Reviews
"This is a highly valuable book, one which should be widely read, not only by music lovers whose relation to music consists mainly in listening to records and radio, but even by the not-too-advanced student who has had some theoretical training. . . ."-- Ernst Oster, Journal of Music Theory, Anyone who has taught a music course for general college students (as music appreciation, introduction to music, or part of a humanities core) will find this a fascinating and helpful book., Anyone who has taught a music course for general college students (as music appreciation, introduction to music, or part of a humanities core) will find this a fascinating and helpful book. -- Music Educators Journal, This is a highly valuable book, one which should be widely read, not only by music lovers whose relation to music consists mainly in listening to records and radio, but even by the not-too-advanced student who has had some theoretical training. . . ., "Anyone who has taught a music course for general college students (as music appreciation, introduction to music, or part of a humanities core) will find this a fascinating and helpful book."-- Music Educators Journal, "The teachings of Heinrich Schenker, the Gestalt theory, and the thorough knowledge of the world of sound provide the general framework for this excellent listeners' introduction to the structure and order of music. The author . . . begins with no more than the bare bones of the listening experience (the willing, listening ear concentrating on the single, successive, and organized sounds which it can learn to interpret as music) but builds up his case rapidly, logically, and rigorously."-- Catharine K. Miller, Library Journal, This is a highly valuable book, one which should be widely read, not only by music lovers whose relation to music consists mainly in listening to records and radio, but even by the not-too-advanced student who has had some theoretical training. . . . -- Ernst Oster, Journal of Music Theory, The teachings of Heinrich Schenker, the Gestalt theory, and the thorough knowledge of the world of sound provide the general framework for this excellent listeners' introduction to the structure and order of music. The author . . . begins with no more than the bare bones of the listening experience (the willing, listening ear concentrating on the single, successive, and organized sounds which it can learn to interpret as music) but builds up his case rapidly, logically, and rigorously., "Anyone who has taught a music course for general college students (as music appreciation, introduction to music, or part of a humanities core) will find this a fascinating and helpful book." -- Music Educators Journal, "This is a highly valuable book, one which should be widely read, not only by music lovers whose relation to music consists mainly in listening to records and radio, but even by the not-too-advanced student who has had some theoretical training." --Ernst Oster, Journal of Music Theory, The teachings of Heinrich Schenker, the Gestalt theory, and the thorough knowledge of the world of sound provide the general framework for this excellent listeners' introduction to the structure and order of music. The author . . . begins with no more than the bare bones of the listening experience (the willing, listening ear concentrating on the single, successive, and organized sounds which it can learn to interpret as music) but builds up his case rapidly, logically, and rigorously. -- Catharine K. Miller, Library Journal, "This is a highly valuable book, one which should be widely read, not only by music lovers whose relation to music consists mainly in listening to records and radio, but even by the not-too-advanced student who has had some theoretical training. . . ." --Ernst Oster, Journal of Music Theory, "The teachings of Heinrich Schenker, the Gestalt theory, and the thorough knowledge of the world of sound provide the general framework for this excellent listeners' introduction to the structure and order of music. The author . . . begins with no more than the bare bones of the listening experience (the willing, listening ear concentrating on the single, successive, and organized sounds which it can learn to interpret as music) but builds up his case rapidly, logically, and rigorously." --Catharine K. Miller, Library Journal
Table of Content
Section A: Introduction. J.C. Marshall, P.W. HalliganTowards a Cognitive Neuropsychiatry. E. WeinsteinReduplicative Misidentification Syndromes. Section B: Who Are You? H.D. Ellis, T.K. SzuleckaThe Disguised Lover: A Case of Frègoli Delusion. P.W. Burgess, D. Baxter, M. Rose, N. AldermanDelusional Paramnesic Misidentification. H.D. Ellis, K.M. Leafhead Raymond: A Study of an Adult with Asperger Syndrome. Section C: Who am I? A.P. McKay, P.J. McKenna, K. LawsSevere Schizophrenia: What is it Like? A. David, R. Kemp, L. Smith, T. FahySplit Minds: Multiple Personality and Schizophrenia. A.W. Young, K.M. LeafheadBetwixt Life and Death: Case Studies of the Cotard Delusion. A.J. Parkin The Alien Hand. Section D: Where Was I?C. Luzzatti, R. VergaReduplicative Paramnesia for Places with Preserved Memory. S.D. Sala, R. Freschi, F. Lucchelli, S. Muggia, H. Spinnler Retrograde Amnesia: No Past, New Life. Section E: What Do I Believe?P.W. Halligan, J.C. MarshallThe Wise Prophet Makes Sure of the Event First: Hallucinations, Amnesia and Delusions. C. Cahill, C. FrithFalse Perceptions or False Beliefs? Hallucinations and Delusions in Schizophrenia.
