Suzuki Books

The co-founder and director at The Suzuki Pre-School in New York shares her experiences with teaching the Suzuki Method to preschoolers, not just in music, but in all areas of education. There are numerous references and ideas that any parent of a child under the age of 6 can use to develop their little one's mind. This book is awesome because it proves that the most important educational years are those before formal school begins. I highly recommend this book.

Tessa Morris-Suzuki offers a overview of recent scholarship regarding changing Japanese notions of nation, culture, race, gender, civilization and citizenship, with a particular and distinctive emphasis on the spatial and temporal dimensions of these concepts. Her writing is lucid and nuanced, and her treatment of these topics is both accessible to a general audience and of interest to specialists in the field.

I saw All ringus and read the manga! In this thrilling prequel to Ring, young Sadako Yamayura becomes an actress, in hopes of escaping the nightmares of her past. She then discovers that her acting career Is not what it seems. She then starts to show all her powers and what she can do. It even shows when she dies!! and where else will you find the best view of Sadako?? Well then buy this book!!!

The Sacred Balance: Rediscovering Our Place In Nature by David Suzuki offers a conceptual understanding of the human condition and an ecologically sustainable, satisfying and honorable way of life in the world enveloping us all in this day and age. Providing readers with a complete grasp of nature and its most fulfilling values, The Sacred Balance intuitively presents a new direction with which one might rightfully prosper in balance with nature and one's surroundings. As a unique and concise interpretive understanding of nature and each individual's placement amidst an ever-growing and progressing nature, The Sacred Balance is very strongly recommended as a life changing, life enhancing read.

David Suzuki, this generation's John Muir, introduces children to a vital part of life in the Pacific Northwest, the salmon cycle. In the story, a wise father takes his daughter on a fishing trip, telling her that she will become part of the Salmon Story. Patiently allowing her to observe life and ask questions about what she sees, he gently presents many interesting facts without boring readers. The introduction to First Nations ("Indian") customs is especially effective in presenting this way of life as well-adapted to natural cycles. And making the final point: "we're all part of the same story", clearly presents David Suzuki's life work.

This is the last text written by the Japanese born scholar/meditator D.T. Suzuki, arguably the most instrumental person in introducing Zen to the U.S., prior to the great meditation masters Shenryu Suzuki and Joshu Sazaki. The book is much less intellectual than other of D.T. Suzuki's works, focusing more on issues of meditation practice through the paintings of Sengai, an eighteenth century zen painter/poet who was ahead of his thime in abstraction even by 19th and 20th century European standards.

Originally published in 1906, this book is still one of the best introductions to Zen Buddhism. Soyen Shaku gave these lectures in the U.S. during 1905 and 1906, with translations by D.T. Suzuki. These lectures make Zen understandable and approachable for readers coming from a cultural background based on Christianity. In particular, the chapter "Reply to a Christian Critic" bridges these religions. It is a letter from Soyen Shaku in response to Dr. John Barrows' 1896 lecture on Buddhism at Chicago University. This book was also published as "Zen for Americans," and was printed in paperback under both titles. It has been used as a textbook on the subject for university courses, so it is somewhat available. The book ranges from the basic introduction to the somewhat technical and esoteric discussion of "The Sutra of Forty-two Chapters." Overall, the book is direct and straightforward without over-simplification, and I give it the highest recommendation.

In the introduction, Hiroyuki Suzuki regarded Endo as a true Japanese avant-garde architect unlike any others: "Endo's works are unrelated to [Western architecture]. He uses steel with a freedom that has cut its ties with all tradition." According to Suzuki, this is a breakthrough because modernism in Japan is largely founded on the tradition from western countries; and most modern Japanese architects are its followers, not inventors. But what makes Endo different? The answer lies in his own article included in the book.

The book is titled "Paramodern Architecture". What does it mean? Termed by Endo himself, paramodern architecture refers to a specific architectural structure featuring "continous surfaces or strips that form the outer shell, floors and roofing, in their continuity partly sharing and shaping the complete building they define". Endo's Springtecture H (see one of the pictures I uploaded) and Rooftecture S are good examples of this paramodern philosophy.

Like the assoication between Shigeru Ban and paper architecture, the name of Shuhei Endo is closely related to corrugated sheet steel. Actually, he used this material in most of his works. But Endo's contribution to architecture is not the material (which has been used in construction for a long long time) but how he uses it--the partial sharing idea embedded in his overarching phisolophy of paramodern architecture.

Back to the question, what makes Endo different from all other western modernism followers is the origin of his paramodern architecture. In this article, Endo explained that the partial sharing and the concept of continous surface stem from his Japanese culture. He used the calligraphy example to show the connection between cursive script and his buildings. Put differently, the core of his paramodern architecture is the unique cultural aesthetics rooted in the Japanese history. We can say that though the appearance of his works seems very modern and western, the soul is really indigenous to Japan. Interestingly, from his bio, we know that Endo was completely trained in Japan.

This great book included Endo's 32 projects which form a coherent presentation of his paramodern architecture (featuring multiple series such as springtecture, rooftecture, halftecture, skintecture etc.)

Japanese people are famous for creating their own version of western culture. But Endo is beyond this. He has been creating a western version of Japanese culture. Architects like Endo are not only experts in manipulating spaces, but great thinkers!

P.S. Interested readers can find more information on Endo's complete works and latest news on his website at www.paramodern.com

This book contains a mixture of natural history, folklore, and slices of daily life in early 19th century Yazawa province. It contains many small stories, some of which cover only one page, on topics such as the life cycle of salmon, asbestos, the shapes of snowflakes, and snowball contests. Very few of the topics sound exciting, but four things keep the book interesting. First, Suzuki Bokushi is a good writer and could make nearly anything worth reading. Second, the stories are two hundred years old and told by a very clever man from the hinterlands of Japan. This puts a twist on many topics. For example, I had never thought (or even wanted to think) about what people in the early 1800s knew about asbestos, but I enjoyed the page and a half on the topic. Third, most of the topics are kept short enough that, in the unlikely case that you truly don't care about something like techniques for catching salmon, you only have to turn the page. Finally, the book includes a number of Bokushi's drawings. Like the stories, these cover a wide range of topics, but they are all very pretty.

Snow Country Tales gives its readers a wonderful view of life in a part of Japan that is probably new even to those who know about Japan. I have purchased three copies of this book. The first one is mine, the second was for my fiancee, and the third was for my mother. I had to get one for her so she would return my copy.

This fascinating series of tutor books is closely based on the Suzuki Violin Method. The teaching material in volumes 1 a and 1 b roughly mirrors the content of the first Suzuki book, with preparatory exercises for learning the tunes.
I liked the useful advice for teachers and parents, such as the ten most important steps when learning a new piece, the tips on practising with a sample practice plan and the descriptions of some effective technical exercises, which all looked great fun. Parents are involved right from the start, with clear instructions on how they should take part in the learning process.
The quality of the CD performances is good, with some interesting sound effects and drum rhythms that are sure to engage younger players.
Children aged five and upwards will enjoy playing this material and many teachers will be interested in this exposition of the Suzuki principles.


JAN DOBBINS