This is an excellent guidebook for practitioners. It includes a well-written chapter on the collaborative approach to assessing families and giving feedback. It also describes skills and strategies to help parents learn to handle their children more effectively. The authors have not only shown this approach is effective for aggressive and disruptive children, they have also pioneered the adaptation of the approach to anxious children as well as children with medical problems. For another good book, see Webster-Stratton & Hebert (1994): Troubled Families Problem Children: Working with Parents, a Collaborative Approach.

This book is for practice traditional counterpiont. It contains "neuralization" concept that are not appear in other text. Sheonberg suggest systemic practice method that is efficient.

Arnold Schoenberg shows his genius when it comes to music in this book. He speaks formaly of style and idea in music. He talks about ways to compose music, which makes this book a must for any music student. He also speaks about individual composers, and what he thinks of them. I wont say more, because there is just so much knowledge in this book. I will say, that if you have interest in music, composing particularly, buy this book. It is an investment that will pay off for a lifetime.

Arnold Schoemberg clearly demonstrates, through examples taken from baroque, classical and romantical pieces, the stuctural aspect of music; its small units, such as subjects, themes and phrases are explained in rich detail; the musical forms, like the minuet, rondo and sonata are also shown in full detail, allowing every music student to make contact with basic and advanced composition techniques. However, this is not for begginers, since advanced theory and harmony is required for full understanding. Like Schoemberg's "Theory of Harmony", this book doesn't contain material on twelve-tone composition and its specific forms, unfortunately.

This is an excellent book for musicians interested in dabbling in composition. It defines the basic terminology frequently used in composition and discusses the common forms: scherzo, theme and variations, rondo, and sonata-allegro. One of the most important things about this book is probably that it does not focus upon the theoretical aspect of music at all. Experience in harmonic structure is not necessary to read this book, although ability to read music is. Most examples are excerpts from common pre-20th century composers such as Bach, Haydn, Mozart, Beethoven, Brahms, etc. This book is an essential to any musician's library. Even performers can benefit by understanding the forms common in standard repertoire. However, for someone specifically looking for information about harmonic theory, this book provides very little useful information.