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Many contemporary neuropsychology texts focus on neuropathology, the description of specific tests, and the differential diagnosis of central nervous system disorders. However, increasingly sophisticated neuroradiological techniques, managed care factors, and the growth of rehabilitation necessitates that rehabilitation professionals provide more functionally (versus diagnostically) useful evaluations to improve the neuropsychological functioning and community integration of persons with brain injuries or diseases. This book aims to fill this gap and to provide an overview of standard neuropsychological treatment strategies for specific cognitive impairments that are identified on testing. The new edition enhances this goal with three chapters outlining important recommendations, services, and issues for rehabilitation professionals.

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• Sales Rank: #1358039 in Books
• Published on: 2009-03-28
• Released on: 2009-04-24
• Original language: English
• Number of items: 1
• Dimensions: 9.02" h x .68" w x 5.98" l, .90 pounds
• Binding: Paperback
• 298 pages

About the Author
also Henry Stonnington

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• Sales Rank: #9051994 in Books
• Published on: 1656
• Binding: Paperback

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Although many people know that Nostradamus prophesied the coming of the three Antichrists allegedly foretold in St John's Epistles (and also, in the guise of the Beast, the Dragon, the False Prophet, and the Whore of Babylon, in Revelation), they don't know who the first two Antichrists were, nor who the third will be when his time comes. This book will answer those questions. Nostradamus differs from the Biblical Book of Revelation in his emphasis that there are three Antichrists, and not simply one. Reading believes that Nostradamus intended his concept of the three Antichrists to act as an evil mirror image of the Holy Trinity, and designed this as a possible three-stage build up to Armageddon. He concludes that Nostradamus intuited that all three Antichrists would be supra-national, in the sense that their actions would affect the whole world - and not simply their own countries. Mario Reading writes: 'The first of Nostradamus's three Antichrists is clearly Napoleon Bonaparte, given both the extent and the quality of the prophecies he dedicates to the man. The second Antichrist is Adolf Hitler - again, Nostradamus devoted an inordinate amount of space to Hitler's effect on the world stage. The third of his Antichrists is the 'one still to come', to which he devotes a number of prophecies still waiting to be fulfilled. They include dates and consequences: the period starts in 2010, with advance warning of the Third Antichrist, covers his birth in 2035, the Global War triggered by the Antichrist in 2070, and the decay and destruction of the Antichrist's empire by 2097.'

• Sales Rank: #903272 in Books
• Brand: Brand: Watkins
• Published on: 2011-03-01
• Released on: 1999-01-01
• Original language: English
• Number of items: 1
• Dimensions: 1.20" h x 5.31" w x 7.55" l, 1.19 pounds
• Binding: Hardcover
• 368 pages

Features

• Used Book in Good Condition

About the Author
Mario Reading has a reputation as an original and groundbreaking expert on Nostradamus. He is author of the bestselling Nostradamus: The Complete Prophecies for the Future and Nostradamus: The Good News and has translated and written the ultimate collection of Nostradamus' prophecies in The Complete Nostradamus. His first novel, The Nostradamus Prophecies, was an international best seller. He has appeared in several television programs on Nostradamus for The Discovery Channel and the History Channel.

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0 of 0 people found the following review helpful.
A different perspective.
By JK
There is a certain uniqueness about this book. He gives pretty precise knowledge. If these interpretations are correct, he makes an interesting read.

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With our lives firmly controlled by the steady pace of time, humans have yearned for ways to escape its constraints, and authors have responded with narratives about traveling far into the past or future, reversing the flow of time, or creating alternate universes where Napoleon was triumphant at Waterloo or the South won the Civil War. Writers ranging from Dante and Lewis Carroll to Philip K. Dick and Martin Amis have probed into the workings of time, and an overwhelming desire to master time reverberates throughout popular culture. This book considers how imaginative works involving time and time travel reflect ongoing scientific concerns and examine the human condition.

The scope of the volume is unusually wide, covering such topics as Dante, the major novels of the 19th century, and stories and films of the 1990s. The book concludes with a lengthy bibliography of short stories and novels, films and television programs, and nonfiction works that feature time travel or speculations about time. With a roster of contributors that includes several of the field's major scholars, this book offers many new insights into this fascinating subject.

• Sales Rank: #2731351 in Books
• Published on: 2002-07-30
• Original language: English
• Number of items: 1
• Dimensions: 9.21" h x .50" w x 6.14" l, .98 pounds
• Binding: Hardcover
• 224 pages

Review
"Time in general and time travel in particular have been central themes in speculative fiction... Worlds Enough and Time is a useful and lively contribution to the discussion....Recommended for academic libraries serving lower-division undergraduates through faculty and even for some secondary school libraries."-Choice

"Recommended for anyone with a professional interest in time travel as a fictional device."-Science Fiction Studies

..."fascinating reading, and certainly makes you want to track down the cited works...make sure that your local public library acquires a copy."-Fantasy & Science Fiction

?Recommended for anyone with a professional interest in time travel as a fictional device.?-Science Fiction Studies

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?Time in general and time travel in particular have been central themes in speculative fiction... Worlds Enough and Time is a useful and lively contribution to the discussion....Recommended for academic libraries serving lower-division undergraduates through faculty and even for some secondary school libraries.?-Choice

.,."fascinating reading, and certainly makes you want to track down the cited works...make sure that your local public library acquires a copy."-Fantasy & Science Fiction

About the Author

Gary Westfahl is adjunct professor at the University of La Verne, CA. His previous books include No Cure for the Future (2002), Unearthly Visions (2002), Worlds Enough and Time (2002), Science Fiction, Canonization, Marginalization, and the Academy (2002), Science Fiction, Children's Literature, and Popular Culture (2000), Space and Beyond (2000), and Cosmic Engineers (1996), all available from Greenwood Press.

George Slusser is professor of comparative literature at the University of California, Riverside. He has written several books about science fiction authors and coedited numerous scholarly studies. He is the coeditor of Science Fiction, Canonization, Marginalization, and the Academy (2002), and Unearthly Visions: Approaches to Science Fiction and Fantasy Art (2002), both available from Greenwood Press.

David Leiby is an independent scholar.

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What are the differences between trance and chill out? How can you create compelling, professional-sounding original or remixed dance tracks? With Dance Music Manual, you’ll get coverage of every aspect of dance music production―from designing sounds to compression, from effects to mixing and mastering―and go even further, with advice on publishing and promoting your tracks. No matter your level of experience, this book is packed with techniques and practical tips to help you achieve professional results, whether you’re an aspiring dance music producer, DJ, remixer, recording engineer, musician, or composer.

The companion website provides examples of synthesis programming, compression, effects, MIDI files and examples of the tracks discussed within this edition.

The third edition includes up-to-date dance music coverage, including new chapters on arranging dance music, layering kicks, more on music theory, fundamentals of rhythm, building professional drum loops, gain structure, producing dubstep, and advice on the very latest production techniques.

• Sales Rank: #92626 in Books
• Brand: Focal Press
• Published on: 2013-10-01
• Released on: 2013-12-05
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x .95" w x 7.50" l, 2.03 pounds
• Binding: Paperback
• 536 pages

Features

• Focal Press

Review
In short, Snoman knows what he's talking about. ―Music Tech

About the Author

Rick Snoman has been actively involved in the electronic dance music scene since the late eighties. He has produced numerous white labels and released under various guises such as Phiadra, GOD and Red5. He has remixed professionally for artists such as Britney Spears, Kylie Minogue, and Madonna and worked as a ghost producer for recording artists and international DJ’s. Alongside holding seminars across the UK on producing club-based music, he has written numerous articles and reviews for leading music technology magazines and authored a distance-learning course for Music For the Media. He currently runs his own recording studios in Manchester, UK.

Most helpful customer reviews

11 of 11 people found the following review helpful.
A possibly essential resource, presented well below the standard I expect from Focal Press
By Bob Toevs
At the risk of repeating the reviews of others, I felt it necessary to issue a review. I do so in the hopes that the faults expressed will collectively make their way to the author, and the editors at Focal Press.

First off, I can't say enough good things about the catalog of the publisher, Focal Press. It would be difficult to find another publisher that provides the breadth and depth of resources and subjects Focal does; I've devoured many of their titles, and not one has let me down. Many help guide publishers fill out their catalogs with shallow or vague treatments about the same subjects. Not Focal. They have a knack for issuing books that cut right to the chase.

Now for "Dance Music Manual" -- I readily applaud the author for what he does well. A major reason behind my purchase of this book was to find answers to my continual confusion about the differences between the 1000s of genres, sub-genres, and sub-sub-genres of dance music. In our media-drenched age, it seems that it takes merely 4 or 5 people who agree on a microscopic difference in a song or two to splinter off and recast them as a new dance music form. If a record store existed to stock every one of these "styles", the bins would contain more dividers than records.

Thankfully, Snoman confirms my suspicion by stating more than once that honestly, differences between the dozens of genres of House music are so small as to be irrelevant. That's not to say that the subdivisions aren't necessarily valid, but simply that I shouldn't spend much energy worrying about playing a French-Hardcore-Techno-Trance-House track in a set of Appalachian-Ragga-Funk-Step-Garage-House music. Thanks for that, sir.

While the theory section is necessary for this book to live up to its purpose, I agree with some other reviewers that Snoman does tend to assume too much in some of his explanations. In other words, HE certainly knows what he means on these occasions, but something is lost in translation to the reader. It's not a matter of being too technical; the fault is in the clarity of the writing. To put it plainly, there were several moments when reading this section during which I would have loved to have the author at my shoulder for a quick explanation of what he meant to say.

Finally, there is the overall quality of the writing, and certainly the editing. I've never come across a Focal Press book that had any problems in this area, until now. The sheer number of errors in syntax, punctuation, and misuse of words makes this book a real struggle at times. It's worth slogging through, no doubt. However, as has been said in other reviews, multiple errors on a single page is TYPICAL (NOT 'atypical', as Snoman would insist). The overall impression I get from this aspect of "Dance Music Manual" is that it's as if the book was written in English, run through a computer translation program into Hungarian, and then re-translated into English again.

I want to make clear that this won't keep me from referring to this book as a valuable resource. But I cannot dismiss this aspect of the writing, either. Mr. Snoman's chosen profession is not authoring crisp, flowing prose; it is that of producer/musician/remixer and so on. In such a case, the responsibility for keeping the copy clean, understandable, and, well, correct, falls on the book's editors. In this instance, they have failed. I hope that this critical flaw won't turn potential readers away in great numbers, but I wouldn't be surprised if that were the case.

A quote from the Acknowledgements:

"I'd particularly like to thank...Lars Pettersson for his tireless efforts in correcting my grammar"

I looked this up because I had to know. I'm not proud that my first thought was to question whether or not English is Lars Pettersson's first language. If it is not, that would explain quite a bit about this book. Regardless, It's quite amazing that this book got to the printer in its present form, which makes me wonder how many Focal Press folks actually read it. Let's hope for a more enjoyable read in the 4th edition.

Four stars means "I Like It", according to the ratings system in this forum, and that rating is accurate. It's too bad that the editing is so glaringly lacking, because I believe Mr. Sloman's star rating score would improve dramatically with a first-page rewrite/edit, and in every other judgement, deservedly so. I would think that this would result in more book sales, and that's always a good thing.

16 of 17 people found the following review helpful.
Despite my 4 star rating, I absolutely love this book
By Saltillo
For years I had the 2nd edition, and studied it until the cover fell off. Snoman does not waste your time with plugs for the latest software or gadget, but spent chapters of his book discussing every little nuance and detail of electronic dance music production with a solid emphasis on the analog fundamentals of sound synthesis, etc.

For this 3rd edition, Snoman outdid himself, and this book is now better than ever. There are completely new chapters, and many previous chapters have been updated to reflect the latest music trends and technologies.

The fundamentals are all still there, and I could spend hours studying some chapters of this book in front of my computer. His chapters on compressors, processors, effects, mixing structure, kicks and percussion, and sound design practice are very valuable.

But there are some fundamental flaws with this third edition that need to be corrected in the next edition. These flaws should not stop a serious student of electronic dance music from buying and reading this book repeatedly. But they should be noted.

First, the book is very poorly edited and full of typos and grammar mistakes - roughly 2 - 3 mistakes per page. Second, Snoman's style is at times a bit too casual in a very colloquial British manner, and assumes a bit too much background knowledge on his readers' part. I often found myself struggling to follow what he was saying. For example, I just randomly opened up to a page discussing how to program the lead in a song and Snoman writes "a common approach... is to construct a harmonically rich sound through saw, square, triangle and noise waveforms along with ... the unison feature... Once a harmonically rich voice is created, it can then be thinned... with the filters or EQ and modulated with the envelopes and LFOs." OK, I am perfectly capable of throwing together a couple of oscillators on my synth, and understand perfectly well what it means to apply a filter or EQ or an envelope of some kind and LFO to sound waves generated by the oscillators. But seriously, after reading this, I am no closer to understanding how these components come together to form a properly programmed lead. I mean seriously, how many contemporary synth tracks DO NOT use some combination of saw, square, triangle and noise oscillators passed through audio effects like filters and EQ and modulated by envelopes and LFOs? To some extent the burden is on my to catch up with Snoman - But if I were already at the level where reading these sentences I instantly knew exactly what Snoman meant to say and could fire up my favorite subtractive synthesizer and bust out a charming, perfectly programmed lead sound, then what would be the point of reading the book. I am the student, he is the teacher. But sometimes Snoman seems to forget that his audience is a bunch of newbies who need hand holding from time to time and seems more interested in having a casual chit chat with his peers about their craft. A third and final problem - which really isn't that big of a deal - is that Snoman's chapters discussing specific genres seem to miss the mark from time to time. Or at least, my experience and impression of certain genres is quite different from Snoman's. The weakest discussion is probably the "Ambient/chill out" chapter. Part of the problem is a problem of genre labels themselves. Snoman is sensitive to the fact that the minute you make a generalization about a genre, it is based on your subjective impression of what falls under the label. A lot of electronic music falls through the cracks, doesn't conform to any of the generalizations Snoman makes about any of the genres described in the book, etc. But I do not consider the genre discussion chapters to be the core strength of Snoman's book. The beauty of the book is really the first 19 chapters of fundamentals. So even if your particular perception of the distinguishing features of a particular style is different from Snoman's it is not a big deal.

Over all, this is and has been for years a very important and valuable book for anyone interested in getting beyond the "beginner" stage in producing electronic dance music - an absolute must read! And I have not purchased Snoman's video tutorials that are built around this book, but they may be the missing link that would make this book a 5 star product. But this book still has some room for improvement for the 4th edition.

3 of 3 people found the following review helpful.
The only book you need.
By Sa2
This book in my opinion is a complete reference. Music theory, to general equipment to use, to even detail device descriptions and what they are used for. Many genres of dance music are also covered in here and many I didn't know existed. This book also covers DJing and promoting as for I didn't have interest in it before, but was very intuitive and fun to learn about. Book is well written with modern text and references as also references to classic machines and understanding. Book also covers a broad spectrum overview of everything including DAWs. Well written highly recommend it to anyone who has an interest in how dance music is made or who wants to create it.

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