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Not a film history but a book about DOING film history

An Excellent book on risk managementThe Second part of the book focusses on risk management of different type of instruments, instruments range from plain vanilla to complex path dependent options. It spans through assets classes as well. As promised by the author, the level of mathematical and quantitative background required is kept to the minimum. The text provides intuition about what market variables or market moves a specific instruments depends on rather than complex formulae to price such instruments. For somebody like me, who has a little more mathematical background than an average reader, the text points to latest research or specific papers that I can explore if I want to flex my quantitative muscle.
The book is full of very interesting exercises and case studies, which are truly practical. This is something which is completely different from many texts that I have seen on this topic.
Overall, I highly recommend this book to anybody who has anything to do with trading financial instruments.


fascinating

expositions of an American structural thinkerThere are great issues discussed here as the future of the orchestra, how difficult it has become to give everyone in the modern orchestra something to play. These interviews traverse only to 1971, Carter was on the threshold of his monumental Third String Quartet. But we obtain quite well thought out reflections of the darkly brooding "Piano Concerto",a work completed during a stay in Berlin with students, Rzewski among them, and the "Concerto for Orchestra". The latter he had fragmented the modern orchestra into 'concertini', small ensembles of fascinating timbres.
Carter here is quite social in his reflections of tradition and the elitist endeavor of writing music. He reflects that we really cannot speak of a national consciousness for serious composers as Carter has so obviously become in the past ten years. That perhaps writing music for the primary venues will be something for the past. And if we warp=speed to the present from 1971 we see the corporate agenda for orchestral commissions as Eisner's vacuous vision of "Mickey Mouse" giving music money to Alan Jay Kernis and Michael Torke for modern creations, creations quite obvious and predictable.Yet without points of interest.
Carter reflects quite profoundly on his working methods, the five and seven tone chordal structures, in the "Piano Concerto", and The powerfully wrought "Concerto for Orchestra", the latter written during the Vietnam Times, of street anti-establishment rebellion.
We learn the impetus of Carter's musical aesthetic as linear, the only aesthetic worth pursuing, and he makes a profoundly convincing arguments against contra the texture bound creations a la Stockhausen, where texture became boring after the first initial moments. Or he reflects deeply on the vacuity of serial thinking that never lets the EAR be the primary focus for music, rather the highly abstracted geometric sense of music not for the EAR but the self-indulgent mind.
Shame this is out-of print, I have an old tattered copy that I cherish deeply.


One of the greatest hero epics in sci-fi.

Looking for a book of steelhead flys???? This is it......

OUTSTANDING BOOK

Where'd that name come from?

Reccomended by the accidental quilter

Shares more than 45 years of fishing experience