Whether you listen to Mozart or Duke Ellington, Aaron Copland's provocative suggestions for listening to music from his point of view will bring you a deeper appreciation of the most rewarding of all art forms.

    Topics covered in the book include linear equations, ratios, quadratic equations, special factorizations, complex numbers, graphing linear and quadratic equations, linear and quadratic inequalities, functions, polynomials, exponents and logarithms, absolute value, sequences and series, and much more!The text is structured to inspire the reader to explore and develop new ideas. Each section starts with problems, giving the student a chance to solve them without help before proceeding. The text then includes solutions to these problems, through which algebraic techniques are taught. Important facts and powerful problem solving approaches are highlighted throughout the text. In addition to the instructional material, the book contains well over 1000 problems.This book can serve as a complete Algebra I course, and also includes many concepts covered in Algebra II. Middle school students preparing for MATHCOUNTS, high school students preparing for the AMC, and other students seeking to master the fundamentals of algebra will find this book an instrumental part of their mathematics libraries.656About the author: Richard Rusczyk is a co-author of Art of Problem Solving, Volumes 1 and 2, the author of Art of Problem Solving's Introduction to Geometry. He was a national MATHCOUNTS participant, a USA Math Olympiad winner, and is currently director of the USA Mathematical Talent Search.

    Volume 1 looks at the discipline's origins in Babylon and Egypt, the creation of geometry and trigonometry by the Greeks, and the role of mathematics in the medieval and early modern periods. Volume 2 focuses on calculus, the rise of analysis in the 19th century, and the number theories of Dedekind and Dirichlet. The concluding volume covers the revival of projective geometry, the emergence of abstract algebra, the beginnings of topology, and the influence of Godel on recent mathematical study.

    By presenting actual experiences and analyzing them as they are described, the author conveys the developmental thought processes employed and shows a style of thinking that leads to successful results is something that can be learned. Along with spectacular successes, the author also conveys how failures contributed to shaping the thought processes. Provides the reader with a style of thinking that will enhance a person's ability to function as a problem-solver of complex technical issues. Consists of a collection of stories about the author's participation in significant discoveries, relating how those discoveries came about and, most importantly, provides analysis about the thought processes and reasoning that took place as the author and his associates progressed through engineering problems.

    He solidified his standing as the nation's foremost political forecaster with his near perfect prediction of the 2012 election. Silver is the founder and editor in chief of FiveThirtyEight.com. Drawing on his own groundbreaking work, Silver examines the world of prediction, investigating how we can distinguish a true signal from a universe of noisy data. Most predictions fail, often at great cost to society, because most of us have a poor understanding of probability and uncertainty. Both experts and laypeople mistake more confident predictions for more accurate ones. But overconfidence is often the reason for failure. If our appreciation of uncertainty improves, our predictions can get better too. This is the "prediction paradox": The more humility we have about our ability to make predictions, the more successful we can be in planning for the future.In keeping with his own aim to seek truth from data, Silver visits the most successful forecasters in a range of areas, from hurricanes to baseball, from the poker table to the stock market, from Capitol Hill to the NBA. He explains and evaluates how these forecasters think and what bonds they share. What lies behind their success? Are they good-or just lucky? What patterns have they unraveled? And are their forecasts really right? He explores unanticipated commonalities and exposes unexpected juxtapositions. And sometimes, it is not so much how good a prediction is in an absolute sense that matters but how good it is relative to the competition. In other cases, prediction is still a very rudimentary-and dangerous-science.Silver observes that the most accurate forecasters tend to have a superior command of probability, and they tend to be both humble and hardworking. They distinguish the predictable from the unpredictable, and they notice a thousand little details that lead them closer to the truth. Because of their appreciation of probability, they can distinguish the signal from the noise.

    It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory  "This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review

    Pressfield believes that “resistance” is the greatest enemy, and he offers many unique and helpful ways to overcome it.

    In How Not to Be Wrong, Jordan Ellenberg shows us how terribly limiting this view is: Math isn’t confined to abstract incidents that never occur in real life, but rather touches everything we do—the whole world is shot through with it.Math allows us to see the hidden structures underneath the messy and chaotic surface of our world. It’s a science of not being wrong, hammered out by centuries of hard work and argument. Armed with the tools of mathematics, we can see through to the true meaning of information we take for granted: How early should you get to the airport? What does “public opinion” really represent? Why do tall parents have shorter children? Who really won Florida in 2000? And how likely are you, really, to develop cancer?How Not to Be Wrong presents the surprising revelations behind all of these questions and many more, using the mathematician’s method of analyzing life and exposing the hard-won insights of the academic community to the layman—minus the jargon. Ellenberg chases mathematical threads through a vast range of time and space, from the everyday to the cosmic, encountering, among other things, baseball, Reaganomics, daring lottery schemes, Voltaire, the replicability crisis in psychology, Italian Renaissance painting, artificial languages, the development of non-Euclidean geometry, the coming obesity apocalypse, Antonin Scalia’s views on crime and punishment, the psychology of slime molds, what Facebook can and can’t figure out about you, and the existence of God.Ellenberg pulls from history as well as from the latest theoretical developments to provide those not trained in math with the knowledge they need. Math, as Ellenberg says, is “an atomic-powered prosthesis that you attach to your common sense, vastly multiplying its reach and strength.” With the tools of mathematics in hand, you can understand the world in a deeper, more meaningful way. How Not to Be Wrong will show you how.

    First published in 1974, it has remained the classic text on a significant form of music making and composing that developed alongside, and partly in opposition to, the postwar modernist tradition of composers such as Boulez, Berio, or Stockhausen. The experimentalist par excellence was John Cage whose legendary 4' 33'' consists of four minutes and thirty three seconds of silence to be performed on any instrument. Such pieces have a conceptual rather than purely musical starting point and radically challenge conventional notions of the musical work. Nyman's book traces the revolutionary attitudes that were developed toward concepts of time, space, sound, and composer/performer responsibility. It was within the experimental tradition that the seeds of musical minimalism were sown and the book contains reference to the early works of Reich, Riley, Young, and Glass. This second edition contains a new Foreword, an updated discography, and a historical overview by the author.

    Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.

    Drawing on his rich experience and intimate familiarity with the works of these giants, Charles Rosen presents his keen insights in clear and persuasive language. For this expanded edition, now available in paperback for the first time, Rosen has provided a new, 64-page chapter on the later years of Beethoven and the musical conventions he inherited from Haydn and Mozart. The author has also written an extensive new preface in which he responds to other writers who have commented on his ideas.

    This gorgeous book features clear, entertaining, and enlightening commentary alongside stunning full-color illustrations by Venezuelan artist and architect Rafael Araujo. From the pyramids of Giza, to quasicrystals, to the proportions of the human face, the golden ratio has an infinite capacity to generate shapes with exquisite properties.  With its lush format and layflat dimensions that closely approximate the golden ratio, this is the ultimate coffee table book for math enthusiasts, architects, designers, and fans of sacred geometry.

    It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde.While it provides an excellent historical overview, the book's main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise/Music is the perfect primer for anyone interested in the louder side of experimental music.

    Is it in our genes? The structure of our brains? Our genome may determine our eye color and even aspects of our personality. But our friendships, failures, and passions also shape who we are. The question is: how?Sebastian Seung, a dynamic professor at MIT, is on a quest to discover the biological basis of identity. He believes it lies in the pattern of connections between the brain’s neurons, which change slowly over time as we learn and grow. The connectome, as it’s called, is where our genetic inheritance intersects with our life experience. It’s where nature meets nurture.Seung introduces us to the dedicated researchers who are mapping the brain’s connections, neuron by neuron, synapse by synapse. It is a monumental undertaking—the scientific equivalent of climbing Mount Everest—but if they succeed, it could reveal the basis of personality, intelligence, memory, and perhaps even mental disorders. Many scientists speculate that people with anorexia, autism, and schizophrenia are "wired differently," but nobody knows for sure. The brain’s wiring has never been clearly seen.In sparklingly clear prose, Seung reveals the amazing technological advances that will soon help us map connectomes. He also examines the evidence that these maps will someday allow humans to "upload" their minds into computers, achieving a kind of immortality.Connectome is a mind-bending adventure story, told with great passion and authority. It presents a daring scientific and technological vision for at last understanding what makes us who we are. Welcome to the future of neuroscience.

    Today, unfortunately, the traditional place of mathematics in education is in grave danger. The teaching and learning of mathematics has degenerated into the realm of rote memorization, the outcome of which leads to satisfactory formal ability but does not lead to real understanding or to greater intellectual independence. This new edition of Richard Courant's and Herbert Robbins's classic work seeks to address this problem. Its goal is to put the meaning back into mathematics.Written for beginners and scholars, for students and teachers, for philosophers and engineers, What is Mathematics? Second Edition is a sparkling collection of mathematical gems that offers an entertaining and accessible portrait of the mathematical world. Covering everything from natural numbers and the number system to geometrical constructions and projective geometry, from topology and calculus to matters of principle and the Continuum Hypothesis, this fascinating survey allows readers to delve into mathematics as an organic whole rather than an empty drill in problem solving. With chapters largely independent of one another and sections that lead upward from basic to more advanced discussions, readers can easily pick and choose areas of particular interest without impairing their understanding of subsequent parts.Brought up to date with a new chapter by Ian Stewart, What is Mathematics? Second Edition offers new insights into recent mathematical developments and describes proofs of the Four-Color Theorem and Fermat's Last Theorem, problems that were still open when Courant and Robbins wrote this masterpiece, but ones that have since been solved.Formal mathematics is like spelling and grammar - a matter of the correct application of local rules. Meaningful mathematics is like journalism - it tells an interesting story. But unlike some journalism, the story has to be true. The best mathematics is like literature - it brings a story to life before your eyes and involves you in it, intellectually and emotionally. What is Mathematics is like a fine piece of literature - it opens a window onto the world of mathematics for anyone interested to view.