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This massive, beautifully rendered monograph on the Danish practice known for creating architecture in the nexus between science and art, between iconic design and context, is packed with information covering more than 25 works and projects, critical essays, case studies and interviews. From high-profile buildings like the Danish Embassy in Berlin, Ørestad College and the Museum of Liverpool to smaller projects like the Louisiana Pavillion and NOMA Lab, the entire spectrum of the offices accomplishments to date is presented. Includes texts by Bo Boje Larsen and Kasper Guldager Jørgensen, while Jan Ammundsen, Kim Herforth Nielsen and Allan Kjær Andersen are interviewed.

• Sales Rank: #2716738 in Books
• Published on: 2014-03-01
• Binding: Hardcover
• 336 pages

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0 of 0 people found the following review helpful.
Five Stars
By Conrad
all perfectly!

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[X447.Ebook] PDF Download Ilocano Dictionary and Grammar: Ilocano-English, English-Ilocano (Pali Language Texts: Philippines), by Carl R. Galvez Rubino

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This root based dictionary of the Ilocano language is the most comprehensive dictionary produced of Ilocano (Iloko), the lingua franca of Northern Luzon, and historically the native language of the majority of Filipino immigrants to the United States.

• Sales Rank: #453351 in Books
• Published on: 2001-02-01
• Original language: English
• Number of items: 1
• Dimensions: 1.15" h x 5.99" w x 9.04" l,
• Binding: Paperback
• 863 pages

Language Notes
Text: English

Most helpful customer reviews

9 of 9 people found the following review helpful.
Ti Kaimbagan Nga Diksyonaryo Nga Iloko
By Christopher Sundita
This is the best Ilocano dictionary out there.
The author's love and dedication to the Ilocano language is an accurate reflection of the hardwork over that years that he has put into this impressive and high-quality dictionary.
Not many dictionaries dealing with Philippine languages are as detailed as this one. And not many go great lengths as to include a meaty grammatical sketch, history, and explanation of pronunciation. However, this one does. And very well, I may add.
This dictionary itself is two sections (English & Ilokano). Ilokano words are listed by rootword along with its affixed varieties and their varieties. Entries usually have a Tagalog equivalent and maybe even equivalents in other Philippine languages such as Ibanag, Kankana-ey, Pangasinan, and others.
Since stress plays a significant role in the meaning of Ilocano words, I am very grateful that accent marks have been included.
I also have to mention a comprehensive appendix dealing with charts of "fused" pronouns and verb affix charts. There are even lyrics to popular Ilocano songs such as Pamulinawen, Toy Karayo, and Tontonennaka toy Ayat.
This book is perfect for anyone; be it a tourist visiting the Ilocos region, a person of Ilocano descent, a linguist, a language enthusiast, or even a Filipino who is curious about the language of his or her Ilocano countrymen.
Also, the covering of this book ensures that it will last for a long time.
As an enthusiast of Philippine languages, excellent resources such as this gem come few and far between. I am completely satisfied with this book, and I'm guessing that you probably will, too.

13 of 14 people found the following review helpful.
Best book on this language
By magellan
Seeing as this is only one of two grammars of Ilocano I've ever seen--the other one being in a university library 20 years ago that was somebody's doctoral dissertation printed on poor quality, smudgy paper--I was prepared to read it no matter how bad it was. The surprise was that this is a very well done grammar of Ilocano, along with separate phrase and word dictionaries that are quite extensive. The author has a Ph.D. in languages and linguistics himself from the University of California at Santa Barbara, and his interest and enthusiasm in the language comes through in this very well done book.
Ilocano belongs to the northern Marianas subfamily of the western Austronesian language group, and is spoken by about 10 million people, mostly on the northern Philippine island of Luzon. It has many interesting grammatical features, such as having an ergative-absolutive based case system, an extensive system of prefixes, infixes, and postfixes, as well as enclitic particles (i.e., word morphemes that can be attached to more than one category of words), and a three-way spatial system of demonstrative pronouns consisting of the proximal, distal, and medial, similar to Kapampangan, another language from Luzon. Like other Philippine languages, it is a predicate-initial language, meaning that verbs and adjectives usually occupy the initial position in a sentence. It makes extensive use of sound symbolism, having many onomatopoetic root words. In that sense it sounds similar to Swahili, which has something known as "onomatopoetic ideophones"--words which attempt to capture in sound the idea of the object, such as in the word, "trinka-trinka," (or tractor). I'm not sure if the two features in Ilocano and Swahili are really the same, but Swahili is the only other language I've read about that does something like this.
The first 101 pages of the book are devoted to the phonology, morphology, and syntax of Ilocano, with the remaining 165 pages being taken up by the phrase dictionary and the word dictionary. Throughout the grammar portion the author intersperses numerous vocabulary lists, so you can build your vocabulary as you go along. According to what I've read, this is the most extensive dictionary of Ilocano to date, and was compiled from a large number of sources. This is no doubt the best book on Ilocano out there, and one of the most scholarly as well as readable books and grammars on a more exotic language that I've ever seen (and I've seen a lot of them). :-)

5 of 5 people found the following review helpful.
Most Comprehensive Ilocano Dictionary - Publisher's Release
By A Customer
The Ilocano Dictionary and Grammar is the most comprehensive dictionary ever produced for Ilocano (Iloko), the lingua franca of Northern Luzon, and historically the native language of the majority of Filipino immigrants to the United States. The body of the dictionary includes entries for roots and affixes, with illustrative sentences, idioms, proverbs, common derivatives, and scientific names (when applicable). Tagalog, Pangasinan, Ibanag, and Kapampangan equivalents are supplied for high frequency words. Derived words that undergo morphological fusion are listed as separate entries to facilitate lexical searches. There is also an affix cross-reference list to help the beginning student recognize root words. Sources of loan words are indicated. The Grammar (including Phonology, Morphology and Syntax sections) is an version of the author's thesis "A Reference Grammar of Ilocano" rewritten in a pedagogical format. The Appendixes include grammatical charts, maps and traditional Ilocano songs. Layout of Volume: Intro and Grammar (i-lxxxv 85 pages); Ilocano-English (pp. 1-647); English-Ilocano (647-752); Appendixes and Bibliography (752-777).

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Understanding and Crafting the Mix, 3rd edition provides the framework to identify, evaluate, and shape your recordings with clear and systematic methods. Featuring numerous exercises, this third edition allows you to develop critical listening and analytical skills to gain greater control over the quality of your recordings. Sample production sequences and descriptions of the recording engineer’s role as composer, conductor, and performer provide you with a clear view of the entire recording process.

Dr. William Moylan takes an inside look into a range of iconic popular music, thus offering insights into making meaningful sound judgments during recording. His unique focus on the aesthetic of recording and mixing will allow you to immediately and artfully apply his expertise while at the mixing desk. A companion website features recorded tracks to use in exercises, reference materials, additional examples of mixes and sound qualities, and mixed tracks.

• Sales Rank: #163588 in Books
• Published on: 2014-10-31
• Released on: 2014-12-15
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x 1.17" w x 7.50" l, 1.98 pounds
• Binding: Paperback
• 518 pages

About the Author

Dr. William Moylan has worked with leading artists across the full spectrum of jazz, popular, and classical genres. His recordings have been released by major and independent record labels, resulting in wide recognition, including several GRAMMY award nominations. A leading educator and an active recording engineer and producer for over 30 years, he is a Professor and Coordinator of Sound Recording Technology at the University of Massachusetts Lowell.

Most helpful customer reviews

4 of 4 people found the following review helpful.
Third Time’s the Charm in a Well-Deserved Revision
By frankp93
I received a free item to review.

I own the first edition of Moylan’s ‘The Art of Recording’ (its original title) and often tried to convince audio friends it was a ‘much better book than it read’, with little success.

The knock against it was the academic tone that seemed especially at odds with examples drawn primarily from Beatles recordings. The lack of hands-on exercises and audio excerpts left the impression of a dated, less-than-practical, ‘abstract theory of recording’ that failed to address contemporary tools, techniques, and methods of working.

I’m glad to report this third edition keeps what I feel are the book’s strengths while the editorial revamp and new material – both written as well as downloadable audio resources - greatly improves readability and focuses the book more effectively on teaching how to critically evaluate recordings and draw upon those skills to create your own.

To be clear, ‘Understanding and Crafting the Mix’ is gear and technology-neutral – and that doesn’t mean screenshots of four or five different DAWS as opposed to one.

There are no screenshots. Moylan’s goals far outweigh that kind of ‘now click this’ tutorial approach. The book is best treated as a creative resource to be studied and applied deeply over time and referred to for practical guidance and inspiration - keep it close at hand right next to your more gear-specific titles.

Moylan wants readers to develop and fine-tune the most precious pieces of gear everyone owns - their ears and creative sensitivity. The book teaches you to listen critically to recordings – after explaining precisely what that means, the various criteria and methods of capture/analysis, and preparing the ground with hands-on exercises – not simply for you to become some golden-eared guru who can reflexively identify frequency content like a party trick - but to uncover and express your artistic viewpoint as a recordist and musical artist who treats the studio (however modest or luxurious) as an instrument in its own right.

Does that mean ‘Understanding and Crafting the Mix’ is devoid of technical specifics and nothing but rumination and esthetics – far from it. Moylan does an admirable job keeping the prerequisite math and acoustical science to a minimum. But when measuring and evaluating recorded sound in ‘non-subjective’ ways there’s a technical and graphical vocabulary you should be comfortable with and Moylan formulates and presents it in clear, straightforward language.

A real strength (and something less-apparent to me in the first edition) is Moylan’s own perspective as a musician and composer.

As an example, Part One, ‘Defining the Art of Recording’ begins with ‘The Elements of Sound’ - the familiar ‘pitch, loudness, duration and timbre’ found in many audio engineering and acoustics-related books.

But fewer authors discuss duration in the context of the metric grid and of human limitations in distinguishing durations at the extreme boundaries of perception. In similar psychoacoustic terms, Moylan discusses time as consciousness of the perceptual ‘present’, along with the effects of short and longer term memory.

These are issues many contemporary composers grappled with for much of the last century and continue to explore. Moylan invites readers to view the recording process itself as part of that exploration, rather than merely a dry, technical ‘service’ provided unobtrusively to clients. This perspective permeates ‘Understanding and Crafting the Mix’ and I think it really sets the book apart.

In later chapters on evaluating musical elements in the context of recordings Moylan makes use of various grid notations that were a bit novel when I first came across them years ago, but I think they’ve aged quite well. I’ve seen similar examples since then in musical texts on form and analysis as well as electronic music production. I think anyone comfortable with a modern DAW will navigate Moylan’s graphics quite easily.

The evaluation techniques – ways of listening for and notating time, pitch, dynamics, sound quality and spatial properties make up the heart of the book and define the toolkit Moylan delivers to readers. By developing focused listening to discrete elements we gain both a big-and-small picture perspective Moylan feels is fundamental to evaluating - and by extension - creating cohesive and effective recordings.

The most interesting parts of the book for me are the chapters on those spatial elements of recordings that make use of the audio examples.
In addition to the classic model of the stereo image, sound stage, pan and foreground, considerable information on surround sound production has been added since the first edition. Moylan’s discussion of depth and separation is one of the clearer presentations I’ve come across in any mixing book.

The final section of ‘Understanding and Crafting the Mix’ guides the reader through an ‘over the shoulder’ exercise/discussion meant to illustrate typical thought processes/workflows utilizing the skills developed throughout the book. The actual information on tracking, mixing, and mastering is not as comprehensive as what you’ll find in texts dedicated to each of those topics. But the value here is in applying Moylan’s ideas and concepts to the experience.

Moylan acknowledges in the intro taking some heat over the years for focusing on Beatles recordings – and necessarily omitting countless quality examples from subsequent decades. With the Beatles’ catalog long remastered and digitized (and arguably more influential than ever thanks in no small part to Sir Paul’s continued performing career) - I think Moylan’s original intuition and focus have been vindicated.

Finally don’t confuse this book with Bruce Bartlett’s ‘Art of Recording’ by the same publisher (perhaps that had something to do with the title change). They’re both excellent, but written with (I think) different goals in mind.

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Synthetic fibres account for about half of all fibre usage, with applications in every field of fibre and textile technology. Although many classes of fibre based on synthetic polymers have been evaluated as potentially valuable commercial products, four of them - nylon, polyester, acrylic and polyolefin - dominate the market. These four account for approximately 98% by volume of synthetic fibre production, with polyester alone accounting for around 60%.

Synthetic fibres: nylon, polyester, acrylic, polyolefin provides a brief history of the early evaluations that led to this situation, then looks in detail at the development and present status of each class in four substantial chapters. Synthesis of chemical intermediates, polymerisation methods, fibre spinning and orientation technology, texturing techniques, production of microfibres, and chemical variants, e.g. for modified dyeability, are considered in detail. This comprehensive and accessible book will appeal to textile technologists in industrial and academic research, chemical and synthetic fibre suppliers, and yarn and fabric manufacturers.

• Comprehensive overview of four major fibres

• Sales Rank: #3270205 in Books
• Published on: 2004-11-12
• Original language: English
• Number of items: 1
• Dimensions: 9.40" h x .90" w x 6.37" l, 1.33 pounds
• Binding: Hardcover
• 308 pages

Review
This book is confidently recommended as essential reading for all those involved with research and development, production and processing of synthetic fibres., Textile Month
This book will be of interest and of great use to a variety of readers, including academics that teach undergraduate and postgraduate courses., Materials World
Each chapter provides good depth of coverage and references to sources of more advanced information., Materials World

About the Author
Professor J. E. McIntyre graduated in Chemistry from the University of St Andrews and worked for ICI Fibres in research and research management before being appointed to the chair of Textile Industries at the University of Leeds, which he held for 16 years.

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• Sales Rank: #579017 in eBooks
• Published on: 2014-02-20
• Released on: 2014-02-20
• Format: Kindle eBook

Most helpful customer reviews

3 of 4 people found the following review helpful.
So bad. Lots of terrible advice and grammatical errors
By Thomas Lacalle
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3 of 3 people found the following review helpful.
Small book with some good information. Real good basic beginners workout routine inside
By Matthew Petercsak
No one made the effort of proofreading this before it printed I guess. Small book with some good information. Real good basic beginners workout routine inside.

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Nothing
By Tom
Just an absolute nothing of a book.

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• Sales Rank: #88667 in Books
• Published on: 2011-09-01
• Original language: English
• Number of items: 1
• Dimensions: 12.00" h x .28" w x 9.00" l, .93 pounds
• Binding: Paperback
• 112 pages

Most helpful customer reviews

30 of 30 people found the following review helpful.
great for musicians new to bass
By englishpaulm
If you already can read music, but are new to the bass, this is a fantastic book -- there are 52 exercises, beginner to advanced, with exercises to be done one week at a time. The book starts right off with walking lines of 8th notes and then quickly gets into 16th notes w/syncopation etc.

Chapter 1. Chromatics (exercises 1-10)
Chapter 2. Scales & Arpeggios (exercises 11-20)
Chapter 3. String Crossing (exercises 21-30)
Chapter 4. Slapping & Popping (exercises 31-40)
Chapter 5. Advanced Bass (exercises 41-52)

12 of 12 people found the following review helpful.
Great!
By sinjin50
I'm on week 8 of 52 and so far the weekly pieces have been really great for getting my reading chops back up to speed. I do 10-20 minutes every morning and slowly work out the kinks all week long. By the time Saturday and Sunday roll around I'm playing it faster and faster with the metronome, looking to get all the way through error free, and the included CD is very helpful cause you can play along with the author. Very good learning tool for me so far, I highly recommend it. Not for complete beginners though, some of the rhythms are already getting quite tricky and I spent a lot of years reading music. Worth the effort though, I'd imagine having a teacher walking you through the tougher passages would help. And of course you can listen to the CD and see how it is supposed to sound but the real challenge is getting it right without any help from your ears.

13 of 14 people found the following review helpful.
diverse exercises for bass book
By shane
I like this book because it covers something that has been plagueing me: coming to grips with cromaticism and string crossing (two of the chapters).

I would suggest this book to intermediate to advanced bass musicians. Quite a few of these pieces (usually two pages in length, with beginning, middle and return to/end sections)will take some time to memorize.. no banging on the root here (not that there's anything wrong with that, at times).

The chapter on scales sings(melodic)pretty good. The chapter on slap and pop has grown on me.

Well worth the price.

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• Sales Rank: #10017706 in Books
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