Although this is an excellent textbook for medical students and hematology fellows who need to learn more about certain topics and diseases, it offers limited assistance to the clinician who has to work backwards from lab results and symptoms in search of diseases. It covers the molecular biology of hematology in great detail and also discusses some of the treatment options. It is a great book if you are doing a paper on a hematologic topic. There are also chapters on the new techniques used in labs and the differences in these techniques. On the other hand, if you are looking at abnormal results on a CBC, this book may not offer much help.

A comprehensive text of practical clinical hematology. Clearly and concisely written for use as a reference or 'at the bench.' One of the most useful materials in the Hematology laboratory.

This book is written primarily for the laboratory, and the haematologist. In that area it is excellent, for clinical treatment, williams or other books are better. But for the laboratoru I would reccomend this book, as I have this and several of the previous editions.

I wish it was a bigger selection, but it isn't too bad. It contains:

Bali Ha'i

Climb Ev'ry Mountain

Do I Love You Because You're Beautiful?

Edelweiss

Getting To Know You

Hello, Young Lovers

I Have Dreamed

I Whistle A Happy Tune

I'm Gonna Wash That Man Right Outa My Hair

If I Loved You

It Might As Well Be Spring

June Is Bustin' Out All Over

Love, Look Away

My Favorite Things

No Other Love

Oh, What A Beautiful Mornin'

Oklahoma

People Will Say We're In Love

Some Enchanted Evening

The Sound Of Music

The Surrey With The Fringe On Top

There Is Nothin' Like A Dame

This Nearly Was Mine

You Are Never Away

You'll Never Walk Alone

Younger Than Springtime

This is one of Rodgers' GREATEST collective scores. It features many wonderful songs and of course AMAZING LYICS by Stephen Sondheim. One show that is not as popular, Do I Hear A Waltz, is an intimate theatre experience.

This is a...nice...book to have if you like R&H. I love them, but find this book only good for it's pictures. The music included is the sheet version music, and a few songs from each show are included. Some shows (such as STATE FAIR) only have one song in the show. Nice for a collector.

This is a wonderful book to have for auditions. Many favorite songs of R&H are in the book along with interesting information.

Meryrle Secrest's previous book, "Stephen Sondheim: A Life" was fantastic; every word was perfectly placed, every nuance was properly shaded (much like Sondheim himself). Unfortunately, this biography of one of the most complex and dissonant men to come out of the American Musical Theatre, Richard Rodgers, loses steam almost halfway through the narrative. It's as if the author lost interest in her subject between "Carousel" and "The King and I."
To give Secrest proper credit, her chapters concerning Rodgers' collaboration with the tempestuous Larry Hart are truly engrossing and very lively. However, the Hammerstein and Post-Hammerstein years seem to be written in haste, or with no care at all.
This book should be read by all devotees of the stage musical, just for its chapters on Rodgers and Hart. Otherwise, I strongly encourage that you read Ethan Mordden's book "Rodgers and Hammerstein" for a better view of the latter collaboration.

We can be grateful to Secrest for toiling on Rodgers with her usual thorougness and objectivity, and for doing so when many of Rodgers's friends and colleagues, not to mention his thoughtful daughters, are still here to contribute. If the result is not quite as good a read as her works on Bernstein and Sondheim, we have to blame the subject, not the author. Rodgers was not an easy man to get to know, and while his music was often original and sophisticated, his life was marked by a dull and distant anger. A lesser biographer might have added a larger dose of amateur psychoanalysis and squeezed more dramatic juice out of alcohol and infidelity, but Secrest knows that her job is to depict a life, not to make a sport of it. Given the scope of Rodgers's influence on 20th century culture, Secrest's book will no doubt be invaluable when this fascinating musical era is approached by future writers.

Secrest is a skilled biographer, witness her excellent Stephen Sondheim: A Life (CH, Mar'99). She now adds another musical theater leader to her list. This volume complements Rodgers's own autobiography, Musical Stages (CH, Feb '76), and supplements many other books about the composer, including William Hyland's Richard Rodgers (CH, Jan'99). Secrest benefited from the cooperation of Rodgers's daughters and the Rodgers and Hammerstein organization and from many interviews with Rodgers's colleagues; thus this new biography serves as a major source document on the composer's life. Its principal strength is in the details about Rodgers's early years, his family, his marriage, and his relations with his wife and two daughters. Basically he was a cold individual incapable of much empathy or care for others. Add to that alcoholism, womanizing, and mental problems. Still his artistic achievement was phenomenal. Though Secrest provides anecdotes on the production history of his shows, the book does not replace earlier works that have their own supply of stories. The photographs throughout excellently support the narrative, and the extensive notes function as a bibliography. For all collections.

James Warhola's large and beautful illustrations make up for the antiquated language. You can just feel the excitement in the air as the animals sing and dance on the pages. Children may benefit from going to see OKLAHOMA! before reading. Lacking the context of the song, the appeal is more limited to very young children. For those who are so inclined, there is sheet music printed inside the cover. Overall, the book offers a nice way to pass on a musical tradition to the next generation.

If you've never read a book about Richard Rodgers, this one may interest you -- otherwise, stay away. The trouble is that almost everything here is quoted from previous books, with the exception of some pretty basic discussions of Rodgers as a composer. There is practically no insight into Rodgers the man, and only a little into Rodgers the artist. You would do far better reading Rodgers autobiography MUSICAL STAGES (which is relied upon far too heavily in this book), or Hugh Fordin's Hammerstein bio GETTING TO KNOW HIM. All in all, this book is not awful -- just awfully dull.

I bought this CD (it's not a book, but a CD) because my two sons play different instruments. The positives are that with this CD, you can see the sheet music for 120 Rodgers and Hammerstein songs, transpose the music into any key (the program will do this automatically for you if you want the music transposed to be played by a certain instrument), and will play it for you. Lots of fun, EXCEPT for the negatives: you can only print out ONE copy of each song, so I can't print out one copy for trombone and one copy for french horn as I had hoped so that both my sons could play together. Other negatives: the internet must be on for you to access the program, you must register the code number included by providing your email address or you can't print anything (so you can't bypass the one-print issue by installing on different computers), and when you transpose to a bass clef, some notes are covered by the guitar fret pictures above the staff. So many limitations for what could and should be a great idea!