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I've read most of the books in this series, and this is one of the best. It is concise, not condescending. And although it offers a wide range of theories and thinkers, it takes pains to distinguish between all of the information presented, even offering some comparisons between different sociological perspectives. This covers methodology, Marxism, Functionalism, Symbolic Interactionism, Chicago School, Frankfurt School, Feminism, Media Studies, Culture, and almost everything else. Of course, you only get a few paragraphs on each, but then that it what this book is designed to do...give a short introduction to each of the sub-areas as well as a general overview. The illustrations are of a fairly good quality, and while they don't really enhance a reader's understanding of the material, they help sustain interest in it.
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This book should be part of the national curriculum.
Guenon never uses the apologetics about religion and spiritual matters so common in almost every book on these subjects. he assumes the reader shares his beliefs and views and wastes no time trying to convince us that God exists, spirit is superior to matter, or that there is value in religion. Once reading this refreshing prespective, is hard not to be changed.
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Though I'm eager to finish this book and view it as a terrific addition to my library, I have some qualms with the writer's style. On the cover flap it's said how Mr. Osborne's writing is lauded for its "readability" to both musicians and non-musicians. And being a NON-musician myself I was hoping to see clear, clean English. Yet, Mr. Osborne never fails to use a lot of pretentious lingo such as Latin and French ("annus mirabilis" and "anuus horribilis"?), as well as highfalutan words like "ratiocination" and many others (be sure to have a Merriam-Webster Collegiate Dictionary on hand!). He also uses many arcane musical terms like "re'pe'titeur" yet fails to translate them for the non-musician. Terms like "legato" and "cadenza" -- albeit not as arcane -- also remain untranslated.
Perhaps a truly "readable" book on music is impossible? Given the gigantic ego of so many writers of music?
Still, all in all, this remains a magnificently researched and put together book.