are just too gross for some people to stomach, but there's nothing here that any adult reader should find offensive. If you enjoy homorous writing, a la Woody Allen, Steve Martin, Joe Queenan, David Sedaris, etc., you should find this little volume right up your alley.

Waters displays an acerbic, eccentric, but highly insightful comic sensibility. There are fifteen short pieces here, which first appeared in various magazines during the mid '80s, primarily NATIONAL LAMPOON (When it was still funny) and AMERICAN FILM.

The book opens with a bang, in one of the funniest pieces, "John Waters tour of L.A." Needless to say, this is not the L.A Chamber of Commerce "official guide." He takes us to some of the seamier sights, including the spot on Hollywood Boulevard where you can catch "the legless, one-armed white guy who break-dances on the street for horrified families as they stroll up the Walk of Fame." He also offers some timely,timeless advice for when you're driving around L.A: "Never look at pedestrians; they're the sad faces of L.A., the ones who had their licenses revoked for driving while impaired."

There really aren't too many weak entries in the collection. He does go a bit over the top in his rhapsodizing of Pia Zadora, perhaps, in an article devoted to that queen of glitz, but one comes to expect "over the top" from Waters. Who would want it any other way? He's also very much the exaggerator when it comes to his likes, "Puff Piece (100 Things I Love)and his dislikes: "Hatchet Piece (100 Things I Hate)." Amongst the things he most admires are Supermarket Tabloids: "Then I gazed at the great LAS VEGAS SUN wire-photo of a giant ostrich, escaped from a zoo chasing a totally bewildered middle-aged woman down the street. Every time I see her horrified expression, the creative juices start to flow." Not content with this passing mention, he writes an entire article entitled WHY I LOVE THE NATIONAL ENQUIRER as a paean to that fine bastion of journalistic integrity.

Some of Waters' images do convey a bit more of the "so banal it's hysterical" quality of his movies, as when he conjures up "a fancy Santa," in a piece called WHY I LOVE CHRISTMAS.
"Why hasn't Bloomingdales or Tiffany's tried a fancy Santa? Deathly pale, this never-too-thin-or-too-rich Kris Kringle, dressed in head-to-toe unstructured, oversize Armani, could pose on a throne, bored and elegant, and every so often deign to let a rich little brat sit NEAR his lap before dismissing his wishes with a condescending 'Oh darling, you dont REALLY want that, do you?" I mean, really, wouldn't you just love to have John Waters' private phone number and be able to shoot the breeze with him about popular culture? No!! you say? Well then this book's not for you. However, if you enjoy mordant, biting wit, and a breezy, conversational style of writing, this book is definitely for you. It was sent me by a friend. I'm going to be sending a few copies out to other friends now. Who knows, maybe we could start a John Waters cult?

BEK

This is absolutely the funniest book that ,Baltimore Bad Boy, John Waters has ever wrote! This book made me laugh out loud several times to the point that I'm sure my significant other may have harbored thoughts about having me committed.

This is the book that piqued my intrest in John Waters over ten years ago before I could even be called a teenager.

For a man with such a reputation for being "filthy, perverse, trashy, etc., etc., etc.", this book ggives the reader a delightful gllimpse into his bouyant and often child like mind. Whether raving over meeting with Pia Zadora, listing the events of a truly hellish day, or giving a guided tour of Los Angeles as only he can, he guides the reader along in a cheerful skip, full of bounce and frolick.

Even for one who's unfamiliar with his films, this book is a light, quick read sure to entertain and provide laughs, crating a vivid and lovable image of the man known to so many as "The Prince Of Puke"

Hardy has written a meticulous and incisive book on TVZ that is sure to please TVZ fans. I have not read John Kruth's bio on TVZ so I cannot compare the two. Nevertheless, I was quite pleased with the ethos of this bio and am sure other TVZ fans will appreciate it in kind. Despite Hardy's obvious awe of Townes, "A Deeper Blue" does not come off unctuous. It never approaches hagiography, and comes fairly close to being quite objective. Moreover, the narrative methodically unravels, yet is consistently interesting. It is well-written and overall, offers a thorough and compelling portrait of TVZ. I'm glad I bought it.

To be a fan of Townes Van Zandt is to be a member of a worldwide brotherhood/sisterhood - his extraordinary songs are a source of solace, comfort and guidance to those in on the secret, those who have taken the time to apprehend and understand. His work transcends boundaries of genre, and for all their variable quality, there is something in almost every song, be it a couplet, a characteristic twist of logic, a homily that soothes, a sobering vision of the darkest side of life or a verbal shaft of sunlight for a bleak day, that pulls you up short - not just a songwriter, then, but a poet and a sage. But his extraordinary legacy came at a terrible price, a life of manic extremes that's laid out in definitive and unflinching detail in Hardy's articulate biography. Much is revealed - the unexpected scale of heroin's hold on Townes; the punishing touring schedule undertaken in his final years; the shady machinations of those who professed to have his best interests at heart - and much is implied between the lines. Hardy's analysis of individual songs is one of the book's most valuable assets, steering even the most avid fan toward a song previously overlooked, maybe, or deconstructing a familiar one to reveal hidden elements.
Don't be put off by the book's quasi-academic framework - there is none of the stuffiness commonly associated with a university press, and the copious endnotes only serve to add vital material. The photographs in the book's centre suffer from poor reproduction, and it's a shame that the budget couldn't run to art paper for them, but it's a minor quibble. In the final analysis, Hardy has seemingly written the definitive story of this extraordinary man, and no lover of Van Zandt's music can call their collection complete without this book on their shelves.

Townes Van Zandt was a cult musician with a lot of demons like mental illness and alcoholism and drug abuse. It's all catalogued here for those who care. He left a lot of recordings, but never quite achieved the kind of fame he may have deserved. I'm not sure how thoroughly this book was researched, because I know of at least one manager of Van Zandt's who is not even mentioned. Still, it's unlikely that anything better will be done for a long time.

If I had 10 or more years to do the research Hardy has done (and I could write) I would not have done better myself. I could not detect one false note or major factual error in the covering of Townes 52 years. This book is a joy to read and gives a very close account and filling in of many "missing years" that had never been shared before now. The album and song reviews are well done, and the adherence to chronology is most rewarding. Highest recommendation.

This is an excellent biography. Townes' story is assuredly a sad one but he left a legacy of unparalleled songs. I actually put off finishing the book for almost a month just because I didn't want to read the end...I already knew what happened but it didn't make reading a detailed account of his last days any easier.

I've also read the other biography out there, To Live's To Fly, and there's simply no comparison. TLTF was largely anecdotal and the author broke a key rule of biography writing by attempting to project his own importance into the story; Hardy has simply done an exhaustive amount of research and cites all of his sources. He presents the story and then steps aside, so this is the one to go with if you want a more factual recounting of Townes' life. 100% worth the price and read if you're a fan, and if you aren't it just might convert you.

I have been wanting to teach myself to sing for several years, since I can't afford voice lessons, and have tried several books on the subject. This one is by far the best. I first tried books by William Vennard and Richard Miller and found that they were meant for advanced students, not beginners. There are other books for beginners, but they aren't usually meant for classical singing, more for pop (and I find that the authors don't really seem to have much of an understanding of the human voice). I don't know how he does it, but Brown manages to make normally difficult concepts easy to understand. Part of that is because of the CD that comes with it. It helps give a better understanding of what he's trying to explain. I would highly recommend this book for anyone trying to learn how to sing classically.

While the title makes it seem as if the book is some kind of vocal therapy book for medical patients, singers rejoice, this is a thorough manual on the art and mechanics of singing.

While I would never encourage a serious singing student to learn from just a book, if you just can't afford a singing teacher, this is the book to buy! Of course, it may not catch your eye immediately. It doesn't promise you vocal prowess in just 10 easy steps. It doesn't claim to be a revolutionary new method and it does not bask in its own ill-conceived glory like so many other books out there. It is simply a book of time tested foundational knowledge on the instrument of voice.

Each chapter is concise and is backed up by many references, examples and excercises. It is beautifully written and covers all aspects of voice from breathing and posture, to what it takes to be a proffesional singer. There was not one moment in reading the book that I felt like this might have been teaching me incompletley or incorrectly.

It is expensive, but you do not expect to spend 20 dollars for a master class with Pavarotti. Likewise, do not waist 20 bucks for the self proclaiming and inferior vocal instruction books out there. Oren L. Brown knows what he is doing and knows how to articulate it. This book is a culmination of so much knowledge on voice production that I am quite certain that it will improve any broken voice seeking to be fixed.

It's no secret singing is a personal universe of mystery that somehow remains unveiled no matter teachers, discipline, technique, etc. With all other instruments you can actually SEE what's going on in the process of learning. With the voice, everything is how "you feel" about it. You can not see your vocal chords to realize you have a good or bad habit...
The secret is then how to LEARN to recognize if what you feel is right about the way you sing or not. It shouldn't be so hard; you either -for example- feel exhausted after singing an aria or whatever, or feel you can keep on singing for the rest of the day without fatigue. That should indicate something! But the problem is to be able to reproduce great singing sensations in an everyday basis. That can certainly be a lifetime challenge. This book helps pointing out towards sensations associated with freedom and flow of a natural voice; Brown is all about this, in search of a more "primal" sound, connected to the way we speak. Not everything is as simple as that, and singing, depending on the repertoire, etc, etc, needs to a certain extent, some kind of artifice beyond the speaking natural sound of our voices. But this book will put you on the right track if you have been wondering about tensions with the way your vocal production occurs. Highly recommended for connecting singing with a more mundane experience in which emotions need to be part of your singing. Great simple exercises can reveal so much, and in that respect it is a fantastic book. Highly recommended.

This book is very good. It makes the (singing) voice clear to understand. Just by simply reading this book, you will start to have wonderful insights about your own voice, which this book is all about.

Mr. Brown has written a powerfully informative book about all aspects of the voice. His book provides many interesting case studies, is very enjoyable to read, and includes factoids like "the Western and European singing style uses a low larynx." My one gripe is that the CD is not usable as a practice aid. Every exercise is demonstrated so briefly that you won't get a warm-up at all after singing along. If you don't have a piano, and you want to practice vocalizing at home with a piano recorded on a CD and exercises that methodically start on consecutive pitches, try the Jeffrey Allen book/CD set. That set includes techniques such as messa di voce, also demonstrated (more briefly) in Mr. Brown's CD.

all of the tabs are very accurate. since Petrucci helped edit it, the tabs are more accurate than what you would find on an internet tab site. if you are looking for an accurate book this is it along with any other Dream Theater book.

EXCELENTE Transcripcion
La verdad, Para mi ESTE es el Mejor Album de Dream Theater
y tenerlo en libro es lo mejor que he tenido

Se los recomiendo mucho, esta muy completo no le falta nada
Solo practicar y practicar hasta que salga la Magia :D

MaRtYn
MTY-MEX

This book is simply what it says it is. It's note for note. I often sit down and read the book while listening to this work of art. The information found in this book is awesome...take from it the licks and chord harmonies and help shape your own playing. If you want to know how to play these songs, buy this book. Its simple.

this book is correct note by note. The fact that Petrucci edited it makes it even more amazing.

Where I really learn from Dream Theater is when I read this score while the CD is playing. Because, after all, this book really is a very thorough score for the album, allowing you to watch at least two of the parts in action (guitar and voice), plus the occasional piano part written out. Since I play both piano and guitar, and sing, it's like having a partial orchestration provided for my education. And I do learn from this music. You will, too, and that can only help your own technical ability. Of course, you really need to know how to read music (and quickly, in some sections) to read the book while the CD is playing. As Petrucci says in another book, regular practice is the greatest boost to proficiency - so if you get this book, read thru it with the studio recording, and practice regularly, you will learn how to play this music. Maybe not as well, maybe not as spontaneously, but there are so many techniques here you'll gain a solid foundation for rock playing and writing. Not a bad return on your $25 investment, as long as you're willing to put in the time, too.

Not every page is going to surprise you, because there's a lot of repetition in DT's music and usually with enough subtle variation that few shortcuts can be taken and still remain faithful to the original songs. You'll see that here. You'll also see plenty of "Riffs" and "Rhythm Figures", too. Again, the trick is to see how they constructed their songs and appreciate both the repetition and the changes.

You will learn from this book, which is an excellent transcription of the guitar and voice parts, and I think you'll enjoy it every step of the way. 5 stars simply because this is such a great resource for any guitarist's education -- and it's such great music, too.

Arthur Hull hits the nail on the head with his book, Drum Circle Spirit. Without this book to use as a guide, I would feel lost!... I call it simply "REQUIRED READING" for those who care about their community and friends who wish to drum in a group setting. It empowers most anyone to begin and conduct their own drum circle. THANK YOU ARTHUR!

This book is the bottom line, the base of the pyramid. All others I have read-and I have very many-rest on it. It explains the why, the where and the how of different types of drum circles and how, when one is called upon to do so, to facilitate them so that they live and create music on their own. While there are many facilitator "tricks" and techniques, the message is always that the circle is not to serve as a platform for a facilitator performance, but that the facilitator's job is only to get the music the circle is making past places where it starts to self destruct and back into solid playing. There is a great deal of anecdotal information about how specific difficult situations were handled as well as examples of wonderful, joyful exhuberance. If you are new to drum circles, and especially if you need or want to facilitate them, this is the FIRST book you buy.

As a Christian wanting to start a church-oriented drum-circle, I was somewhat concerned that this book would be full of propaganda that would run counter to my Christian values. (Making it annoying to read at the least, and at worst, difficult to convince other Christians in my church of its value.) While some of the author's values come through (especially with references to "tithing to Rhythm Church" and the like) there's nothing in here to really offend any particular religious belief. There's no "we can heal the world with drums, just think good thoughts and good things will happen to you" message here. It's practical advice on how to bring out the best in a group of drummers.

Arthur's numerous anecdotes are entertaining and informative. They really conveyed the spirit of what Arthur does with his drum-circles.

I'm very anxious to get started applying what I've learned (and will continue to learn) from this book, and it has convinced me to attend one of Arthur Hull's Facilitator Playshops. Arthur's teaching in the book is very clear, presented in small, easily-digested steps, and most of all, very encouraging. The whole book shouts, "You can do this, it isn't that hard!"

I've very pleased that Arthur has taken the time to share his hard-earned wisdom with the rest of us. If you're wanting to start a drum-circle, work with kids through rhythm, or any such activity, you can't afford not to own this book.

This book and CD set has wonderful examples of drum circle games and exercises. He and his facilitators also share their drum stories and let us know how fun it can be to be an "Arthurian" facilitator! Get a bunch of friends together and PRACTICE these games!(It REALLY comes to life after attending one of Arthur's facilitator playshops!!!)

This guy is a modern Trickster! At first you wonder, is this guy a joke? Then as you read more, you realize, yes he is, thank god! But be aware; this is a book about building community; if you want a book about drumming, look to Mickey Hart.

O what have I read this book (over and over again) and I like it a lot. The full content is exciting from start till end. Moreover it is a remarkable book and must be read throughout the church. The New Testament is prominent over the Old Testament (there must be more books of the prophets attached). But our writer is deeper into the New than into the Old Testament. That does not take away the deepness of the content. I hope that we as postmodern people, uses the content as it is meant. Thank you Dr. Peterson.

I agree with the reviews that say this is a careful biblical study of what constituted worship amongst OT and NT communities, and what new insight and emphasis Christianity brought. The unexpected answer - that, very broadly, it is in the loving interaction between the individuals of the Body, rings true, and from a personal point of view, cleared up many of the questions I had about those times when "worship leading" seems rather a shallow, simplistic reponse from someone who claims to want to see God's kingdom come on earth.

I enjoyed Engaging With God because it was different than any other book or discussion of worship I have ever read or heard. It went straight to the bible to address the deep questions about worship that most books and people do not discuss. Starting with the Old Testament and moving right through to the end of the New Testament Peterson interacted with worship in the Old Covenant, reverence for God, and New Testament teaching by Jesus and about Him as fulfillment of Old Covenant shadows. He laid out a solid framework from which to answer the controversial but surface questions the modern Church is asking about what to do in church services and what not to do. He also stressed that the object of worship is to engage with God on a relational level that permeates all of life. Finally, a biblical analysis rather than a argument based on opinion and preference.

This text is written so that all may understand and yet provides indepth notes for those who would like to take their studies deeper. It is extremely informative concerning both the Old and New Testament usages in both Greek and Hebrew.

Introduction

As the principal of Oak Hill Theological College in London, England for the past 11 years, David Peterson has been a significant vessel that God has used to elevate that seminary to be one of the largest in the United Kingdom and in the Church of England. Only recently succeeded by Michael Ovey as Principal, Peterson has shown himself to be an astute interpreter of the biblical text, being formerly a lecturer in New Testament at Moore College in Sydney, Australia. As such, it is no wonder why Engaging With God is another first-rate example of Peterson's careful exegesis and gospel-centered hermeneutic.

Subtitled A Biblical Theology of Worship, Peterson's Engaging With God is the author's attempt at a biblical theology of worship that is evangelical and generally free from denominational bias. Students of biblical worship would be happy to see an extensive exegetical volume finally released, as Peterson provides a full-orbed examination of what worship is according to the whole counsel of God and the entirety of Scripture - both the Old and New Testament.

Summary

In his introduction, Peterson establishes the nature of Christian worship as "an engagement with [God] on the terms that he proposes and in the way the he alone makes possible" (20). The rest of the book is hence an explanation of `engaging with God' as an idea that is found in the totality of Scripture. With this purpose in mind, Peterson thus begins careful exegesis of the Old (in chapters 1-2) and New Testament (in chapters 3-9) to provide the foundation for his thesis.

The groundwork for his biblical worship theology is provided in the first two chapters, where Peterson examines engagement with God from the Old Testament. The ark, tabernacle and temple are shown to be the God-ordained, God-initiated means for Israel to acknowledge and live in relation to the royal and holy presence of God. Worship in Old Testament has its emphasis on God's self-revelation: God makes it possible for His covenant people to worship Him by the cultic observance of the sacrificial system. Through a detailed look at various important worship sections in Exodus, Leviticus and Deuteronomy, Peterson finds that it is only by "God's provision through the cult the covenant relationship could be maintained" (49).

Further, the author establishes that honoring, serving and respecting God are encompassed by adoration as an expression of awe and grateful submission to the LORD (73). While this includes the physical acts of bending/bowing down or falling down before God that hinted at by the Greek word proskynein or the Hebrew histahawa (57), expressing homage according to the Old Testament is not merely bending over at the waist. It further includes awe and submission that is motivated by gratitude, and so it is also a matter of heart-worship, thanksgiving that inevitably leads God's people to serve Him (64-70). While the obedience to God's demands in cultic activity enabled Israel to express reverence to God, Peterson concedes that "fear of God in the more positive sense of reverence and respect is regularly on view" (71) - by walking faithful in God's ways and in keeping His commands.

In Chapter 3, Peterson turns from the Old Testament to the new, beginning with an analysis of how Jesus is the fulfillment of the Old Testament temple. Through an analysis of the Gospel according to Matthew and John, Peterson concedes that it is in the person of Jesus Christ that God's presence and glory is fully and finally experienced, and further, that Judaism finds its destined end of worship in Christ himself. Jesus Himself transferred the significance of the temple from Jerusalem to another entity -- not in the messianic community, but primarily in his own person and work. Christ replaces the temple as the wellspring of life and renewal for all the world, as Jesus Himself is the eschatological destination to which all nations journey to for worship. "The divine presence is no longer bound up in the temple, but the Word who was with God `in the beginning' and who in fact `was God' " (93).

In terms of being the fulfillment of the old covenant, Peterson argues that Jesus preached "a new centre for Israel, in himself and the salvation he proclaimed, rather than in the synagogue, the temple, the law or the inherited customs of his people" (112-113). Being the fulfillment of Jeremiah 31:31-34, Jesus fulfilled and transcended the Mosaic Law in his perfectly righteous life. For Jesus is shown to exalt Himself as the new standard of what does or doesn't constitute defilement (114), and as the new authority for the determination of acceptable Sabbath behavior (116). In the sacrificial service to God and His people, Jesus gave us the "final and perfect expression of uncompromising worship" (129) through the offering of Himself by dying on the cross for man's sins. By the means of the shedding of His blood, Christ inaugurated the new covenant, and thus replaced and fulfilled the sacrificial system of the old covenant.

Having argued for Jesus' as the fulfillment of the temple and the old covenant, Peterson then examines the community of apostles in Acts to show how the Christian life and ministry should be viewed as an expression of service to God. Unable to immediately disassociate themselves from the temple, the early apostles and Christians still saw the temple as a place for revelation and a place of public prayer (138), and consequently, also as a place where they experienced opposition and unrest (139) from those opposed to the gospel of Jesus Christ. The character and function of early Christian gatherings focused around apostolic teaching/preaching, as well as in the fellowship (Greek koinonia) of believers who eat together and pray and praise God together. The Christian community life thus can be a function of worship.

Through an analysis of Paul's underlying worship theology, Peterson advocates for the consecrated Christian life and gospel ministry as specific expressions of Christian worship. "Missionary preaching and the establishment of churches in the truths of the gospel can be described as fulfilling a God-given `liturgy' or service to the churches" (182). Supporting his theology of worship with a careful examination of Philippians, Peterson beautifully portrays the inseparability of sacrifice, faith and the Spirit - for worship by the Spirit is synonymous to faith in Jesus' crucifixion and the salvific implications of his death (187). In a further analysis of the Corinthian church, Peterson explains that worship the gathered church meets in order to participate in edification (195-197). During those times when a prophetic word and the word of Christ dwells in the midst of believers, and during times when thanksgiving, prayer and praise are shared together, the assembled church thus can "meet with God when we meet with one another" (198). As a result, ministries that are genuinely used for the benefit of others while purposed for the glory of God can actually be an expression of worship.

Through a detailed overview of the book of Hebrews - the one book of the New Testament that provides a thorough and integrative worship theology - Peterson analyses of key `worship' chapters within Hebrews, and argues for Christ as essentially the typology of all the Old Testament themes and symbols as previously discussed. Worshipping Jesus means worshipping Him as the High Priest, synagogue, temple, and sacrifice at one and the same time (228-230; 232-237). Under the new covenant, drawing near to God as an expression of worship is both congregational and personal to the Christian's daily experience (237-246), and service that aims to please God is foremost obedience through Christ our mediator (230-232). Concluding with synopsis of Revelation, Peterson portrays worship in the new covenant community as in taking a stand against paganism by bearing faithful witness to the truth of the gospel (265) and in the singing of God's praise (278).

Critical Evaluation

Engaging with God may not be an easy read for the regular layperson or the theologically untrained worship leader looking to get a biblical perspective on what worship is. The attention to exegetical detail is evident in Peterson's analysis of worship terminology in the original Greek and Hebrew, providing for the reader plenty of transliterated terms in his presentation. While most of the text-critical arguments are moved to the endnotes, the author's interpretive arguments for his thesis are included in the book's body and supported by careful study of worship terminology in its original biblical context. Such an exegetical method may be put off as unimportant for those unfamiliar with it, but those who are at least a little familiar with basic Bible interpretation methods would benefit significantly from Peterson's heavy-duty text work. A prime example of this is in his differentiation between worship as physical homage and worship in the general, abstract sense: "When other verbs denoting bowing or kneeling are absent from context and there are no other indicators of physical movement, the more general and abstract sense of `worship' may be understood" (61).

Having provided a lengthy and thorough biblical analysis, Peterson's work distinguishes itself in at least two areas. First, he demonstrates that there is tremendous meaning for today's church when we see Jesus as the new temple - most notably in the need for gospel-centered preaching. Christian teaching and preaching must center on the person and work of Jesus Christ in order to be biblical in its content and its aim, especially in terms of evangelism (102) and in the building of the Messiah's church (207). As Peterson proclaims in his summary chapter, "Throughout Scripture, the word of God is fundamental to a genuine engagement with him" (286).

Secondly, Peterson demonstrates that the church gathers in corporate worship to build each other up - for mutual edification, and not just `to worship' as some would argue. While Peterson does show the "central importance of the concept of edification for the meeting of God's people" in Paul's teaching (196), Hebrews is his chief support of this argument (247-250). As an expression of worship, Peterson convincingly argues that the mutual up building between Christians is purposed to help each other persevere in the faith and grow in spiritual maturity in light of the apostasy that a believer can possibly fall into. With this unique emphasis on the care that the church congregation should have for each other, it is no wonder why the divinely inspired writer of the book of Hebrews exhorts us to not forsake the local gathering of believers as some professing Christians do. This argument by itself sets Peterson's work exceptionally distinctive.

Conclusion

Peterson addresses central themes and expressions of worship throughout the Bible, each one of them supporting his thesis that worship is unquestionably engagement with God in terms He sets and ways He permits. Although this biblical theology on worship is extensive in its biblical exposition, it is a worthwhile read that will challenge the reader to examine his or her worship theology to see whether it conforms to the biblical text. While much of recent worship literature examine the English term worship, Peterson's book fills the gap with a succinct, biblical theology of Christian worship that can be warmly accepted by churches of any evangelical denomination.

This moving play presents Jewish life in Tsarist Russia circa 1905. It's the story of dairyman Tevye and his family in the fictional village Anatevka. Tevye is a hard-worker who clings to his faith and traditions, and dreams of riches he'll never see. He believes he'll soon need the matchmaker to marry off his older daughters - but they soon force their more modern ideas about romance on their unhappy father. Tevye must also deal with a changing world and life in a nation with anti-Jewish hostility. The powerful script and song lyrics give readers the feel of Jewish life in Eastern Europe a century ago. Many Jews back then (like my great-grandfather) were leaving for a better chance in the USA or elsewhere; many that remained were later massacred by Hitler.

This musical opened on Broadway in 1964 with Zero Mostel in the title role; it ran over ten years with a then-record 3,242 performances. Adapted from the tales of Yiddish writer Sholom Alecheim (1859-1916), FIDDLER is a powerful tale of family, tradition, humor and sadness.

The book is in great shape, and it cost $ .02 + $ 3.99 shipping--altogether just over $ 4.00 for a book I needed quickly for a writing assignment. That's unbelievably cheap for a script of a great musical show with photos of the original Broadway production. I had the book within 5 days of ordering. Hippo Books has my vote for best internet seller I've ever encountered!

Though it differs slightly from the production script this version is very well done with excellent photos.

Reading "Fiddler on the Roof" is not the same as the experience of seeing it performed. In print, the story falls as flat as the pages. With so many characters the reader may have trouble decoding what is happening to who.

"Fiddler ..." is a wonderful story that captures Jewish life in pre-World War II Russia as well as any book. With humor, the reader sees the world through the eyes of a man with five daughters that need husbands. As each daughter gets hitched, a new wrinkle to the story is added. But the story ends on a sad and ambigious note as the family is forced from their land because of "... trouble in the world". With this, the very tradition on which the story is based is shattered.

Wonderful! It's the full script not a novel. It includes some wonderful pictures from the original production.

The text is written in modern English which is easier to read and comprehend than some of those ancient scrolls translated from german or some other archaic language. In addition to the information of technique and method, I especially enjoyed the lengthy resource lists for rated (according to level of difficulty)musical compositions for flute.

The book is dictionary-like in terms of weight and feel. The pages are filled with well-written standard type font. I mention this because I have become weary of those pamphlet-thick 'modern music method books' and their clip-art laden, nearly empty pages that are too often mass produced and marketed as an only source of published information.

The author also addresses, in great detail, some of the well and lesser known flute debates(such as the flutest/flautist conflict), the history of flute (with photos from the Dayton C. Miller flute museum/collection, where the author is also the currator), development and changes, and those other topics and issues some(those only superficially dedicated to the wonders of flute) might consider trivial.

I originally borrowed this book from the library. I have since added this title as a must have for my personal music book collection. If you are looking for a recently written, detailed, modern exploration of the flute, by an accomplished authority, this publication is a smart choice!

Nancy Toff has left nothing out of this grand book -- the history, anatomy, selection, and care of the flute in its popular and more esoteric forms; an extensive discussion on the development of not only classical and modern technique, but also personal style; building a repertoire and creating or finding performance opportunities; the history of flute music, and authoritative suggestions for building a sheet and recorded music library; countless charts and reference materials -- all has been included that a flute player, whether amateur or professional, student or teacher, could and would want to know and reference in the course of their playing career. And if one happens to find anything not included, I feel confident that Ms. Toff would personally see to correcting the matter immediately. An absolute must; look no further, oh wearied flutists (as Ms. Toff insists you are to be called, and not flautists, based on a well-researched etymological conclusion), for your redemption is at hand.

Nancy Toff does an exceptional job with this complete and well-rounded reference book for books. Any information that one could hope for about playing the instrument, buying the instrument, or listening to the instrument is included. The author also does well to give many perspectives on many flute issues, reasoning them out for the reader. The second half of the book on the history of many composers is exhaustive and complete. The catalog of repertoire pieces in a table format with available publishers is invaluable for any performer. Really a must own.

I borrowed this book from the library. I love the pictures of different flutes of different era. You can see how flute evolved through hundreds of years. Truly amazing.

I find this book absolutely helpful but I just want to say that what a pity that only paperback is available. It would be nice to have hardback version..

A very intimate portrait of Francis Albert, giving us a different perspective of his begginings through photos as provided by his family, creates a more human appreciation of the greatest pop singer of our generation. A must for Sinatra fans and collectors.

Being an avid Frank Sinatra fan, this book had some great pictures I have never seen. I recommend to any Sinatra fan.

My dad is a big fan and already has lots of books so I was afraid this might not appreciated. But he loved it. He thought that it was a copy of photos in a real family album.

Excellent book by Charles Pignone, noted Sinatraphile. Charles does a fabulous job in putting together this great family albulm of great photos and remarks, this is a must have book for all Sinatra fans and collectors.
Frank Sinatra is and will always be the greatest singer in the world and this book shows you a little bit of how he got there over the years in pictures. Awesome.

He's one of the true icons of the entertainment industry as well as one of the most renowned stars ever. Ol' Blue Eyes...Frank Sinatra. His name is still synonymous with stardom. Sinatra is one of those stars who will never fade away. It's not just that he left an enormous body of work in music, film, and television when he passed away, lots of stars did that. But Sinatra has something only a handful of celebrities had, true charisma and a certain aura to him. It's what separates Sinatra and others like Marilyn Monroe and Elvis, from the pack.

With Christmas fast approaching, Little Brown & Co., has released a book that is sure to be a hit this holiday season. Frank Sinatra: The Family Album is a glimpse into the personal life of this legendary performer. As the title implies, this book is photo album of Sinatra's life. His family has graciously supplied most of the photos in the book, a gift to his legions of fans. The book contains over 100 color and black & white photos, tracing his life and career every step of the way. Writer Charles Pignone provides the informative captions as well lively anecdotes that include comments from Sinatra himself as well as various friends and family members, all sharing their memories of Frank.

What must assuredly be the most rare Sinatra picture shows as an infant, lying naked on a blanket, and even at that age, the eyes were already striking. We see Frank as a kid on the streets of Hoboken, New Jersey, riding his bike and also visiting the beach with friends along the Jersey shore. My only regret is that we didn't get to see Frank more as a child and the album quickly moves into young adulthood with his marriage to Nancy in 1939. The happy couple are shown walking down the steps of Our Lady of Sorrows Church in Jersey City. It's evident that Frank and Nancy were deeply in love as evidenced by the joyful photos. Nancy notes that in those early days they were together 24 hours a day as Frank traveled from show to show for his blossoming career. There's also lots of pictures of Frank and his children having many fun times together.

Much of the book is focused on Frank's careers from his days as a big band crooner and later with his film and television career. Frank is shown at lavish parties with a who's who of Hollywood including Jackie Gleason, Milton Berle, Jack Benny, Tony Curtis, Dean Martin, and many more. Frank's life truly lived up to the type of a legendary star! Oddly though, there were no pictures of the Rat Pack together as one might have thought.

The book comes full circle as an older Sinatra becomes a Grandpa. Frank's status as a true family man is cemented as he plays with his granddaughters Angela and Amanda, building snowmen, sledding, and hanging out in the swimming pool. Amanda reveals that Frank was a big fan of the "Jeopardy" TV show. A star to the very end, this book presents a unique and personal look into the life of one of the 20th century's greatest stars. A fantastic tribute to Ol' Blue Eyes!

REVIEWED BY TIM JANSON

If you're looking for an art piece, this is the book for you. I was hoping for a little more instruction. It is a beautiful book and I would probably buy it anyway even if I had known how little practical knowledge is actually offered. Most of the instruments could probably be figured out by a fairly competent ceramist, but a beginner would be completely lost.

I was disappointed not to be given cross-section diagrams of some of the wind instruments; I would have liked some more and more specific technical info on creating a clay xylophone and/or marimba; I'd like to know more about stretching drum heads and stringing/playing the bowed instruments and harps. That said, I can probably figure it out, but that's why I bought this book. To help me figure it out.

Conversely, in the section in which Hall does give step by step procedures, he includes simple steps that even the 6-year-olds in my pottery classes know how to do. Nothing about firing techniques or the rest of the stuff ceramists seem to feel obligated to include in a book written for beginners, though, for which I am grateful. Any beginning potter needs a general instruction text (or a good class), so I'm not sure why specialty authors feel it necessary to include basic steps and then, for want of space, leave out stuff you'd really like to know.

Sorry for whining so much. I really love the book and have been reading it word for word (some of it is pretty silly kind of psycho-babble, so you've been warned) to glean every bit of info. It's spangled with little stars of knowledge and I don't want to miss any of them.

As others have said, this isn't really a studio book. It's too nice, and hasn't got all that much practical information anyway, unless you've never made an ocarina or can't figure out on your own how to make a goblet drum. (Thanks for the instructions on fitting the head, though.) It will give you loads of inspiration, and if you understand the different ways of making a sound, which are really explained quite adequately, you'll be able to figure out at least a rudimentary model of most of the instruments shown.

I'm facinated by ceramic music and this book had instruments that I didn't know existed. It is well written and very informative. I also enjoyed listening to the music CD. If you're into ceramics, this book is a good buy!

Love the book and the cd. If you like making musical instruments out of clay or want to learn about them. This is your "must have" book!

I first made my purchase because I had a couple of my photos included in the book. But when I opened it up, it took my breath away! Not only are the photos well done and well laid out, but there is historical information about clay instruments, as well as information about currently made clay instruments. There are also pages of 'how to' for those so inclined. There is information about various artists. I thought it was of such value that I have purchased a copy for the Bethany College Art Department's ceramic instructor. There is a wealth of knowledge in this one book! I highly recommend owning one! Kudo's to Barry Hall!

This book is to own. It's at home in the studio, on the coffee table or in the historian's library. It's well written,informative (with some how make ceramic instrument techniques), exhaustivly researched with magnificient photographs of clay instruments, both ancient and new, of every type. I would never loan my copy for fear of not seeing it again.