History Books

I highly recommend this book. It made me want to read more of Plato's dialogues. Anyone that even slightly desires read about philosophy should at least start wih this as a primer.

If you are entering college as a freshman and especially if you are entering the field of Philosophy, I urge you to buy this book! Read it, study it, and learn its' tools of wisdom! In fact, no matter what field of study you are going into, you will appreciate the use of logic presented in this fantastic "story" format.

In sum, I highly recommend this booklet as a prerequisite to beinning any study of philosophy, hence, logic.

Gary L. Foley, MBA

I had to buy this book for a freshmen philosophy course, five years later I decided to read it cover to cover and see what all the real fuss was about.

First off, between the back-and-forth of Socrates and the excellent translation by Grube, this book is much easier to read then many other philosophy texts (most notably, Descartes). I am not going to argue the logic of the book here, but since most of it is repetitive questions, use of analogies, and point-counterpoint, I found this very easy to follow and understand. I would reread sections mainly to see the the delicacy of the argument, not because certain concepts were too philosophical and hard to grasp.

All the same, it's five books on philosophy, though the bulk of the text is Phaedo, so you have to be in the mindset to read that material.

These Five Dialogues cover the most famous (or infamous) portion of Socrates life--his trial and subsequent execution. In this they are historically invaluable.

Plato lays out each dialogue with great artistic prowess (and the translators, for their part, keep everything smooth and pleasant). Society has fully internalized this art and anyone unfamiliar with it is at a disadvantage when considering anything subsequent found in the Western tradition. In this they are culturally invaluable.

One finds also in these dialogues the very basics of Platonic thought--most notably the theory of Forms. There are, of course, many other concepts introduced, from politics to metaphysics. In this the dialogues are philosophically invaluable.

If I haven't yet convinced you to pick up a copy of Five Dialogues I don't know what will, but perhaps you would be interested to know that the book contains good (but short) introductions to each dialogue, informative (although rare) footnotes, and an extensive (if outdated) suggested reading list? I hope that did the trick, because this set of dialogues is, well, invaluable.

I am not going to give you a synopsis of each dialogue. What I will say is that this is easily one of the most important reads of modern times. Most people would say that if you are interested in the art of philosophy then this is a must. I am willing to go a step further. If you are interested in life and the social aspects of life then this is a must read. Therefore almost everyone capable should read this. If you read these dialogues, and I mean really read them, it will have a profound effect on how you view life and interaction. I am by no means a philosopher, but a political scientist. The only problem is that you really have to want to read it to get. When you are ready to commit, buy this book, read it, and watch your outlook on how you view life change before your very eyes. What makes this very book so great, is that you get all 5 dialogues for such a small price.

Only two types of people have been and will be attracted to reading this book: those who hope it's about one thing and those who know it's about the other. The former belong to the timid, powerless, low-self esteem majority who are simply looking for the ultimate guide to gaining respect and admiration from their peers. The latter belong to the unscrupulous, dare I say sociopathic ever-growing minority whose end goal is to win at everything against everyone by any means. Once the book has been read and fully digested, one of two conclusions will be reached. The first is a sudden awareness of what a perfectly outstanding tool they hold in their hands and the limitless rewards it can afford them. The second is an absolute disgust and horror at what a dangerous volume this is and the malicious behavior it outright encourages. Interestingly, the timid are no always the ones repulsed and the ruthless are not always the ones aroused. The wave can break either way.

Shortly after this book was published, I happened upon it in a bookstore and knew I had to have it. A blaze of energy electrified my body and pounded through the deepest recesses of my mind. I was on fire, I couldn't put it down and yet I knew I could never share it with anyone, the way a child might hide away their favorite toy. In truth I became obsessed. I had to learn and then master every element of every law and take supreme authority over every aspect of my life. Indeed, this book, The 48 Laws of Power, became my bible, the most passionate conquest I had ever sought to undertake.

Within its pages I met with the reflection of every gruesome bully and every merry manipulator I had ever known. Their power was uncanny and yet so mysterious, mostly because I could never fathom how such apparently absent minds could lay so cool yet strike with such venom. It was awe-inspiring, and I had to come to terms with their secrets. The secrets that earned them respect from their enemies and fear from their admirers. The secrets that won them the most buxom women, who always appeared so entranced by even their rudest and most audacious displays. "How could they get away with everything so smoothly?!" I had wondered. "How could they be so desirable?!" I had thought. "HOW?!"

Well...here is how. It is simple.

Some people are given to a heredity and/or an upbringing that nourishes what is commonly considered 'bad' behavior. Certain genes as well as certain parenting styles perpetuate an attitude of unruliness which leads in its purest variety to utter contempt for anyone else's thoughts, feelings, or needs. Their minds develop without a balanced set of experiences, leading them to logically conclude that the information that they did receive must indeed be correct. This is also applicable to those who suffer violence in their youth, even if that violence is not carried out physically. The fact remains that whatever world with which one is presented is accepted as unmitigated truth. 'Bad' behavior is usually viewed by such a person as normal. Thus selfishness, cruelty, and manipulation are seen as strengths, while compassion, kindness and humility are seen as weaknesses.

Surely there are a bevy of other factors that cannot go without mention. High intelligence, a pleasing appearance, a particular talent, et cetra can all act as lauchpads for immorality if similar virtues in others go unrecognized as being equal. This sense of equality is what it all comes down to, in fact. The very idea of power assumes that another cannot or should not be in a position to where the perspectives of both can be viewed as equally valid. On the one end is the person who is possessed by their own image, on the other is the person who believes that they have no intrinsic worth at all. The two feed off of each other in a sadistic/masochistic symbiotic relationship. The point then comes to bear that a person who believes himself powerful only remains so long as the other believes the same thing. Put two people who both see power as the ultimate attainment and you have the setting for the average business affair. From here, only two things can happen. One will cave, allowing the other to dominate, or neither party will cave, effectively precipitating resentment and rage within both. The former leads to a continuation of the cycle, the latter leads to war.

This book is extremely well-researched and exquisitely written, which is why I still give it three stars. But you must beware of your intentions. Buy this book if you don't care about anyone but yourself, and it pleases you to see another man crumble. Do not buy this book if you have even the slightest interest in saving yourself from years of unnecessary struggle. Remember that the wave does break both ways, and you do not know who you may become if you toss your ethics in the wastebasket. Needless to say, I was the timid one who was sick of being overlooked, but in the end, it was this book that I tossed into the wastebasket. Your call.

I'm pretty into morality but I quite like this book. But If you're not weary of someone who recommends deception (as the author does) you deserve to get suckered. Some of the rhetorical techniques he employs include writing in the style of that wise blind guy who knew everything in Kung fu, it doesn't work at all once you've seen an interview with him. Also putting a number (48) in the title makes it sound very scientific, I'd bet he has no idea if there really are exactly 48 laws of power.

Still I would not say all the laws are immoral or even amoral as the blurb claims. Some, such as not hanging around with people who drag you down and "assuming formlessness" are about self defence not predation. You can pick and choose according to your code of ethics or lack thereof.

It probably should have come with a warning. The philosopher Alfred Whitehead said Machiavellian techniques work well for about 15 years. One of the practical problems with deception is reality does actually exist and cannot be kept at bay forever. When it is revealed it could ruin you or an entire economy (as when vast numbers of people lie to get loans).

Still an interesting book not only for the unscrupulous.

Why do you need this power in the first place? Here is a quote from 7 Habits, "Standing near the graves of famous people, we understand all the silly wars in which they fought."

I will not be surprised if this book is used as a required reading in terrorist camps to show the "real Americans". Clearly, it is against democracy, Christianity, and all other values.

Read 7 Habits by Covey instead.

this book is absolutely ridiculous, it was written for the idiot's notion of what they believe power is, and just affirms what the dim witted already suspect; "Use a person until they are no longer valuable to you......" AH HA! says the ignoramus who has just been convinced of the vercity of this childrens book.

Very smart book. Has some very unique and useful tools. I don't agree with everything but I like the book and I will use some parts. I try to treat people as I would have them treat me....The Golden Rule. But with trouble makers or bad people this book can be very helpful.

These anthologies are mostly used in music history courses to my knowledge and so I don't believe it's fair to say that this book fails to offer enough excerpts in this genre, or in this country, or during such and such years. I used this book during my first semester of music history at the undergraduate level (focusing on the second volume the next semester) and there simply isn't enough time to cover everything that ever happened during this period.

The anthology strives to give textbook examples of certain genres, forms, etc. and even ones that don't follow such rules that I HOPE are explained by an instructor. The reason they do that is so students don't leave the class thinking every piece fall neatly into rules. It's only big schools (who more than likely have a graduate program like I'm in) that can afford to offer classes that can focus on narrower time periods. It was only until I was in grad school that I could take a semester class that just focused on the Baroque; Just 150 years were studied in one semester and even then things were left out. For a comprehensive reference for music history, this is a great anthology.

It was a textbook required for a class. It's a very scholarly book and if you have an interest in ancient-baroque music this has very good examples of that music.

This book was sent out the day after I bought it, and was in the stated condition. Excellent service, would buy from this seller again.

As is typical with surveys of music written before 1800, this volume devotes way too little time and space to a period of music history spanning almost 2000 years, and yet volume two deovtes roughly the same amount of space to two hundred years of music history (ca. 1800-present). One gets the impression that a series of relatively inconsequential composers filled in the blanks until Bach and Handel, and that's grossly unfair not only to the composers of those works (and the works themselves), but also to those who wish to learn something about music written before Mozart, Beethoven, Verdi and Puccini.

If you're looking to learn something about music written before 1800, stay away from these kinds of surveys and point yourself in the direction of books focused more on particular subject areas -- for example, James Anthony's book on French Baroque music and Gary Tomlinson's book "Monteverdi and the End of the Renaissance" provide lucid breakdowns for those new to these genres, as well as those who already have some background in the subject matter.

There are a few books that are even more general than those I mentioned above but that still provide a clear outline of music from paricular eras. For example, Richard Hoppin's "Medieval Music" and the accompanying "Anthology of Medieval Music" is a fine place to begin a study of this period. Alan Atlas' "Renaissance Music: Music in Western Europe, 1400-1600", and Howard Mayer Brown's "Music in the Renaissance" (2nd Edition) are excellent surveys of the music of that period. For Baroque music, Claude Palisca's "Baroque Music" (3rd Edition) is a good primer, as is Manfred F. Bukofzer's "Music in the Baroque Era, from Monteverdi to Bach." Also advised is reading primary sources, since they often give the reader an idea of the intentions of the composers and are a great aid in understanding the motives behind historically-informed performances of this repetoire. For this, look to Oliver Strunk's "Source Readings in Music History: The Baroque Era."

(By the way, all of these books can be found on Amazon.com)

This is the first volume of the Norton Anthology of Western Music Third Edition). It covers Music of the Ancient, Medieval, Renaissance and Baroque periods, while the second volume deals with Music from the Classical, Romantic Contemporary and Modern Periods. The book offers a selection of scores (86 in total) from several composers and it spans over a period of more than two millennia (earliest score from 408 B.C., latest from 1752 A.D.). The scores that are included are representative of most composers that made an impact through these two millennia (at least according to the editors): Leonin, Perotin, Machaut, Landini, Dunstable, Duffay, Ockeghem, Des Prez, Willaert, Gesualdo, Monteverdi, Dowland, Byrd, Palestrina, Luis de Victoria, Orlando di Lasso, Caccini, Peri, Gabrielli, Schutz, Froberger, Frescobaldi, Scarlati, Purcell, Buxtehude, Lully, Couperin, Corelli, Vivaldi, Rameau, J.S. Bach and G. F. Handel. In this volume, 60 eponymous composers (and several anonymous) are included. The only noticeable absence on a first reading of the index is perhaps that of Boccherini. However, given the restrictions of space that are inherent to any written medium, the Anthology still manages to remain quite comprehensive. On the other hand, very few, if any, comments or analyses of the scores are offered for each of the pieces (always following the music). Pieces that involve vocals (i.e. excerpts from operas, cantatas, masses) are supplemented with an English translation, besides the original text. The scores themselves are 'full' scores and not piano reductions. Naturally, this causes some scores that involve richer orchestration (i.e. the excerpt from Bach's B Minor Mass "Et expecto resurrectionem") to be printed in small fonts, which in turn may take its toll in the readability of the music. However, since most pieces of the period involve smaller orchestras, the problem is not as much of a deal as it is with volume two. Additionally, if one always remembers the restrictions of space that accompany any written medium, it is clear that it is a decision to be made- it's either small fonts or fewer scores.

Two notes of warning: first, the book, much like volume two, is not accompanied by any music. It contains simply the printed scores. A good choice for supplementing the two volume set, is Hannig's Concise History of Western Music with its 4 CD set. Although the CD set does not contain all music of the two volumes, it does contain a good portion of it and has a user friendly, easy to understand cross-reference system with the two volumes. Second note of warning: as any anthology, this one, too, is merely a representative sample. It is not a 'Greatest Hits' collection-for example you won't find Pachelbel's "Canon in D", Vivaldi's "Four Seasons", Bach's Brandemberg Concertos or his Passions or Handel's "Messiah" in it. Only one complete score of a larger scale piece is included, that of Bach's cantata "Wachet auf, ruft uns die Stimme" (BWV 140). Otherwise, the anthology consists of excerpts of larger pieces (whole movements or introductions for example), and shorter complete pieces (i.e. Bach's Praeludium et Fuga in A minor, BWV 543), that from the editors perspective present a more or less complete landscape of Music up to where Vol. 2 picks up from (Late Baroque/Early Classical). Naturally, omissions are inevitable, especially when one looks for balance. The four stars (and not five) are mainly because of the choice of scores at some points, at the choice (or omission) of composers at others, and, mainly, for the lack of more comprehensive commentaries and analyses of the pieces.

OK so I read this book for school and had to write about each chapter. After trying to get through the Preface, I discovered this:
-one, Ellis feels the need to blather on needlessly. This book could have been easily been half the length had the author known the value of good editing

-two, apparently he has never heard of organized writing. You do not talk about one thing, talk about another and then repeatedly go back and forth. It makes this even more confusing to follow along.

-three, hey random interesting facts are cool, but they belong somewhere else, not stuck in the middle of sentence that has a completely different topic.

- four, is this guy a mind reader with a time machine? How does he know what all these guys are thinking at random points in their life? Primary documents will only take you so far. Anything i saw with this kind of tone i did not write about considering it did not look very reliable

Don't get me wrong the book has it moments. The topics for each chapter are very interesting and under normal circumstances would have been enjoyable to learn about. Just tell me when they republish this thing, reworked and edited.

I am not a scholar in early American Republic, so there are simply aspects of this book I can not discuss. But I can say that for a reader who takes history seriously, and wants a quick introduction to some of the primary characters who populated the political history of that period, this is a fine book. Let me get my biggest complaint out of the way first. For the true novice in the history of the Republic, there is no attempt to create a narrative that introduces the central themes nor timeline. There is an assumption on the author's part that you know the differences between Republicans and Federalists; they you understand the temporal and historical difference between 1776 and the signing of the Declaration of Independence and the Continental Congress 10 years later. Without this introduction, I had trouble putting some one the book in proper context.

That said, the book focuses on people, and less on events. It paints serious portraits of Thomas Jefferson, John Adams, James Madison, Alexander Hamilton, George Washington - just to name a few - and how the interaction between these people gave rise to the Republic. It's very well written, and in large, quite readable. I found that the chapter titled "The Farewell" was a bit less tight, or well constructed than others; on the opposite side, I found the final chapter, "The Friendship," to be compelling reading. I also found the bond between John and Abigail Adams quite fascinating; she was, while always in the background, his main advisor and certainly trusted confident. A fascinating relationship that deserves a book of its own (I suspect there are already hundreds). The book is really just a primer that sets up some of the basic dichotomies that characterized the early Republic, and rather than solve them or fully explain them, it really just sets you up for further study.

I certainly recommend it; I just might suggest you read a book like Gordon S. Wood "The American Revolution" before this one, so you have a context in which to place these chapters. If you already have that background, then jump in. Ellis says that the book is largely a compendium of a lifetime of study, and for many of us, it may be the beginning of our study of the period

I came to this book too after watching the suberb John Adams mini-series. I wanted to learn more about some of the other early leaders of our nation. The history I learned in grade school was fleshed out here and then some. All of the chapters dealing with different defining moments in the post-revolutionary period were interesting and entertaining. I appreciated the way the book was arranged in short chapters with the major players, Washington, Adams, Jefferson, Madison, Franklin, Burr, and Hamilton weaving in and out of the story. You gain an appreciation of how difficult it was to keep our new United States together among a host of complicated issues. I discovered several very interesting parallels to the politics of today. The more things change, the more they stay the same as far as human nature is concerned. I recommend this book to all interested in the story of our country. A must-read for all Americans.

Even though I'd seen and heard multiple items about the founding generation, I was pleasantly surprised that I learned something new from this work...namely that the discussion of the location of the new capital was seriously sidetracked by an abolitionist delegation's visit (which was even blessed by fellow abolitionist Ben Franklin shortly before his death). Highly Recommended, a great yarn.

NOTE: THIS REFER REFERS TO THE UNABRIBED AUDIO CD VERSION

First of all, I'm not going to get into the controversy over whether this book is totally accurate historically. If I knew that, I'd be writing a history book rather than reading one. The fact is, no one can be 100% sure of everything that happened or was thought 250 years ago.

That issue aside, it's an interesting book but it gets bogged down in far too much detail and analyses. It isn't scholarly enough for a truly academic treatise, but not "entertaining" enough for a popular history. It may therefore bore some readers who prefer a more humanized anecdotal telling and infuriate purists who want proven facts rather than occasional speculation.

The reader is good, but his voice tends to take on a droning quality if listened to for long periods. There is not enough differentiation for the quoted passages, so it's sometimes hard to tell what is a historical quote and what it the author's statements.

From reading other reviews, I think it's safe to say that this is book may be too lengthy and "boring" for young students (which may be a sad commentary on both our youth and our school system) yet not scholarly enough for serious American history fans. The problem is, who's left?

I got the book in good time. I ended up having to mail it back just because I dropped the class, but there was nothing wrong with the book.

Most recent edition. Does not go along with NAWM 3rd edition. It must be referring to a more recent edition of that book as well.

This was a Christmas present for my wife. She sings and arranges music. I can only tell you that she is ecstatic about the book, and is excited at the prospect of going on line for the streaming music that comes with.

this is vol 2 of the 2 classic texts for studying the history of european music. These are a must have for the serious student of music

This book is perhaps the most used textbook in the college music history class. It is a fine book, especially if used along with its companion anthology (2 volumes) Norton Anthology of Western Music: Volume 1: Ancient to Baroque, Norton Anthology of Western Music: Volume 2: Classic to Twentieth Century and recorded anthology (2 volumes with 12 CDs) Norton Recorded Anthology of Western Music, Fifth Edition, Volume 1: Ancient to Baroque (6 CDs), Norton Recorded Anthology of Western Music, Fifth Edition, Volume 2: Classic to Twentieth Century (6 CDs). I don't think one could learn much from reading through a music history book, without key listening material.

That said, I agree with other reviewers that this book (with companion anthology and CDs) is seriously over-priced. The total price of this book and its companion anthology and CDs is $76+ $45 + $45 +$82.50 +$82.50 = $331! It is reasonable for any publisher to make profits, but to rake it on students is robbery!

Recommended only to those with deep pockets.

Great read for anyone who doesn't understand British sensibility. I loved it. I lived in Greater London in the 90's and had the luck of sending my two kids to different schools, a state school and a public school. If only I had had this book before I went I could have saved myself a bit of grief, but then would have missed out on my best laughs. I love every thing about the UK and its people. Lyall shared the best bits and brought back so many lovely memories I think I need to go book a trip back. Expensive beyond belief but beans on toast is always on the menu.

All our lives, Americans have been told that those people are cut from finer cloth and molded from finer clay than us. Sarah Lyall didn't have to emigrate to be one of them. She writes for the Times.

Ms. Lyall has rewritten her columns of observations on all thing British and recycle them into this witty and fun book. The author moved across the Atlantic for her marriage and her readjustment to a new culture is the subject of this book. Easily read in an evening, "The Anglo Files" is like Garrison Keillor writing about Minnesota -- full of warmth and acceptance for those who are a little bit different from Americans.

As an ardent Anglophile, I had to have this book. In many ways Sarah covers the same territory as Bill Bryson with the same bemused American perspective. Each chapter covers a different aspect of British culture and combines personal anecdotes with wider factual information. The book is extensively footnoted along with a lengthy section of suggested further reading.
If so far this leaves you yawning, let me also say that this was one of my most enjoyable reads of the year. I read it while on vacation and my family frequently commented "you really like that book" as I giggled my way through.
To give you a flavor of the book, here is a quote from the chapter entitled Lawmakers from Another Planet.
"If sometimes the debate had the tenor of a late-night conversation in a college dormitory during that precious window of time after the pot has been smoked but before the pizza has arrived-well,that was the Lords' perogative."
Thank you Sarah for such a fresh take on such a well worn topic.

The book is interesting and thoughtful, but does not share much that we don't already know via assumptions and speculation. Still, if you're interested in certain Washington character flaws and evasiveness, it's worth a read.

This is a good book. Its not always an easy read (it can be tedious at points) but I'd say it was well worth reading, to get the inside scoop

I think Scott is kinder to Bush than he deserves, considering the facts laid out in the recent Bugliosi book The Prosecution of George W Bush For Murder

Very informative,well written,even enlightening ;but, just not that entertaining. I didn't have any trouble putting the book down and was almost relieved when I finished the book.

Excellent purchase price for this book which arrived in a very timely manner. It was purchased as a gift for my son.

I'm no fan of the Bush White House so I jumped on the chance to read this memoir of McClellan's time with the administration. It's eye opening, though not that surprising. The things those people will do. And it is written, no surprise here either, in a very clear and entertaining matter. A must for anyone who thinks they are a Republican or any one interested in current affairs.

One of my favorite college texts. I was assigned this book for a course on National Security. My only issue with this book is that it seems to have been written in pieces. The first two chapters were very academic and I had to look up a LOT of words in the dictionary! The rest of the book (6 chapters, I think) was much easier. I liked the chapters on how Evangelicals and Hollywood effected militarization. Also, politicians are always saying they support the troops but don't enlist or let their children enlist.

Unfortunately, Bacevich's son died in combat recently.

The author is a Vietnam vet and admits to be a conservative and on the right and he fairly critisizes past Presidential offices and describes why America is on the warpath from past trends and decisions.

Andrew J. Bacevich's New American Militarism is an informative, insightful, methodical analysis of key influences that have created American militarism, of how it came to be as it is. It is careful delineation of the parts influencing how G. W. Bush and the current administration arrived at their current policy, and why they regard the use of force and the deployment of American military forces throughout the world as paramount components of our foreign policy, despite warnings to the contrary from the nation's Founders. From his description of Woodrow Wilson's original interventionist intent (a moral vision shared with both Carter and Reagan, manifesting itself in vastly different ways in their respective presidencies, and one that GW Bush would adopt after 9/11), to the impact on the public's psyche of the mass media and Hollywood, the long term investment in particular world views of the evangelical right, neo-cons and the officers' corps under decades of Cold War influence--he meticulously traces how the parts fit together, and who played what role. This writer found his narration of the on-going influence of Albert Wohlstetter, the RAND Corporation and Robert McNamara, and their subsequent impact on Wolfowitz, Rumsfeld, and Bush (II) to be particularly interesting. Simultaneously informative and frustrating was his description of evangelicals; it brought home the point that a thorough reading of Mark Twain's War Prayer would probably leave little impression on many of them.
His tying together of such seemingly disparate leaders as Carter and Hoover, Reagan and Roosevelt, Wilson and Bush, show recurring trends in how the government approaches the leviathan that is our armed forces. Bacevich describes a juggernaut used for global power projection, where all the principal policy players (presidents and presidential candidates, Congress, etc.) know that bigger is essential--as Carter discovered to his electoral dismay after delivering his Crisis of Conscience speech. (pgs. 100-102) Without falling into diatribe or invective against any of those he describes, it is quite clear who stands out as Bacevich's exemplars and who comes up short. We see the myriad influences that have lead to President Bush's Orwellian injunction that this country must go on the offense and stay on the offense, and simultaneously understand that is not a new concept with GW, as we see from C. Wright Mills' 1956 commentary on the subject, that "the only accepted `plan' for peace is the loaded pistol."
The author's description of the convictions of second generation neo-cons (heirs to the ideological likes of Podhoretz and Kagan), is instructive in that it is a mirror reflection of the current administration's SOP (American global dominion is benign and other nations necessarily see it as such, failure on the part of the US to sustain its imperium would inevitable result in global disorder, nothing works like force, commitment to sustaining and enhancing American military supremacy is essential and, a political realism is viewed with hostility, whether manifesting itself as a deficit of ideals or an excess of caution).
Bacevich sees that culpability for the current situation is cumulative, and while one or another of the players may share more responsibility for our current predicament, laying blame accomplishes nothing and does not address the issues and challenges our militarism confronts us with. The author makes it clear that (as Madison puts it) "...No nation could preserve its freedom in the midst of continual warfare." With these points in mind, Bacevich offers in his final chapter, Common Defense, a plan of action--ten fundamental principles to abate present militaristic tendencies (heed the intentions of the Founders, revitalize the concept of separation of powers, view force as a last resort, enhance US strategic self-sufficiency, organize US forces explicitly for national defense, devise an appropriate gauge for determining the level of US defense spending, enhance alternative instruments of statecraft, revive the moribund concept of the citizen-soldier, re-examine the role of the National Guard and reserve components, and reconcile the American military profession to American society). (pgs. 208-221) I would include a final essential point in Bacevich's ten principles to avert expanding militarism--unceasing engagement, for it is only through consistent contact that we can hope to engage both our allies and foes. The indelible conclusion one draws from New American Militarism is that there are a multitude of issues that must be simultaneously addressed in order to curtain our reliance on overt militarism as a tool of foreign policy, but Bacevich also makes it clear that such a process of redress is possible. An excellent read for anyone in the armed forces, who has a family member in the military, or who has an interest in the symbiotic relationship between American society and its military.

The best books are those that challenge conventional thinking and have the intellectual weight to back up that challenge. This book is one of those. The author, a Vietnam vet and West Pointer, has the credentials and knows the military from the inside, which gives his argument particular strength and provides the reader with information not otherwise easily available. Is it really necessary that the United States have a military machine as large as it does? In these troubled times, that's a view that wins easy assent. But this book will make you think twice.

Judging by his track record, Bacevich might appear as a true-blue conservative, a West Point graduate, Vietnam veteran, and soldier for 23 years. He currently teaches at Boston University and has contributed to conservative magazines such as the Weekly Standard and the National Review. He was a former Bush Fellow at the American Academy in Berlin. Nevertheless, his analysis of evolving military doctrines shows no bias for any party.

As the drum, drum, drumming in the air grew louder the usual pregame roar in Ball One Ballpark in Phoenix softened and attention swung to a pre-game show by the Bashas' Bears High School drumline.

They are good. The driving pulse of a drumline, like the beat of a powwow drum circle, is captivating, dynamic, addictive and hypnotic. Music and its rhythms enchant and entrap our souls, and this book offers a fascinating look at "Why" it has such impact. There are many books about music, but this is a fresh look by a skilled writer about why instead of merely the how, what, when and where of musical notes.

Unlike usual textbooks which are heavy on being textbooks and light on understanding, Levitin has experience enough to explain his subject. Humans are said to be the only species that laughs at itself, or needs to; likewise, we are the only species that creates original music, or has the ability to do so, or perhaps the need, and certainly the desire.

Levitin, a professional musician and successful record producer, now runs a laboratory for music perception, cognition and expertise at McGill University. He is a rare academic, solidly grounded in the everyday world of his specialty instead of mere bookish theory. He is a professional who relates to his fellow artists and thus knows how to express basic ideas and themes in words everyone can understand.

Six songs? I'd add a few, such as the Bears' drumline. Even though a drumline is not melodic, it has a powerful rhythmic appeal. It's an example of how music is more than notes on a scale, and how basic the appeal of rhythm and music is to our senses.

Levitin offers some very basic ideas to understand our need and appeal for music, using wit, charm and personal anecdotes. He's been there and walked the walk ... in his case played the notes professionally ... it gives his thoughts and ideas a perfect pitch.

Exquisitely written, it is really about ourselves because we are such a musical species. It makes me wonder: What if humans had never learned to talk, but merely communicate through music? It seems far more reasonable than merely talking without understanding -- at which we're all too expert.

What then the Bears' drumline? Their rhythms are among the most powerful ideas ever expressed. Like Irish step dancing, a powerful expression of unity without using a word, music can be a dynamic expression of human emotions, ideas and spirit.

Fortunately, Levitin is admirably skilled in his use of words; every bit as good as the Bears' drumline or Beethoven's Sixth.

This fascinating book explores the powerful force music has played in shaping our common humanity. It's evolution, with a backbeat. Author Levitin makes the case that six basic types of songs have existed throughout the course of human history, all over the world. Mankind, apparently, shares a soundtrack.

The six broad categories of music are songs about friendship, joy, comfort, knowledge, religion and love. Each has a different function, but all serve to bind us together. They make us stronger as a species.

Levitin, a musician and scientist, cites anthropologists, evolutionary biologists, neurosurgeons, psychologists, and many famous musicians in this book. He includes lyrics from a great range of songs, including "At Seventeen," "The Hokey Pokey," "I Walk the Line," "Twist and Shout," and "Log Blues" from Ren & Stimpy.

Music can be so evocative. A snippet of song can take you back to the exact moment you heard it in childhood or high school or whenever. It's like there is a direct link that exists in the human brain between music and memory.

This books tells us that Americans spend more money on music than they do on prescription drugs or sex, and the average American hears more than five hours of music per day. It's obviously important to us. After reading The World in Six Songs, you'll have a much better idea why.

Here's the chapter list:

1. Taking It from the Top or "The Hills Are Alive..."
2. Friendship or "War (What Is It Good For)?"
3. Joy or "Sometimes You Feel Like a Nut"
4. Comfort or "Before There Was Prozac, There Was You"
5. Knowledge or "I Need to Know"
6. Religion or "People Get Ready"
7. Love or "Bring `Em All In"

It's a text book in its fifth edition. When I start my own publishing co. I'll be sure to be involved in text books so I can cut students such a great deal by only charging $60 instead of $90 and I'll only print new editions every 3 years instead of 2 at the risk of things like math, art, and history changing so dramatically.

A World of Art by Henry Sayre is meant to give individuals their first exposure to art and art history. This is the textbook I use for my Art 101 course and it fills that purpose exceptionally well. The book is broken down into 5 segments with a total of 22 chapters.

Part One: The Visual World - is about understanding the art one comes across. Chapters in this section discuss themes found in art, the value we give to art, and developing a literacy in order to explain the art around us. Personally, I feel that the subject matter in this section is pretty deep for someone new to the field and suggest beginning with Part Two.

Part Two: The Formal Elements And Their Design - deals with the basic elements of art, particularly to how they relate to the artist. Chapters in this section discuss elements such as line, space, color and general design principles. A good introductory chapter to begin with.

Part Three: The Fine Arts Media - reviews the different ways art is created. Chapters are broken down by media such as drawing, printmaking, painting, photography, and sculpture.

Part Four: The Visual Arts In Everyday Life - is a very small section revolving around architecture and design. It reviews a few of the art historical movements such as art nouveau and art deco.

Part Five: The Visual Record - is a chronological look at art throughout the ages beginning with primitive (cave art) and ending with the twentieth century.

The book varies from the 4th edition in its incorporation of 100 new images (quite a lot considering it is a 500 page book). The author places special focus on artwork from women, minority and non-Western cultures, along with showing the cornerstone pieces of art from the Western world. There are a few mistakes in the text (hence a 6th edition I am sure), and some better terminology should have been used (i.e. using the term "fabrics" when in fact he should have used the more correct term "textiles"). Overall it is a very good book, it is a smooth read and has many color images on nearly every page.

This book is an ultimate study guide for the Praxis II art content exam! It gives you everything from art history to photography to printmaking... It is an excellent survey of technique, elements and principles, as well as chronlogical history. The only thing it lacks is a few more "contemporary names" from the 40's through today.

This was a wonderful course, the book is easy to understand and presented well. Nice size print and good photos of lots of works. I realy enjoyed each page of the book.

The book covers an extensive array of facts about art in general as well as about specific works of art. By introducing artists and exploring their intentions, the student can better understand and perhaps come to appreciate a wider variety of all forms of art.
The CD holds some of the works that appear in the book, but not all, plus others that are not in the book which I thought was a little disconnected. But the CD also includes verbal pronunciation of artists' names, which cooresponds exactly to the Pronunciation Guide and is helpful. Overall, the book offers very thorough instruction for art appreciation.