Jungian Sandplay is a valuable contribution to the sandplay therapy literature. It is a very readable book and accesible to both the beginner and the experienced psychotherapist. Ryce-Menunin describes sandplay therapy while also sharing with the reader his opinions and clinical experience. The author does not limit himself to Jungian references. Quotes from Jung and Winnicott help bridge analytic and psychoanalytic perspectives in service of healing and development. This one hundred and twenty page book focuses on what is essential. Through word and image Ryce-Menuhin shows the reader how this non-verbal technique "can help patients express beyond words and before words the deepest archetypal images projected from the unconscious." Ryce-Menuhin surprises the reader by starting the book with an account of his first experience with sandplay. He tells that he was a depressed analysand when he "reluctantly entered the sandplay room and made the first sandplay with painstaking effort." The author also closes the book with a personal experience. The inclusion of this personal material helps the reader locate the author in the context of the short history of Sandplay. The second and third chapters are informative and I find them to be a good teaching resource. At the heart of the book are four case studies accompanied by thirty-three color photographs of sandplay scenes. The Story of Agnes describes the case of an adolescent girl who entered puberty when her parents divorced. Marie's case is about a woman grieving her sister's death. The Story of Clive is about a man with a history of traumatic childhood ego damage. The third section of the book includes the author's "controversial theory of the psyche as it maps into the sand." Diagrams of these "mappings" illustrate the author's findings. Through this theoretically and clinically sophisticated book, Ryce-Menuhin has made a valuable contribution to the study and clinical practice of sandplay therapy.

Freeman encourages readers to experience meditation as a transformative process linked to the heart of the Christian message and to spiritual truth wherever it is found. Short chapters are good food for meditation sessions.

James Holland's Percussion is a terrific book, full of important and accurate information from the former principal percussionist of the BBC and London Symphony Orchestras. Holland shares his first-hand knowledge generously, and there are many references to important aspects of the percussion musical literature. It is extremely useful to percussionists, composers, and arrangers; and much of the material is written in a style accessible enough for interested non-musicians.

The book is divided into sections describing the various percussion instruments, (arranged as follows: an extensive section on Timpani with history and a chapter on the student timpanist, a very complete list with a few paragraphs on each of the "general"--non-pitched--percussion instruments, a somewhat lengthier review of keyboard percussion and mallet technique), a chapter on stands and accessories, and a final section, "In Performance", dealing with the percussion section and the use of percussion in Chamber Music and as a solo instrument. A valuable appendix on "Percussion Pleas" is included, along with dated appendices on percussion addresses, a book list, and discography. The text is generously supplemented with photographs, line drawings, and musical examples.

Many such books have extensive lists of percussion instruments and photos, but Holland's work particularly shines with the richness of his professional experience. The book is full of important and interesting information, presented clearly and concisely. A wide gamut of percussion usage in considered, from marching bands to contemporary music. (Marching percussion/Drum corps is not discussed in great detail, however, and most non-western ensembles or instruments such as gamelan are absent entirely.) Especially worthwhile is the final section, in which Holland takes us through the percussion part of several contemporary pieces, offering commentary and criticism, and discussing set-up, instrument choice, performance technique, and even notation. As a composer who often writes for percussion, (I have received first prize from the Percussive Arts Society for my percussion ensemble) I use this as my standard percussion reference, and recommend it most highly.

Here is an authentic man of genius! To read Yehudi Menuhin is an experience comparable to hearing him play the Chaconne, itself an experience that bears no easy comparisons. Every page of this book, and indeed of any number of his writing excursions (the magnificent essay 'Peace and Culture' given by him in his association with UNESCO and the interviews with David Dubal come to mind), bursts with a vital intelligence and egalitarian humanity uncommon to modern man. This is a revised edition of his original memoirs, updated to the present. Everything is here, the profound thought of one of the truly humane artists of the twentieth century, the magnificent story of his family, his parents and gifted sisters, his early life, the splendid accomplishments in the true service of humanity that have marked his later life so deeply. One is compelled to comment upon the nature of the family into which he was born, so perfect an incubator for one such as Yehudi Menuhin, an authentic genius requiring an authentic environment in which to develop. Menuhin doesn't disappoint the reader, he amply and brilliantly illumines the story of his family in a devoted and balanced account of lives of high human principles fully lived , and proof of the essential role his family played in his life is clear in the full measure of this man's life and work. Anyone with an interest in authentic human philosophy, in an examination of those elements that characterize the authentic role of the artist in society, will find this book a joy! Nothing forced here, nothing of pretense. This book is but the calm and elegant persuasion of a consummate human being and a genuine artist.

I first came across Yehudi Menuhin's words when on a plane. In the in-flight magazine, he was saying the most beautiful things about music, humanity and life.
Here again, his beautiful humanity shines through in his thorough and loving portrayal of the instrument that was his companion through life. He includes the origin and beginnings of stringed instruments, the workings and construction of the violin, aspects of playing, teaching, composing and listening as well as the violin and other stringed instruments around the world.
The book includes wonderful photos and illustrations and is a real treasure.

The book does contain much valuable information. The problem is in unraveling the information from the needless rhetoric and "preaching". Regrettably, the author has interwoven the purely physical skill of breathing and exercise with his particular (predictable, old brain, standard line) religious views. If I were to write a book about auto repair I would not interject my personal religious views along with how to change a spark plug or overhaul a transmission! The worst part of the book is the pictures! They are god-awful! I wonder at the editor (a family member?)that authorized the pictures used in this book! The author would have been better served to use a professional model for the photos. If you buy the book, the first thing you should do is cut out most of the pictures! Or view them on an empty stomach.

No other book comes even close to this one on explanations. If one wants to know the nitty gritties of doing Pranayama. This is the book. Period!!

In my humble opinion, BKS Iyengar is the highest authority on Yoga of these days. You may not agree with me, no problem, but just open this book and you'll see that I might be right. Brilliant and clear explanation of Pranayama, step by step genuine method,theoretical background and a whole lot more, not even speaking about the illustrations. To be absolutly frank, this book alone is better than a semi-learned instructor, which are abundant here in the West. This book WILL change you! No gibberish of Hinduism, pure essense of Yoga!

Anyone who is interested in clarinet may benefit from this book, but the author does not attempt to speak to beginning students.

For instance, the book begins with chapters on the history and acoustic principles of the clarinet. These will interest seasoned players, but beginners may wish to skip these early chapters. Photographs of early clarinet construction will probably interest everyone, though.

Excellent chapter on teaching clarinet gives well-reasoned opinions on the sequence in which various skills should be introduced.

Very good listing of the concert and solo clarinet repertoire. Dated discography, but many of the LPs listed are likely to be available as CDs by now, so it still serves to point to good performances.

The book's most positive feature is the author's emphasis upon the process of discovery - that is, learning how to interact with one's instrument and keeping track of both successful and failed techniques. It helps to remember that the clarinet's intonation is a compromise, and that progress is dependent upon the player's sensitivity to the pecularities of the instrument.

The principal shortcoming of the book is its very passive voice; it was a tiring read. The author doesn't always state his conclusions directly, and attempting to trace antecedents often was frustrating. It is worthwhile, but (unless the reader already is comfortable with such a style) be prepared to make an above-average effort as you read this book.

I first read this book when I was about 12 years old (just a few years after it was first published). Call me precocious, but I was able to follow it then, as a beginning clarinetist, even though some of the technical matters described were beyond my abilities at the time. One need only pick up books by Wm. Stubbins or O. Lee Gibson (both brilliant clarinetists and teachers, by the way) to appreciate how conversationally and easily Mr. Brymer explained highly technical matters in this book.

Now, as an experienced clarinetist and private instructor, I find myself recalling concepts that Mr. Brymer taught in this book every time I teach lessons (or pick up the horn). I feel this book was a lot of what transformed my interest in the clarinet from "something to get me out of P.E" to something that I sought to excel in.

The late maestro is at his best when he speaks of that which he knows, music and in particular, the violin. When encouraged to expound on the state of the world in the grandly named section "On the Human Condition," he is full of airy, utopian pronouncements. Dubal's remarks (questions?) in that section often verge on the bizarre, and reveal his own strangely bleak and tortured mental landscape.

Absolutely fascinating book of conversation between two first class thinkers! Yehudi Menuhin, still alive today, still youthful in his 80's, and musician/writer David Dubal explore a panoramic range of topics. Perhaps nothing is more instructive, certainly nothing more constructive, than Menuhin's ample exploration of his thoughts on the human condition, on the nature of art and life. One is compelled to listen to this man, so clear and meaningful his questions, so rational his conclusions! Dubal leads Menuhin into all the right areas, and the result is spellbinding reading. The only disappointment is the brevity of the book- one wishes it could go on and on! Is it not a comfort to us all that this remarkable human genius continues to survey the world with such enlightening clarity, sharing his rich understanding with his fellow man? Kudos to both these artists for an endlessly interesting book of brilliant conversation - revealing and fulfilling!

Barry Tuckwell, from Melbourne, Australia, spent most of his life in the UK playing French horn in orchestras and as a soloist. In his later years, he has become an American citizen and is teaching in various places in the USA. No doubt he is the world's premier performer on this always-difficult instrument. As such, his book will be of interest to people concerned with the French horn, its development, history, and techniques. I doubt that there is any other book which covers the same ground with such a distinguished musician as the author. From discussion of shofars and hunting horns to detailed descriptions of valve technology, from biographies of famous horn players (such as the Brains of England) to instructions to students and teachers, it's all there. The text is sprinkled with numerous interesting photographs and diagrams. The chapter on composers and their use of French horn in various compositions is one of the most comprehensive. To say that Tuckwell "knows his stuff" is pretty much of an insult, coming from me. He's the world expert ! But unless you are a horn player or perhaps, the parent, wife, or husband of one, this book is going to prove rather too detailed or arcane. Can you sight-read music ? If not, a lot of pages are lost to you. I read HORN because it's a book of a totally different kind than I usually read. I got a lot of interesting information, but I was unfit to grasp much of what was offered. I fear that will be the case for most people. So, while this may be the five star book on the world of the French horn, it will remain a three star book for the average reader. It is necessarily aimed at horn players and other musicians. And by the way, neither Little Boy Blue nor Captain Horatio rate a mention

There aren't many books about horn. The infamous horn soloist Barry Tuckwell did a great job introducing horn from all aspects in this book. A must for any Horn Lover!

To be fair, The Art of Practicing provides good advice on avoiding injuries through posture correction and relaxation techniques. That said, this scientifically-accurate and good advice is mixed in with techniques whose effectiveness must be questioned. Although there are other methods than the ones described which can be utilized to achieve a better ear for the musician, the authors present their ideas as concrete facts; also, they overload their methods with praise, citing that any pianist can cut down eight hours of inefficient practicing into three really good ones. Is this a positive message to be sending to budding musicians? Also, the book tries to cater to every instrumentalist instead of focusing on just pianists, the direction in which it obviously is trying to bend towards. These fleeting refrences to the other disciples of music are often scant and insubstantial, and everyone who reads this book will find pages of material that doesn't apply to them. Also, this book is not exactly a page turner.

If a musician could only read a single book to learn about how to PREVENT injury, this would be the one. Madeline Bruser has assembled, from a host of resources terrific practical advice that does far more than help you find a healthy approach to using your instrument: The Art of Practicing also examines how to bring the highest level of artistry and communication to your playing. It includes question/answer sections throughout and instrument-specific advice. I really can't say enough about this book: if all teachers and students would take its guidance to heart, we would not have the levels of injury among musicians we now see, and music making would be both more human and humane.

I greatly regret that I should have read this book long long years ago ! I have seen many music students teachers who completely lack the most important things that the book describes. And I think that any musican-want-to-be should read this book first. This is the "Road Less Travelled" equivalent in psycology of musical practicing and performance. Her explanations were inspiring. Very often they were too conceptual. OK. That sounds very nice, but what is it exactly, and how do we achieve it ? Fortunately, at the end of each chapter, there is a section called "Questions and Answers". I think that the questions are from her students. And the questions were more "practical" ones rather than conceptual. And answers were very good. She provides 10 steps (suggestions) for practicing. Most of them are quite reasonable. Some of them may not be applied to me. However, it may be because I am still musically immature (far from her level) comparing with her.