Music Books

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.

the best book ive ever read. it has some amazing unknown facts about moonies life. like his involvement with marylon worshipers.(trust me he wasnt one)

My copy is called "Moon the Loon." It's one of the funniest books I've ever read. Totally unique. It is just a collection of stories about Keith Moon that do justice to his genius. I have lent my copy to at least 12 people (most of whom have never heard of Keith Moon) and they all thoroughly enjoyed it. When I went to London I tried to contact Peter Butler to compliment him on his fine work - but there are too many Peter Butlers living in London!

I found this book in the late 1980's, when I was really discovering the Who and figuring out what they all meant to rock n' roll and its history.

My real awakening was the film "The Kids Are Alright," and after that finding this book, written by Peter "Dougal" Butler, Moon's longtime "man," or personal assistant.

Butler's rollicking tale of ten-plus years with the madman of rock is a sometimes nasty one, following his string of practical jokes, endless escapades and occasionally spotlighting his musical prowess.

But it really mostly is the relationship Butler established with Moon, and some of the insights that later came out about Moon's personality, and what may have been wrong with him.

Butler notes that Moon sometimes would get into a state where he just could not discern the real world from the false. Case in point his work on the film "That'll Be The Day," where he plays a drummer. The star of the film is David Essex ("Rock On"), and Moon is unable to handle it. His dive into a mental pool of despair and thinking the whole affair is real is pathetic...and as Butler notes sometimes you just don't have a straight jacket available when you really need one.

Butler notes the problems in Moon's relationships with his wife Kim as well as Annette Walter-Lax, whom Moon had said he intended to marry toward the end of his life. Moon's friends, if ever he had close ones include Ringo Starr and Harry Nilsson, as well as Vivian Stanshall of the Bonzos.

One problem I have is finding that Butler seems to have placed himself at events that he was not present for. He also I think in retrospect put too much emphasis on the zaniness without really getting deeper into the causes, etc.

But perhaps he just didn't know; Butler was no psychiatrist.

He also skips over certain pivotal moments in Moon's life; the accidental death of his close friend and driver Neil Boland (though in fairness, Butler was not present for that) and his longtime fling with groupie extraordinaire Pamela Des Barres (who has her own insights on Keith).

Either way, some interesting and funny photos, some intriguing stories and a sad, but truthful ending that pretty much says the only thing that really happened was that Moon up and died.

Nobody lived his life like Keith Moon. Those who knew him were astounded at his all consuming passion to get everything possible out of life. Dougal Butler has written, in a unique and incredibly humorous way, the best book I've yet read about the life and incredible times of Keith Moon. Don't miss this one. I wish I could give it more than 5 stars.

It's too bad this book is out of print, because these are the adventures (many very funny but in the end very sad) of one the greatest (if not THE greatest) drummers of all time. And besides that, it's written by a guy who knew Moonie and witnessed his antics 1st hand. I wish the guy who's trying to make a screenplay the best of luck. The next step after consulting Butler is to get permission from the Who to use their songs. To close this review, I'd like to paraphrase the last sentence in the book, "Keith Moon ups and [very] well dies."

For my recent compilation of pilgrimage quotations ("Ultreia! Onward! Progress of the Pilgrim") I read all 40 or so contemporary English journal accounts available about the various routes. Egan's is clearly within the first grouping of 8 or so best such books (i.e. largely those written by established authors and/or academics). Coming from Harvard's Div School just a few hundred meters from where I work, Egan's book is really one of the handful of best ones that attempts to break free (somewhat successfully here) of the linear (and often dead boring) narratives that characterize many such pilgrimage accounts, as she engages in the sort of inner pilgrimage that makes such journeys worthwhile. And she can certainly pen prose; i.e. I used 11 very nice quotations of hers in the review volume Ultreia! Onward!.

Rebeccasreads highly recommends FUMBLING as an outstanding account of the pilgrimage of a 25 year old divinity student carrying a heavy load of guilt, grief & self-loathing.

Salted in the stories of her trials on the trail, Kerry Egan offers the history of the pilgrimage from the French Pyrenees to Santiago de Compostela in Spain, giving us visions of a fable land, as well as how the journey cracked her open so that she could heal from her raw & unrecognized emotions.

Kerry Egan, back in 1999, was one angry woman. How Alex, her boyfriend, stays with her, is her compass when she's lost, bearing the brunt of her impressive rage & hopeless longing, is just as exciting as how she stumbles across the land upon which others have trod for thousands of years.

If pilgrimages fascinate you, then FUMBLING offers both the reason & the value of taking that first step on the journey to healing.

Fumbling is the best book I have read this year. It provides a personal perspective into Ms. Egan's pilgrimage while offering insight into the history and psychology of engaging on a pilgrimage.

The book is written is short chapters that make it easy to read in moments stolen from a hectic schedule. There were times when my eyes filled with tears and others when I laughed out loud while reading this book.

I think I'll read it again.

No table of contents, no index, I just had to dive in, but by the end of the first page the imagery of the words had captured me. An excerpt from the second paragraph:

"I knelt in the back of the church, my forehead on the top lip of the smooth, varnished pew in front of me. The wood was hard against my forehead, . . . .I'd been crying for a long time . . . ."

This is a story of pilgrimage, grieving and transformation, but not a daily journal. There are thirty one numbered episodes, sometimes causing a page break, sometimes just a break in the middle of the page. At a higher level the book is organized into parts, starting with Part 1 Fumbling, Part 2 Walking . . . and so on.

The episodes are a series of vignettes of the Camino experience. They are roughly sequential, but any one of them could stand alone as an essay, for example in a newspaper column. They all will bring back memories and tug the heart of anyone who has walked the Camino de Santiago.

This is a book you can read for pleasure, but certainly one you will want to read after making the journey.

Whether you're reading this on a train or on your back porch during a snow storm, be prepared for an extraodinary journey through northern Spain in the summer. For those of you planning to travel the Camino, Egan describes with vivid detail the scenary(especially the wheat), the people, and everything you'd want to know that they don't tell you in a guide book. It is of course much more than a physical journey, and as you travel with Egan it is as though you are taking a trip through yourself, only this time with a witty, insightful, and adventurous tour guide who doesn't stick to the path.