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The Art of Music Production is the first book to comprehensively analyze and describe the role of the music producer in creating successful music recordings. Now in its fourth edition, it is the definitive guide to the art and business of music production.

Author and producer Richard James Burgess distills this complex field by defining the distinct roles of a music producer.The first part of the book outlines the underlying theory of the art of music production. The second focuses on the job's practical aspects, including training, getting into the business, and--most importantly--the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from successful music producers, ranging from the beginnings of recorded sound to today's chart-toppers and across genre lines. It features many revealing anecdotes, encompassing both the daily and overarching career-related challenges that a producer faces. Burgess addresses the changes in the nature of music production brought about by technology and, in particular, the millennial shift that has occurred with digital recording and distribution. His lifelong experience in the recording industry as a studio musician, artist, composer, producer, manager, and marketer, combined with his extensive academic research in the field, brings a unique breadth and depth of understanding to the topic.

• Sales Rank: #7647642 in Books
• Brand: Brand: Oxford University Press
• Published on: 2013-09-02
• Original language: English
• Number of items: 1
• Dimensions: 6.30" h x .90" w x 9.30" l, 1.20 pounds
• Binding: Hardcover
• 346 pages

Features

• Used Book in Good Condition

Review

Praise for previous editions:

"The most comprehensive guide to record production ever published." --BASCA News

"Essential--this book will open your eyes to both possibilities and pitfalls." --BEAT Magazine

"This book takes you through pretty much everything you need to know about the industry. So, a useful guide for anyone voluntarily plunging into this shark infested world." --Mail on Sunday

From the Author
I hope you enjoy the brand new fourth edition. I completely rewrote the book with a lot of additional material, particularly related to the changes in the industry since the third edition in 2004. This edition has full citations, a bibliography and an index, and for the first time, I separated it into two distinct sections: the theory and the practice.  The theory section covers the typologies, or categories of producers, that I have expanded from four to six, and I have renamed them all from the previous editions. I also looked at the categories from several different angles in this section.  The practice section covers all the material in the previous editions and more. I have updated it with more insights from current producers and a wider spread of genres. I addressed additional questions that students have brought up in class over the years.  It is important to note that the book is not a "how to" book that will teach someone how to record music or run a DAW; there are many excellent books that do that. My intention when I wrote the first edition in 1994 was to give a wide ranging perspective on the facets of production that were learned naturally by "growing up" within the studio system, but are not so easy to learn or teach in the classroom. As Hugh Padgham said to me recently, "fifty percent of producing is dealing with people," and, in many cases, that may be an understatement. This is not to lessen the importance of technical knowledge. It is hard for a producer to survive today without being able to run a DAW and take care of all the technical tasks. Nevertheless, schools, manuals, magazines and other books do a good job of teaching those specific, and ever changing skills. The landscape of production has changed dramatically since I wrote the first edition. However, I find it instructive that the most recent crop of successful producers, from all genres, are still dealing with, what appear to be, timeless issues--and insights into these are what I hope I have captured in this fourth edition. 

About the Author

Richard James Burgess is Director of Marketing, Sales and Licensing at Smithsonian Folkways Recordings and also runs his own artist management company, Burgess World Co. He has managed major label artists with top ten chart hits and international touring schedules. As an artist in his own right, he has charted in many countries and has produced gold and platinum albums for artists such as Spandau Ballet, King, Adam Ant, Colonel Abrams, Five Star, Living in a Box, Shriekback, and New Edition.

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7 of 7 people found the following review helpful.
I feel that very few of them go beyond the basic technical workings of a recording studio (knowledge of which does not guarantee
By mikeru223
As someone who has worked in the field of record production for a few decades, I am both appreciative for and impressed with the scope and depth of this book. While there are a variety of books which represent themselves as guides to record production, I feel that very few of them go beyond the basic technical workings of a recording studio (knowledge of which does not guarantee any great insight into production) let alone, scratching the surface of what a record producer truly does. Anyone interested in record production will find at least something useful here- the data and interviews are both incorporated well and relevant to the points Burgess makes, his analysis of various approaches to production is comprehensive and his insights are thought-provoking. 

Due to its all-encompassing nature, one could liken this book to being a Swiss Army knife for record production. Burgess has done a great service to the musical community by illuminating and defining (as well as providing practical commentary for novice producers) this little-understood, seemingly arcane, yet vital role in the creative/ recording process. It's clear that a lot of conscious effort and research went into making this stand apart from other literature on the subject. A terrific effort- thank you and bravo. 

3 of 3 people found the following review helpful.
Fantastic book
By Daniel Hefti
Fantastic book for everyone who want's to produce music. It gives you a great overview about the different ways and types of producing. The author and many more producers share their experience and make your start as a producer much easier.

0 of 0 people found the following review helpful.
Five Stars
By Amazon Customer
Great book. It came really fast

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Written by an engineer with decades of practical manufacturing experience, this new edition has been thoroughly revised and is a complete modern guide to sheet metal forming processes and die design – still the most commonly used methodology for the mass-production manufacture of aircraft, automobiles, and complex high-precision parts. Included are the “hows” and “whys” of product analysis, as well as the techniques for blanking, punching, bending, deep drawing, stretching, material economy, strip design, movement of metal during stamping, and tooling. Its focus is on simple, applicable engineering methods rather than complex numerical techniques.

• Sales Rank: #1181291 in eBooks
• Published on: 2014-04-01
• Released on: 2014-04-01
• Format: Kindle eBook

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1 of 1 people found the following review helpful.
A great balance of theory and practice
By Stan Hisel
Exactly what I was looking for. A great balance of theory and practice.

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A Mind at Peace, originally published in 1949, is a magnum opus, a Turkish Ulysses and a lyrical homage to Istanbul. With an innate awareness of how dueling cultural mentalities can lead to the distress of divided selves, Tanpinar gauges this moment in history by masterfully portraying its register on the layered psyches of his Istanbulite characters. Set on the eve of World War II in the “city of two continents,” this literary feat is a narrative of duality: a historical novel and a love story (of the senses and the mind), language and music, tradition and modernity, East and West—and of the vital juncture where one young man must attempt to bridge all of these worlds at once.

Surviving the childhood trauma of his parents’ untimely deaths in the early skirmishes of World War I, Mümtaz is raised and mentored in Istanbul by his cousin Ihsan and his cosmopolitan family of intellectuals. Having lived through the tumultuous cultural revolutions following the fall of the Ottoman Empire and the rise of the early Turkish Republic, each is challenged by the difficulties brought about by such rapid social change.

The promise of modernization and progress has given way to crippling anxiety rather than hope for the future. Fragmentation and destabilization seem the only certainties within the new world where they now find themselves. Mümtaz takes refuge in the fading past, immersing himself in literature and music, but when he falls in love with Nuran, a complex woman with demanding relatives, he is forced to confront the challenges of the World at large. Can their love save them from the turbulent times and protect them from disaster, or will inner obsessions, along with powerful social forces seemingly set against them, tear the couple apart?

• Sales Rank: #203933 in Books
• Published on: 2011-02-25
• Released on: 2011-02-25
• Original language: English
• Number of items: 1
• Dimensions: 7.51" h x 1.29" w x 6.03" l, 1.40 pounds
• Binding: Paperback
• 451 pages

From Publishers Weekly
Starred Review. Originally published in 1949, Tanpinar's sweeping literary masterpiece is a love story of his native Turkey and of the flesh. As Turkish culture shifts from its traditional roots to a more modernized society in the 1930s, protagonist Mümtaz seeks to preserve the past. After his parents' untimely death, he becomes a devotee of Turkish literature under the tutelage of his cousin and mentor, Ihsan. Mümtaz is like a figure in a novel, confronted by tragedy at a young age, ensuring that its effects would always afflict him and perhaps that is why he chooses to focus on a disappearing past. He soon falls in love with Nuran, an unattainable woman with a complicated background. Mümtaz believes that his love for Nuran will be enough to save them both from the changing times and protect them from disaster. Tanpinar's lyricism and resonant plot will leave U.S. readers wondering why they've had to wait so long to read this exquisite novel. (Oct.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
Tanpinar (1901-62) was a formative figure in modern Turkish letters, although 50 years after his death, his career in English is just getting off the ground. His monumental A Mind at Peace (1949), which Orhan Pamuk has called “the greatest novel ever written about Istanbul,” found its way into English in 2008 (Archipelago). Set just before World War II, it conjures on a vast scale the world of Istanbul during the early Turkish Republic, a time when modern Western values were abruptly imposed upon a people and a culture unprepared for them. The ramshackle modernity that resulted, in which Ottoman history and tradition were largely written over, became Tanpinar’s lasting subject: the “void,” as he once described it, of a people “suspended between two lives.” — New York Times Book Review

[A] masterpiece. . .[A] honeyed, searching, and melancholy epic. . .The novel is as much about its setting and colors as about the stories and wonderfully eccentric and varied panoply of characters. . .One of the 20th century's notable literary love stories and cultural watersheds. — The Los Angeles Times

The greatest novel ever written about Istanbul. — Orhan Pamuk

Tanpinar′s sweeping literary masterpiece is a love story of his native Turkey and of The flesh…His lyricism and resonant plot will leave U.S. readers wondering why they've had to wait so long to read this exquisite novel. — Publishers Weekly

Every page is full of sharp insights into human nature, delivered with a linguistic confidence that cracks like a whip and warms one from the inside with a glow of recognition—the recognition that no matter how far away we think we might be from one another in time and space, we are all distilled from the very same mixture of passion and compassion, intelligence and foolishness. — Ugur Akinci

A beautifully melodic picture of Istanbul and the Bosphorus during a crossroad of Turkish and world history. We shouldn’t have had to wait this long for such an important work. — Literary Fiction Review

Written by the man who almost single-handedly defined the modern Turkish novel, A Mind At Peace follows a group of westernized, urban intellectuals in 1930s Istanbul as they drift through the city in a permanent state of ennui, seemingly caught between the past and the present, tradition and modernity, the East and the West. — Reza Aslan

His great novel combines the emotional storminess of Dostoevsky with the refined artificiality and cruel psychological analysis of Marcel Proust. — Ha'aretz

About the Author
Ahmet Hamdi Tanipar (1901-1962) was a poet, short story writer, novelist, essayist, literary historian, member of the Turkish parliament, and professor at Istanbul University. Deeply influenced by Valéry and Bergson, he created a cultural universe in his work, bringing together a European literary voice and the sensibilities of Istanbul cosmopolitanism. His work, notable for its aesthetic complexity and its vivid descriptions of a lost Ottoman world, was rediscovered a decade after his death. He is considered one of the most significant Turkish novelists of the 20th century and is credited as an influence on many Turkish writers, including Nobel laureate Orhan Pamuk. His work has been translated into more than 25 languages.

Translator: Erdag Göknar is an assistant professor of Turkish Studies at Duke University. He is the translator of Orhan Pamuk's historical novel, My Name is Red, which received the International IMPAC Dublin Literary Award in 2003. He is also the recipient of an NEA translation grant for A Mind at Peace.

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24 of 27 people found the following review helpful.
A lyrical novel of Istambul
By las cosas
Orhan Pamur speaks of Ahmet Hamdi Tanpinar as an essential part of his sense of Istambul. Based on his descriptions of Tanpinar in his book Istambul, I was excited to read this translation of Tanpinar's masterpiece.

The physical book is extremely attractive, even sensual. With an old photo on the cover of several rowboats on the Bosphorus you are being introduced to the world within the book's covers. Elegant endpapers, thick off-white paper, and an unusually square shape to the book all present a pleasant, inviting physical object. Archipelago Books, I publisher I'd not encountered before, did an excellent job (though their editor missed a few too many errors).

On opening the book the first thing you notice is the lack of any notes, introduction, or even an index to the various Parts of the book. This is puzzling, and unfortunate. The dust jacket provides a few sentences on the author and this work (in addition to a few sentence plot summary). And even those sentences tell us little. What does it mean to say that this book is "a Turkish Ulysses"? The book deserves a wide readership, beyond the niche of people already familiar with this author. And that readership needs at least some minimal sign-posts to help navigate this dense examination of Istambul's intellectual, philosophical and moral dilemmas at the start of World War II. One method would be an introduction explaining the dynamics of Turkey at that time, and explaining Tanpinar's place in that debate. Another would be to provide a few footnotes, or end notes, explaining certain words or concepts unlikely to be understood by the average English speaking reader. For example, the debate over whether a character is mevlevi or bektashi was completely lost on me. How about you?

The novel starts "(City of Two Continents, August 1939)". And that could also be the one sentence summary of the novel. Turkey and its citizens are about to be plunged into WWII, a Western war that is very on the periphery of its interests, history and consciousness. But what is consuming the characters in this novel is the doppelganger of living in the past and the present, in the East and in the West, in two continents, two realities.

The novel is told using both the first and third person views of the main character, Mumtaz. And even the third person observations are claustrophobic, told from a ground level prospective never far from the immediate observations of Mumtaz, a young writer and intellectual who "does" essentially nothing during the 1939 focus of the book. He thinks, observes, feels. His love for Nuran, his hatred of yet attraction to Suad, the filial love and respect for Ihsan...these are drawn out in long, complex worlds of emotion that slowly built and deepen as the novel progresses.

But the central character in this novel is Turkey, Turkish, Istambul and the Borphorus. What do these things mean to a well educated, not-poor (I'm not sure what "class" these intellectuals belong to...but few have a conventional job) group of largely male intellectuals? The answer is a deep ambivalence. They live in a city of past architectural glory, the capitol of a vast empire. And while they are part of that heritage, they are also drawn to the present, to the Western. This is most often described in descriptions of music. Some of the most lyrical parts of the book describe Turkish classical music, the sound of the ney while a singer intones verses composed for various sultans. And while this is being lyrically described Mumtaz will realize that he is actually thinking of a Beethoven sonata. Quoting a Farsi couplet the discussion will veer to French symbolist poets. But oh the longing, the sorrow, of those couplets:
The days foreshortened, aged men in Kanlica
Conjure memories of past autumns one by one.

By the end of the novel you are left with a deep understanding of the longing felt by Mumtaz, to be his own person, not dragged down by the weight of his history and culture, yet aware that without those things he would be empty. "The vast fallout of two centuries of disintegration and collapse, of being the remnants of an empire and still unable to establish our own norms and idioms."

So why only 4 starts (and actually I would give it a 3.5)? Because of the lamentable translation. My definition of a good translation is one I don't notice. And this fails my test miserably. There is little plot in this novel. It is a closely observed study, and by necessity that means a book that is slowly, closely, read and observed. The lyrical content simply must be accompanied by similar prose or the image is shattered. On every page the reader encounters a variety of translation ticks: the hackneyed phrase, the unnecessarily complex words, the odd spelling, the anti-lyrical and the weird.

Hackneyed: hither and yond, oft times, by and by, by and large, truth be told, kith and kin, hale and hearty, sing a ditty, let the cat out of the bag, a slave of his baser desires.

Big words: in one paragraph we encounter quiddities, haecceities and ideational.

Odd spelling: phantasy and magick [each used many, many times].

Anti-lyrical: "Ihsan's personality was more agreeable than those personae of his preconceptions might have indicated" "exercise her volition to live apart" "the verdure assaulted one's casing of skin."

Weird: "at whiles." Synonym for periodically or at times. And used way too often!

So maybe Tanipar is addicted to archaic spellings, has a huge vocabulary that he throws around, is addicted to hackneyed phrases and the translator is merely following the original. Maybe, but adding all of these quirks together, if the translator has merely followed the original, this book would not be "the greatest novel ever written about Istambul," quoting Orhan Pamur.

9 of 10 people found the following review helpful.
A Mind at Peace
By Patrick Oliver Kelley
This is a novel more in the spirit of a wm Faulkner novel than a Robert Graves piece. Why did I expect more war than personal, romantic intimacy? Frankly, I wonder if the translator has ever been in Turkey for any period of time. Imagery is good, but for me the translation is 'too high brow' maybe I should have tried to read the original Turkish, before turning to the English version because much of the English seems too 'unTurkish.' So much of what is translated seems more an invention of the translator than the intent of the author. I am soldering on reading the book because of the unique subject and unique period it encompasses.
Hope I am not offending anyone, but it's my review

3 of 3 people found the following review helpful.
A Mind at Peace
By Steven Davis
"What is it that should be done?" This is the central question of A Mind at Peace at both the public and personal levels. The novel is set on the eve of World War II in Istanbul, Turkey. Its protagonist, Mümtaz, is a young, unmarried academic and would-be novelist. He is principally occupied at the moment, however, with caring for his older cousin İhsan who suffers from what appears likely to be a fatal case of pneumonia. İhsan had been Mümtaz's guardian and mentor ever since the latter's parents died as a result of the Greek invasion of Anatolia in 1919--events which Mümtaz recalls at the beginning of the novel.

Mümtaz also reflects ruefully upon his recently broken love affair with Nuran, a divorced woman slightly older than Mümtaz. In the long walks he takes to escape from the sick room, every sight and sound seems to recall the times he spent with Nuran.

After this prologue, the novel shifts back a year or more in time to Mümtaz's first meeting with Nuran. It is a relationship we know is doomed to failure, but not how or why. In the meantime, the two lovers, enraptured with one another, spend many idle hours in all seasons exploring their city--from palaces to bazaars, from waterways to ancient ruins. Eventually Mümtaz even wonders "Do we love each other or the Bosphorus?"

On a par with their passion for Istanbul is the pair's enthusiasm for traditional Turkish music. There are lengthy discussions about it, as well as sessions where Nuran's uncle, a noted vocalist, and his friends perform for guests. (It's a shame that the novel couldn't have included a CD to satisfy readers' inevitable curiosity about the folk music described in such rapturous terms.)

Notwithstanding the love story and travelogue, A Mind at Peace is essentially a novel of ideas. It is August 1939, and the world is obviously on the brink of another great war. The Turks have no reason to expect that they won't be involved, but should they just let the currents of history carry them into another bloodbath? What is the responsibility of the individual, especially of the intellectual, at times like this? After long talks with his cousin, Mümtaz asks himself: "Maybe İhsan does have a point! This society wants ideas and maybe even a struggle out of me. Not romantic posturing! But to achieve this end must I forget about Nuran?"

There is obviously much of Hamlet's "To be, or not to be..." in Mümtaz's dilemma. Readers of Robert Musil's The Man Without Qualities will also find themselves on familiar ground with a protagonist full of ideas but lacking in direction. In contrast to Mümtaz there is Suad, a key character introduced fairly late in the novel, who is his mirror image: a man of intellectual attainment but impulsive, irresponsible, self-indulgent and proud of his Sadean amorality. Nuran, in contrast to both of these men, is centered on her feelings, her family, and her cultural roots. In the author's words, "Nuran depended on a minimum level of selfhood. She lived through her milieu."

A Mind at Peace is a great novel that brings forth ideas of epic scale out of an intimate story, and does so against an unforgettable historical and cultural backdrop. The principal characters, notwithstanding their penchant for philosophical abstracts, are convincingly complete and complex. The author's prose, beautifully translated, has an evocative and lyrical quality in keeping with the musical theme running through the novel. Here, for example, is a passage describing Nuran:

"Not a single spot existed on her small face with which he wasn't familiar. For Mümtaz, her face became his panorama of the soul: the way it blossomed to love like a flower, closed definitively upon a despairing smile--the metallic radiance burning in her eyes asquint--and not least of all the way her face changed by degrees like a daybreak over the Bosphorus.... With a look, she dressed him up and stripped him down, at one moment turning him into a pitiful, forsaken malcontent with no recourse but Allah, and at the next into the very master of his fate."

For both its profound discussion of ideas central to the human condition and its vivid portrayal of a place, a time and a people, A Mind at Peace is highly recommended.

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[M330.Ebook] PDF Download Gertrude Bell, by H.V.F. Winstone

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"I don't care to be in London much. I like Baghdad, and I like Iraq. It's the real East, and it is stirring; things are happening here, and the romance of it all touches and absorbs me." So wrote Gertrude Bell, as she reflected on the path she had chosen in life. Adventurer, archaeologist, and Arabist, Bell cut a unique figure in the turbulent politics of the Middle East during the First World War and its aftermath. This book will appeal to all those keen to gain a real understanding of the history behind the headlines in Iraq, and an insight into the life and times of one of the twentieth century's most extraordinary women.

• Sales Rank: #1555614 in Books
• Brand: Brand: Stacey Intl
• Published on: 1978-12-31
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x 6.00" w x 1.75" l, 2.10 pounds
• Binding: Hardcover
• 504 pages

Features

• Used Book in Good Condition

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6 of 6 people found the following review helpful.
A REMARKABLE BIOGRAPHY OF GERTRUDE BELL
By MICHAEL STONEHILL
This is the third biography that I've read on this remarkable woman and by far the best. Winstone(who died in 2010) takes the reader through every aspect of Bell's life(1868-1926) focusing on her privileged upbringing as the daughter of Sir Hugh Bell, through her years at Oxford, mountain climbing in Switzerland, her travels to the Middle East(Syria, Palestine & Arabia), her work both during and after World War One, and finally her work on the formation of modern day Iraq(called Mesopotamia by the British) and the establishment of the Iraqi National Archaeology Museum. Winstone leaves no stone unturned in going over Bell's life. It's all here from her unconsummated love affair with the married Charles Doughty-Wylie whose death at Gallipoli(in 1915) affected her the rest of her life, to her dealing with two men who were her contemporaries(Winston Churchill & T.E. Lawrence) who received far more attention and acclaim than she did in her lifetime. And there are the little things too, such as her terrible handwriting and her passion for Egyptian cigarettes(which probably contributed to her early death at age 57). During her lifetime Bell was a writer, photographer, political administrator, traveler and shaper of nations. Despite all these titles, she considered herself an archaeologist first and her work in this field is still being studied today nearly a hundred years later. One thing that Winstone mentions in his biography is that Bell did not like being photographed herself so there are very few photos of her. The great English painter Edward Poynter painted a portrait of Bell when she was eight years old(in 1876) that shows her standing beside her father. With her long red hair and beautiful features, the look in her eyes tells anyone looking upon the portrait that she was destined for greatness. It's a shame that she is mostly forgotten by history considering how much she contributed to the making of that history. Her life has been overshadowed by T.E. Lawrence(of Arabia fame) but it's impact on history cannot be understated. Along with the other two recent biographies of Bell by Janet Wallach and Georgina Howell, hopefully this remarkable woman's life will be rediscovered. It would make a great mini-series. In the meantime, H.V.F. Winstone's biography is a must read for anyone interested in the Middle East and one of the most remarkable women who was a major player in shaping that region.

3 of 3 people found the following review helpful.
Will the real GB please stand up...
By Larry N. Stout
Winstone reveals himself in this updated edition as an astute student of history with insight into historical personalities. This is a no-nonsense, unworshipful biography by a very interested, yet disinterested, author; accordingly, the presented life of GB is that of a person, a remarkable and accomplished woman, but neither idol nor heroine. An informative book that provides a sound understanding of the much-mythologized GB, and of the events and times of her life. Unfortunately, a matter-of-fact book is seldom highly engrossing. Nits: the index is erratic (one of my pet peeves!), and in the back-of-book time-comprehensive chronology the Byzantine emperor-warrior Heraclius is misnamed "Heraclitus" (famous philosopher of Ephesus).

29 of 30 people found the following review helpful.
Queen of the Desert
By Avid Reader
I first learned about Bell while studying archaeology and knew only of her involvement with the founding of the Iraq museum . However, I was unaware of the extent of her involvement in the politics of the region. This book is a timely and recommended read for anyone interested in the current situation in Iraq and the Middle East. It provides an well-written and fascinating look at the personalities and forces that shaped the region-Bell being one-and provides insight into the background of the conflicts there. It also is a brilliant portrait of Bell herself and the world of a daughter of privelege in the last days of the British Empire.

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[R352.Ebook] Get Free Ebook War and the World: Military Power and the Fate of Continents, 1450-2000, by Jeremy Black

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In this brilliant history of warfare, Jeremy Black is the first to approach the entire modern era from a comprehensive global perspective. He provides a wide-ranging account of the nature, purpose, and experience of war over the past half-millennium and argues the importance of viewing the rise of European power within a wider international context. Investigating both land and sea warfare, Black examines weaponry, tactics, strategy, and resources as well as the political, social, and cultural impact of conflict. The book takes issue with established interpretations, not least those that emphasize technology, and challenges the view that European military and naval forces were dominant throughout the period. European mastery at sea did not always translate into equivalent success on land, says Black, and many non-European military systems-the Ottomans in their expansionist years, Babur and the Mughals in sixteenth-century India, and the Manchu in China in the following century, for example-were formidable in their own right. The author contends that in the nineteenth century, the focal period of Europe's military revolution, the international military balance shifted decisively. Black shows how military developments, combined with political, economic, and ideological shifts, influenced the nature and success of European imperialism. Linking debates on early modern history with those of more recent centuries, he offers a fundamental reexamination of the role of war in the progress of nations.

• Sales Rank: #277530 in Books
• Published on: 2000-04-01
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x .72" w x 7.01" l, 1.34 pounds
• Binding: Paperback
• 344 pages

Review
"This is a tribute to Black's industry and scholarship...I am confident that it will feature prominently in the working libraries of professional historians and the reading lists of their students." Richard Holmes, Literary Review "This volume is essential for military historians and could be perused profitably by the general reader." Virginia Quarterly Review "With this book, Jeremy Black provides an account of how war has been waged over the past five and a half centuries in the European and non-European worlds. He has written what is in effect a global history of armed conflict." David B. Ralston, American Historical Review

About the Author
Jeremy Black is professor of history at the University of Exeter. He is the author of many books, including Maps and History: Constructing Images of the Past (ISBN: 0 300 06976 6, #25.00), also published by Yale University Press.

Most helpful customer reviews

19 of 21 people found the following review helpful.
The best book on military history I,ve read thus far.
By A Customer
War and the World is an extremely well researched and informative account of military history that is truly universal in scope. Jeremy Black has wisely expanded his focus beyond the constricting binds of Eurocentrism to produce a work of scholarship that douments, in detail, military developments in parts of the world ignored by conventional military history. His assertion that future domination by Europeans of most of the world after the fifteenth century was by no means a foregone conclusion is a legitimate one in light of the opposition they would receive from equally determined, aggressive and expansionist non-Europeans. He explores the limitations of European power, expounding on their powerful naval capabilty, but emphasizing their inabilty to be more then a significant presence beyond the coastal regions of places like West Africa. Expansionist peoples like the Dzhungars of central Asia, the Fulani of west Africa and the Moroccans (notably in the context of their little known, but spectacular defeat of the Portugeuse at the battle of Alcazarquivir in 1578) are mentioned, their successes or failures examined. In other military history texts, they would have been outright ignored. It is because of this kind of depth to the author's research that War and the World was a far more satisfying read then John Keegan's A History of Warfare. While War and the World spans a period of history from 1450-2000, I hope that Jeremy Black, should he decide to write another book on world military history, will extend his chronological scope to encompass warfare from the dawn of man onward. It would be interesting to read his perspectives on the Romans, Mongols and other aggressive peoples who forged bloody niches in the pre-modern age.

8 of 8 people found the following review helpful.
The Evolution not Revolution in Military Affairs
By 10th Legion
First of all this is not a book for the casual reader of military history. Although it reads as if it was designed to be used in a university history course, it assumes a fairly extensive knowledge of major world military events throughout the period under review. For the more knowledgeable reader of historical and contemporary military affairs, Jeremy Black offers a less radical view of the Revolution in Military Affairs based on a European-centric view of events. The strength of this book is that is broadens the scope of major military evolutionary trends to address the impact of geography, political, scientific, and demographic influences. Mr. Black strives and generally succeeds in bringing a "balanced" view of why military "revolutions" did and did not occur. I highly recommend this book to readers who have extensive background in both military and general world history. For more casual readers I recommend having a copy of R. Ernest and Trevor N. Dupuy's Encyclopedia of Military History and a good historical atlas for ready reference. Well done and recommended.

4 of 4 people found the following review helpful.
The Military Revolution meets The Will to Power
By Glenn McDorman
With War and the World, Jeremy Black constructs a revisionist history of what has come to be known as "the military revolution." Black's approach is broader in both time and scope than those of Michael Roberts and Geoffrey Parker, the traditional proponents of the European military revolution. Unlike the work of Roberts, Black's history is a global history, and Black takes his argument up to the present day. Geoffrey Parker's work on the subject attempted to be global, but, as Black points out, it still took Europeans as the protagonists, and it did not extend beyond the early modern period. Instead, Black treats the "Rise of the West" from a detached perspective. And so, where Black is revisionist, it is not in arguing against the notion that the West employed novel technologies in its rise to global dominance, but rather in seeking to contextualize that story, to see it as contemporaries would have, and to resist the temptation of presentism that so often plagues historians writing large, synthetic theses.

Black's central argument is that there was no single cause for the success of European expansion. Rather, there was a complex interaction of developments around the world that provided an environment for expansion. Black argues that what historians and the general public have long regarded as a triumphant march to dominance was in fact fraught with defeat. Furthermore, Black demonstrates that many of the European "military" successes relied much less on raw military might than is generally assumed. Black writes that it is "necessary to note the extent to which the Europeans were not the sole dynamic powers in the world and, more generally, to draw attention to the limitations of European military power." Where Black does point to a general cause, he finds it in the combination of two things: the ability of Europeans to project their military capabilities around the world (what Black calls "global reach"), an ability that was not unique to Europe; and the willingness to project their power, which Black argues was the factor that set Europeans apart from the rest of the world.

War and the World is not a work of new research into contemporary primary sources, but rather a synthetic work reliant on the recent work of historians researching all areas of the modern world. Consequently, Black organizes his argument chronologically, devoting a chapter to each era in the standard European periodization. Within each chapter, Black presents European developments first, depicts those developments in action on the global stage, then offers a treatment of developments in the rest of the world. Broken down into this formula, it would appear that Black fails to live up to his own call for giving up the triumphalist approach, but such is not the case. Black is careful in each chapter to give near-equal weight to non-European history, writing at length of warfare in India, or central Asia, or sub-Saharan Africa in the complete absence of Europeans, presenting the expansions of the Mughals, the Ottomans, and the Japanese, for example, from their own perspective. Furthermore, Black is masterful in bringing the gradual Russian domination of central Asia and conflicts with Japan into the umbrella of European expansion, demonstrating that much of China's contact with the West occurred along its own frontier with Russia. When he reaches the end of the nineteenth century, Black takes a break from his chronological march to offer some thoughts about the effects that military developments and the rise of overseas empires had within Europe from 1450 until 1900, pointing out the dynamic way in which the use of global reach led to social and political systems that allowed for even more and better use.

Ultimately, Black's work is a success. From the start, Black sets out to place European expansion into a context and to examine it without the lenses of presentism. Black accomplishes both feats. This is not to say that the work is without faults. For all of Black's attempts to offer a work that is not Euro-centric, it remains so. Indeed, synthetic work will continue to be Euro-centric so long as it continues to be the work of scholars of European history. Compared to Roberts, Parker, and McNeil, War and the World is a study of world history. Compared to Huntington's clashing civilizations or Kissinger's "there can be only one" approach to international history, Black's work appears to be a calm and reasoned examination of material that is often used as ideological fodder. War and the World will be the dominant synthetic work describing "The Rise of the West" for at least a generation, and may very well come to serve as a textbook for many an undergraduate World History course. These places of honor are well deserved.

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This text is intended for introductory courses in forest measurements. Emphasis is on the measurement of timber, with detailed coverage on measuring products cut from tree boles, measuring attributes of standing trees, inventorying volumes of forest stands, and predicting growth of individual trees and stands of trees. Background information on statistial methods, sampling designs, land measurements, and use of aerial photographs is also provided. An introduction to assessing range, wildlife, water, and recreation resources associated with forested lands comprises the last chapter. The measurement principles and techniques discussed apply to any inventory that includes assessment of the tree overstory, regardless of whether the inventory is conducted for timber, range, wildlife, watershed, recreation, or other management objectives.

• Sales Rank: #257402 in Books
• Brand: McGraw Hill
• Published on: 2001-06-07
• Original language: English
• Number of items: 1
• Dimensions: 9.80" h x 1.20" w x 6.20" l, 1.95 pounds
• Binding: Hardcover
• 480 pages

Most helpful customer reviews

3 of 3 people found the following review helpful.
Mensuration Book
By motoxman.21
I bought this book for my Forest Mensuration class and it works great. I have no idea what the teacher is blabbing about half the time but If I go read the book it makes it easy to follow. I don't wanna pay this much for a text book but this was the cheapest place to get it. My school bookstore wanted 200.

0 of 0 people found the following review helpful.
Great Reference
By M
I would recommend this as a basic guide for anyone interested in forestry or just wanting an in depth jump start for their basic forestry classes. We use this for several classes in the curriculum and it is a great textbook to build on. Minimal wordiness and is easy for even non-forestry majors to understand. It even has pictures and detailed descriptions below each. Definitely a wonderful book to start a reference collection with and well worth the money. It's a forester's bible

0 of 0 people found the following review helpful.
Five Stars
By Whisper In the Pine
The forester's bible.

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[N562.Ebook] PDF Ebook Forest Measurements, by Thomas Eugene Avery, Harold Burkhart Doc

[N562.Ebook] PDF Ebook Forest Measurements, by Thomas Eugene Avery, Harold Burkhart Doc

[N562.Ebook] PDF Ebook Forest Measurements, by Thomas Eugene Avery, Harold Burkhart Doc

[N562.Ebook] PDF Ebook Forest Measurements, by Thomas Eugene Avery, Harold Burkhart Doc