{"data":[{"id":242,"title":"Theatrical Worlds","edition_statement":null,"volume":null,"copyright_year":2014,"isbn10":null,"isbn13":null,"license":"Attribution-NonCommercial-NoDerivs","language":"eng","accessibility_statement":null,"accessibility_features":["unknown"],"description":"From the University of Florida College of Fine Arts, Charlie Mitchell and distinguished colleagues from across America present an introductory text for theatre and theoretical production. This book seeks to give insight into the people and processes that create theater. It does not strip away the feeling of magic but to add wonder for the artistry that make a production work well.","contributors":[{"id":3803,"contribution":"Editor","primary":true,"corporate":false,"title":null,"first_name":"Charles","middle_name":null,"last_name":"Mitchell","location":"University of Florida, Gainesville","background_text":"Charlie Mitchell studied playwriting at Boston University with Nobel prize-winning author Derek Walcott. After earning a PhD from the University of Colorado, he was a production dramaturg for the Colorado Shakespeare Festival and later for Playmakers Repertory, where he was a visiting professor at The University of North Carolina at Chapel Hill. For three years, he was an artistic associate and company member of the award-winning Chesapeake Shakespeare Company and has worked as an actor for a variety of theatres in New York City, Chicago, and Baltimore. Previously, he taught at Loyola University in Maryland. He completed his BFA actor training at Ithaca College. Dr. Mitchell is the author of Shakespeare and Public Execution, an examination of how Shakespeare utilized commonly known tropes of execution for his own dramaturgical ends and the co-editor of Zora Neale Hurston: Collected Plays, the first compilation of the Harlem Renaissance writer's dramatic pieces including two thought to be lost. Theatrical Worlds is the first open source introductory theatre textbook."}],"subjects":[{"id":29,"name":"Arts","parent_subject_id":6,"call_number":"N85","visible_textbooks_count":56,"url":"https://staging.open.umn.edu/opentextbooks/subjects/arts"},{"id":6,"name":"Humanities","parent_subject_id":null,"call_number":null,"visible_textbooks_count":418,"url":"https://staging.open.umn.edu/opentextbooks/subjects/humanities"}],"publishers":[{"id":220,"url":"http://ufdc.ufl.edu/ogt","year":null,"created_at":"2018-09-07T12:22:38.000-05:00","updated_at":"2018-09-07T12:22:38.000-05:00","name":"University Press of Florida"}],"formats":[{"id":625,"type":"PDF","url":"https://ufdc.ufl.edu/AA00021870/00001","price":{"cents":0,"currency_iso":"USD"},"isbn":null}],"rating":"3.5","textbook_reviews_count":31,"reviews":[{"id":404,"first_name":"Brian","last_name":"Haimbach","position":"Lead Theatre Faculty","institution_name":"Lane Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The comprehensiveness of the textbook is admirable. Given the daunting task of covering all aspects of theatre, the book attempts to cover an impressive range of topics. Conspicuously absent are the dedicated Theatre History chapters that consume half of most published texts marketed to Theatre Appreciation classes. However, this text’s attempts to ground information in a historical context are largely successful. At times the history seems a bit too hefty. The text’s consistent historical approach can sometimes leave little room for practical information, particularly in the Acting chapter. Also conspicuously absent, but less understandably so, is a chapter on playwriting. The text’s attempts at comprehensiveness fall short only due to this exclusion and the exclusion of an index and/or glossary.  The first chapter’s introduction to theatre includes subject matter that might not be included in older Introduction to Theatre texts, but is not only relevant but necessary for an understanding of contemporary practice. The Special Topics section is appealing. Every theatre instructor and/or practitioner will surely ask why these subjects (Genre, Shakespeare, Musicals, and World Theatre) as opposed to other pet topics. But this portion of the book is a healthy augmentation to the prior chapters. For those who find the prominence of Shakespeare in theatre academia problematic, the number of pages dedicated to the Bard will likely seem out of place.  Considering the breadth of topics, depth must be sacrificed. The in-depth description of lighting instruments feels out of place as compared to the brief treatment the text offers almost all other material. One might be tempted to describe the depth as cursory, but considering the length of the text is similar to other books of the same subject and the exclusion of chapters focusing solely on history, the text discusses each topic to a satisfactory extent. The book is an introduction to ideas which will hopefully provoke students to investigate further and allow instructors to flesh out the material in class. Overall, the content provides an entrée to as many aspects of a very complicated and multifaceted art form as can be expected from one book. ","accuracy_rating":5,"accuracy_review":"The text is accurate and error-free. Almost every chapter is written by a different author, which goes far to avoid a biased perspective. ","relevance_rating":4,"relevance_review":"Updates to the text will be easy to implement. Some references will soon be outdated, but the basic content will not require an update in the near future. ","clarity_rating":5,"clarity_review":"The writing style is very appropriate for the undergraduate level. Esoteric references are almost always explained satisfactorily.","consistency_rating":5,"consistency_review":"Considering the number of authors that contribute to the text, the consistency of terminology is decidedly strong. Each chapter has a unique perspective, but the cohesiveness of the text does not suffer.","modularity_rating":5,"modularity_review":"The modularity of the text is its strongest feature. One could easily use different chapters in many different classes. Each chapter is a self-contained discussion of a single subject that can be used in a variety of ways.","organization_rating":4,"organization_review":"Due to the modularity of the text, the structure seems to jump from one topic to the next without any attempts to transition smoothly. The inclusion of a subsection on sound design in the set design chapter is one example of how some subsections feel wedged into place. However, this structural characteristic does not detract from the overall effectiveness of the text.","interface_rating":4,"interface_review":"The downloadable PDF format maintains images and text beautifully. The inability to bookmark and the lack of internal links in the PDF and online versions proves frustrating at times.","grammatical_rating":5,"grammatical_review":"The grammar is correct. ","cultural_rating":4,"cultural_review":"The text is obviously mostly about contemporary Western theatre practice, particularly commercial theatre of North America. The chapter on World Theatre includes information that many texts on this subject would likely not include, which is admirable. Considering the approach to theatre, the text does not contain any offensive or insensitive material.","overall_rating":9,"overall_review":"Theatrical Worlds is a practical and effective option for Introduction to Theatre and Theatre Appreciation classes. Although it may not be the choice for an instructor taking a decidedly Performance Studies approach, the breadth of information offered provides a solid launching point from which to shape a course for instructors of a variety of interests. ","created_at":"2016-01-07T18:00:00.000-06:00","updated_at":"2016-01-07T18:00:00.000-06:00"},{"id":754,"first_name":"Janet","last_name":"Allard","position":"Associate Professor","institution_name":"University of North Carolina at Greensboro","comprehensiveness_rating":4,"comprehensiveness_review":"Theatrical Worlds covers an impressive number of ideas and areas, going into both the methods of individual theatre practitioners and the historical roots of the art of theatre. The beginning chapter of the book also explains the relevance of theatre to someone unfamiliar with theatre, or a young theatre artist at the beginning of study. It asks and elaborates on not only how theatre is made but also, the uses of theatre by posing the compelling question: “why theatre?” The quotes from key artists who have made significant contributions to the field add to the ideas of the book as well as the way the text is laid out or designed. The examples and ideas from all over the world add to the comprehensiveness and allow this book from becoming too American-centric. \nThough several significant playwrights are mentioned, the role of the playwright could be further explored and is deserving of its own chapter. Dramaturgs could be mentioned as well. The mention of Directors as Auteurs is a good addition, though it is important to note that contemporary plays in copyright cannot be altered by Directors.  There is no index or glossary but the table of contents seems sufficient as much of the contents of the chapters is about defining theatrical terms in an in-depth way. \n","accuracy_rating":5,"accuracy_review":"The book accurately describes each element that makes up a theatrical collaboration as well as historical figures and events.","relevance_rating":5,"relevance_review":"The content is relevant and takes into account recent theatrical productions as well as historical ones. There are always new examples and new plays, musicals, and technologies that will need to be incorporated. Already, the Musical Theatre section feels as if it’s missing something for not mentioning the ground swell caused by the musical “Hamilton”, which is not a fault of the book but simply speaks to the need for periodic updates.  Sometimes the book refers to “recent productions” or specific software and technological equipment for designers and technicians. This makes the book very relevant, and longevity is easy to accomplish with periodic updates. Updates should be relatively easy to implement under the chapter headings and sections defined in the book.","clarity_rating":5,"clarity_review":"The text is written in a compelling yet accessible way. Various authors are at work here and that becomes a strength of the book by adding to its variety. The jargon and technical terminology is clearly defined and easy to read and digest.","consistency_rating":5,"consistency_review":"\nThe book consistently uses both historical and contemporary ways of exploring the ideas and methods of each section. Each chapter consistently defines terms and identifies significant theatre practitioners. \n","modularity_rating":5,"modularity_review":"The way the book is divided easy allows a professor to assign particular sections at different points within the course. It would also be possible to assign a single section for an introductory course on one of the topics – for example, the lighting design section for an introductory lighting design class, making elements of this textbook useful to more specialized courses.","organization_rating":5,"organization_review":"The topics flow well and are presented in a logical, clear fashion. The last chapter “Special Topics” becomes a sort of “catch all”  for topics the authors wanted to explore further: Genre, Shakespeare, The American Musical and World Theatre.  It is hard to determine why those four subjects and not others, yet, each of those subjects is worth mentioning and the chapters hold interest.","interface_rating":4,"interface_review":"The images were clear, well presented and added to the experience of reading the text.  The bookmark icon to the right of the pdf screen allows the reader to navigate easily between chapters. There doesn't seem to be a way the user can add a bookmark, highlight text, or take notes. Those elements would be useful if technically available. ","grammatical_rating":5,"grammatical_review":"The text contains no grammatical errors.","cultural_rating":5,"cultural_review":"The text is culturally inclusive of a variety of races, ethnicities and backgrounds. The section on World Theatre includes theatre that though authentic to its origins, continues to evolve, dispelling the notion that world theatre is \"static\" or mired in past traditions. There are both traditional/historic and contemporary examples of theatre in India, Japan, China, The Middle East, West Africa, South Africa and Latin America.","overall_rating":10,"overall_review":"This book seems best suited for non-theatre majors or those very new to the aspects of a theatrical production. The breadth involved allows this text to be useful to an introductory course – introducing students to the world of theatre.  Many terms are defined and roles explained that those who have worked in and around the theatre will already be familiar with, but which would be illuminating for a newcomer to the field. That said, there are certain chapters, sections, or interviews in this book that could be pulled into a theatre history class or more specialized courses.","created_at":"2016-12-05T18:00:00.000-06:00","updated_at":"2016-12-05T18:00:00.000-06:00"},{"id":817,"first_name":"Eric","last_name":"Prince","position":"Professor","institution_name":"Colorado State University","comprehensiveness_rating":2,"comprehensiveness_review":"\nThe book is in need of an index and a glossary with key concepts and terms being clearly explained. No scholarly sources, references, footnotes, or works cited are listed. Attention to the relationship between text and image in conveying meaning as well as interest is needed, especially as an online resource. \n\n","accuracy_rating":3,"accuracy_review":"Content is generally accurate - to the extent that we take the authors on trust as no attributions to sources are indicated. Content ( in all arts related subjects)  is often a matter of opinion and judgment rather than a matter of being simply \"error-free\"  and at times value judgments can be superficial and misconceived. I would instance the references to Samuel Beckett as just one example of this. ","relevance_rating":2,"relevance_review":"The text is not up-to-date or relevant in comparison with similar books in this field.( Further comment in my review on this)\n\nAttention to the relationship between text and image in conveying meaning as well as interest is needed, especially as an online resource. More engagement on the part of the editor with the conceptual unity and intentions of the book as well as the overall balance, focus and originality of content, would help. \n","clarity_rating":2,"clarity_review":"The prose is accessible but the lucidity varies and technical terms are used on occasion without  contextual explanation. \nAs an instance (p.99)  the contributor on set design mentions that  \"style choices, such as expressionistic, absurdist, epic, or postmodern, also foster a greater degree of abstraction in the design and directing choices.\" This is a throw away line but these are complex concepts and some explanation say of German Expressionism, not just in design, but in writing, in directing, in a socio-historical context should have been offered somewhere in the book.. These four genres or conventions  all allude to 'theatrical worlds\" as well, a concept that the editor seems not to pursue in the overall scheme of the book or in the editing.This is illustrated by the failure of the later chapter on 'genres' to address or refer back to this earlier chapter in any significant or meaningful way.","consistency_rating":2,"consistency_review":"Consistency is affected by having nine contributing writers authoring non-collaborative chapters on their own particular specialism. This leads to the lack of any unifying voice and vision, and some needless repetition in places. There is no guiding framework to speak of.","modularity_rating":3,"modularity_review":"Part II consisting of five chapters on theatrical production and Part  III of the book consisting of four chapters on unrelated special topics can be subdivided into separate reading sections - but they would appear to address very differentiated student needs as practical or theoretical specialists","organization_rating":2,"organization_review":"\nTheatrical Worlds consists of three sections:  I Creating a World – Mapping Reality: An Introduction to Theatre, II Theatrical Production, with chapters on Acting, Directing, Set Design, Costume Design, Lighting Design, and III Special Topics, with chapters on Genre, The World of Shakespeare, The American Musical, and World Theatre. ‘Mapping Reality’, which sets out the premise or overview of the book is a rambling digression across definitions of fine art, aesthetics, the ‘qualities’ of theatre, and fails to set out any clear logic or map of the territory the reader is to explore.","interface_rating":2,"interface_review":"There are no significant problems for interface issues - in fact reading the book, as I did on an Ipad, is a great advertisement for open text books as ease of use is a bonus. The interface though is overly conservative or traditional. The book could benefit from a graphic design artist’s input and reorganization of text and image as well as dynamic website integration with  links  to supportive images, film and in depth related reading","grammatical_rating":2,"grammatical_review":"With nine contributing writers there are grammatical conflicts of style and tone, although no errors as such.\nExamples occur however of grammar or word usage unsuited to an academic text-  \"A famous quote states that...\"  and  \" Chekhov wrote scripts like The Cherry Orchard...\"","cultural_rating":3,"cultural_review":"The book addresses cultural relevance in a uniformly sensitive way and includes attention to divergence and ethnicities. Much of what is best in this respect is concentrated though in the one chapter on World Theatre, and the book could perhaps benefit from being more active in addressing the best of  'contemporary' theatre practice in this respect throughout its overall design. ","overall_rating":5,"overall_review":"An accessible open textbook on theatre is a welcome proposition. Theatrical Worlds is however a disappointing work that seems unclear about its target audience or the needs of its potential readers. “The intent of this book is not to strip away the feeling of magic that can happen in the presence of theatre…” state the authors, and yet the book achieves that very thing. This is a matter of tone and style, as well as substance and content, and a consequence of having nine contributing writers authoring non-collaborative chapters on their own particular specialism. This leads to the lack of any unifying voice and vision, and confusion as to what  the book’s own guiding concept of theatrical ‘worlds’ is in the first place. \n\nTheatrical Worlds consists of three sections:  I Creating a World – Mapping Reality: An Introduction to Theatre, II Theatrical Production, with chapters on Acting, Directing, Set Design, Costume Design, Lighting Design, and III Special Topics, with chapters on Genre, The World of Shakespeare, The American Musical, and World Theatre. ‘Mapping Reality’, which sets out the premise or overview of the book is a rambling digression across definitions of fine art, aesthetics, the ‘qualities’ of theatre, and goes on for some fifteen pages of text before we have any visual image or illustration of interest. Not the best introduction to the power of web interface, or integrated graphics and online texts. The chapter then addresses some of the uses of theatre, with the topics of drama therapy, evangelical agitprop, documentary theatre and case studies of activist theatre practice. At this point there is an interview with Broadway producer Ken Davenport and the chapter concludes with brief observations on the origins of theatre before a longer section on how to read a play, with the over-used plot example of Sophocles’ Oedipus the King as the play in focus. No production images of the play are offered, no images of global or divergent directorial or design interpretations to enliven the text. Theatrical Worlds could benefit from a graphic design artist’s input and reorganization of text and image as well as some dynamic website integration with web links directing readers to supportive images, film and in depth related reading. Given that illusion is the sine qua non of theatre the ‘Mapping Reality’ introduction never really elaborates on the concept of ‘reality’ it proposes - neither does it explore the intriguing metaphor of ‘mapping’ or orientating oneself within the theatre world’s own distinctive collaborative geography.\nThe five chapters of Part II on theatrical production seem to narrow the target readership down to theatre majors, or students who clearly intend to participate in theatre production either as performers or designers. There is much of interest for such students in these various chapters but aspects of the various writers’ tone, style and subtext are troubling. In an age, for example, that is now enriched by the breakthrough interventions of women directors such as Julie Taymor, Katie Mitchell, Anne Bogart, Deborah Warner, Leigh Silverman, Marianne Elliott, Garry Hynes et al., it jars to read, “Simply put, the director is the “captain” of the collaborative team, responsible for all artistic aspects of the production. He is the person who makes sure that all of the pieces are put together….” (Directing, chapter 3) And, “… is the actor a craftsman or an artist?  ... you could call the actor an artist because he applies creativity and imagination to this interpretation…” (Acting, chapter 2).\n \nThe stand alone special topic chapters of Part III seem to belong to another book altogether. They have a narrative history emphasis and perspective and seem somewhat arbitrary topics to illustrate theatrical worlds - the American musical alongside the World of Shakespeare? Compare, contrast, discuss? Who was Shakespeare? What was Shakespeare? are not inspiring sub-headings and neither is the chapter itself which dwells overlong on the all too familiar historical/biographical narrative. The section that might have been rewarding, Interpreting Shakespeare, is afforded all of three paragraphs. This might have been a cross-cultural and artistic exploration of conceptual and realized performance, a history of Shakespeare as divergent theatrical production, ranging across contemporary practice, the work of the Royal Shakespeare Company, the Oregon Shakespeare Festival, Peter Brook, Peter Hall, Yukio Ninagawa, Julie Taymor, on directors’ and actors’ visions of Shakespeare on stage, Shakespeare on film, in prisons, in schools, in site specific locations, warehouses, swimming pools, in London’s Globe Theatre, or as the deconstructed viscerally exciting immersive theatre of Britain’s Punchdrunk Theatre). The book’s contributors seem at times overly dry and academic,– as with the opening to the book’s final chapter on world theatre: “When approaching the topic of world theatre, it is necessary to first dispel some popular myths about theatre forms that are outside the traditional Western theatre aesthetic or canon.” The magic really does slip away. \n\nThe book is in need of an index and a glossary with key concepts and terms being clearly explained. No scholarly sources, references, footnotes, or works cited are listed. Attention to the relationship between text and image in conveying meaning as well as interest is needed, especially as an online resource. More engagement on the part of the editor with the conceptual unity and intentions of the book as well as the overall balance, focus and originality of content, would help. \n\nTheatrical Worlds aspires to being a supportive, stimulating introductory inroad to the enormously broad field that is theatre study and theatre practice but there are many competitive texts in this field - Theatre: Collaborative Acts, (Wainscott and Fletcher), The World of Theatre: Tradition and Innovation, (Felner and Orenstein), The Theatre Experience, (Edwin Wilson), Theatre: A Way of Seeing, (Milly S. Barranger). Theatrical Worlds does not advance in any discernible way on such books and despite commendable intentions falls short in some significant ways. \n","created_at":"2016-12-05T18:00:00.000-06:00","updated_at":"2016-12-05T18:00:00.000-06:00"},{"id":866,"first_name":"Laszlo","last_name":"Fulop","position":"Associate Professor","institution_name":"University of New Orleans","comprehensiveness_rating":4,"comprehensiveness_review":"The book takes a comprehensive look at theater. It starts out with an essay about the basic elements and qualities of theater, about meaning, etc. The sub-chapter about the origins of theater could have connected to a short historical overview. Thus, at first glance, a historical overview of theater is missing. But reading the book one realizes that the history of the theater is covered in various chapters. There is a significant historical perspective in all the main chapters (acting, directing, set design--where some elements of Greek, Roman, and old Christian church theater are explained--, lighting design, and in all the chapters of “Part Three: Special Topics,” which deal with genre, Shakespeare, the American Musical, and World Theater. Does this add up to a coherent historical overview? Not really, but after all this is not a book about the history of theater. \n\nThroughout the book, there are good interviews with a producer, a casting director, a sound designer, etc. those additional important roles in production that do not get a full chapter. My only issue with this is that these interviews are not mentioned in the table of contents. So, if someone is interested in looking up producing or sound design, they would think there is not one word about them in the book. Yes, these are only short interviews, but in an intro book they are helpful, and one should easily find them. \n\nFinally, a glossary (or at least an index) is definitely missing from this introductory book.  \n","accuracy_rating":3,"accuracy_review":"There is a little bit of script analysis in the first chapter, where the writer mentions protagonist and antagonist and some important points in the plot. But the explanation of theme is not clear. Most importantly, “dramatic action” is mentioned but not explained and \"conflict\" is not even mentioned (literally, the word \"conflict\" doesn't appear at all in the whole book), which is somewhat of a mistake. \n","relevance_rating":5,"relevance_review":"The text will stay relevant for a long time. ","clarity_rating":5,"clarity_review":"Nice and clear prose. ","consistency_rating":4,"consistency_review":"The book is usually consistent in approaching its subject matter. The chapter about lighting design has too many details about the various lamps and other devices used in production. This type of detail is missing from the other chapters. ","modularity_rating":5,"modularity_review":"No issues. ","organization_rating":5,"organization_review":"Good.  ","interface_rating":5,"interface_review":"Good. ","grammatical_rating":5,"grammatical_review":"Seems correct. I haven't found any typos or mistakes. ","cultural_rating":4,"cultural_review":"In the chapter about directing, the theater director is usually referred to as a \"he.\" ","overall_rating":9,"overall_review":null,"created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":868,"first_name":"David","last_name":"Mroden","position":"Assistant Professor","institution_name":"University of Arizona","comprehensiveness_rating":3,"comprehensiveness_review":"This text covers a lot of ground; perhaps too much.  It starts out as an overview of the theatrical process, examining the different areas of production, performance and design, then shifts to an exploration of Shakespeare throughout the past five centuries, shifts to a journey through the history of musical theatre and then finishes with a broad, shallow sketch of world theatre.  It attempts to pack a lot of information into one text and ends up feeling a bit schizophrenic.  Each individual section could be useful in teaching a specific facet of the art of theatre; added together, it's a bit confusing.","accuracy_rating":4,"accuracy_review":"While it feels generally accurate in its information, there are one or two significant exceptions (including the culture of the Indian 'hijras' in a theatrical text seems inappropriate and not relevant).  The book does a nice job of stepping through the different areas of production - from performance to direction to design -- giving the neophyte a good overall understanding of what's involved in producing theatrical works.  It's difficult to gauge the accuracy of the section on world theatre as it jumps around from country to country and attempts to summarize each culture with only a paragraph or two on each.","relevance_rating":4,"relevance_review":"The first part of the book has great potential as an \"Introduction to Theatre\" text and gives a good picture of the many pieces of the theatrical puzzle.  It is up-to-date in describing current practices and draws on quotes by modern theatre artists to illuminate the material.  The information on musical theatre is also up-to-date, but will require periodic updates, as this area of the theatre world is changing rapidly and significantly even as I type this review.  The Shakespeare information is good and should stand the test of time, though new trends in Shakespeare performance (gender equity in casting) are ever evolving and would be good to include in future updates.  It is difficult to judge the information about world theatre as it does not stick to a single format, discussing historical theatre of some cultures and modern practices of others.","clarity_rating":3,"clarity_review":"The first section of the book does a nice job of describing each area of the theatrical process and how it fits into the overall production process.  It tends to get bogged down in minutiae at times (it doesn't seem necessary to list every type of lighting instrument of lighting board in use).  The sections on Shakespeare and musical theatre are generally good.  The final section on world theatre feels sprawling and confusing.  Spending only a paragraph or two to describe a country's theatrical culture left me feeling overwhelmed by the plethora of names, dates and concepts.  This section could easily be expanded into its own world theatre text if each area was expanded to include a more comprehensive picture of the culture and its performance tradition.  I didn't feel like I really learned anything lasting from this part of the book.","consistency_rating":2,"consistency_review":"The book starts out with some really useful and readable elements.  The use of quotes by theatrical professionals gives the student in an introductory course and very relatable and human voice to attach to the esoteric demands of each part of the theatrical craft.  These quotes quickly disappear, however, about a quarter of the way into the text.  Sidebars are also quite useful in illuminating the material with information on some specific productions or facets of the theatre.  It could use many more of these - especially in the sections on world theatre.  It does make good use of production photos to understand the visual aspects of different theatrical forms.","modularity_rating":3,"modularity_review":"The modularity of the material is, perhaps, both its strong points and weak point.  Because it covers such a broad scope of information, it feels like four or five textbooks stitched into one.  This could make it very relevant to a variety of different courses.  This modularity, however, made me unsure of how it could be used as the main text for a single course.  On the positive side, the information was divided into easily digestible sections and it never felt like it was over-long.  The final section was sliced into so many small subsections, however, that I didn't feel like I was getting any useful takeaway information.","organization_rating":3,"organization_review":"The information within each section is generally well presented and organized into an easy-to-grasp linear progression.  It is the flow between sections that frustrated me.  It starts out with good information about the theatrical process for the neophyte, progressing from the nuts-and-bolts of the theatrical world to a broader discussion of theatrical genres.  The jump to a much more in-depth look at the works of Shakespeare and musical theatre took it to a different level of study beyond the introductory stage.  The world theatre section attempted to present too much information with little depth and left me feeling disappointed in what I took away from the book, as a whole.","interface_rating":4,"interface_review":"The book uses a lot of images, sidebars and quotes to illuminate the text (more at the beginning than later).  This made it very readable and made some of the content much more relevant.  There could be even more in later editions.","grammatical_rating":5,"grammatical_review":"Aside from the occasional typo, the grammar of the text was very good.","cultural_rating":3,"cultural_review":"This is one of the books strongest points.  In nearly all of the discussions, it brought the information back to the present day.  The information was timely and always brought the historical information into the modern world.  The final section on world theatre, however, threw out a lot of information (names, dates, etc.) without giving a larger picture of the relevance to modern practice in general.","overall_rating":7,"overall_review":"There was much about this book that I liked.  It felt like it could be very useful for a variety of courses if taken in smaller slices (a good attribute for the Open Textbook world).  I was frustrated, though, in that it almost tries to cover too much information.  It starts out very specific and focused on modern practice and ends with a sprawling section attempting to touch on too many cultures with not enough information about each.  I finished the book unsure about what information I could really take away about theatre in other countries when it was covered so briefly (sometimes summarizing an entire theatrical culture in one paragraph).  If future editions could either pare away the final section or expand it to an entire text of its own, it could be much more useful and relevant.","created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":909,"first_name":"Matthew ","last_name":"Weedman","position":"Assistant Professor","institution_name":"University of Northern Iowa","comprehensiveness_rating":3,"comprehensiveness_review":"The book is divided into three parts. \n\nPart One is \"Creating a World\" and is an overview of theatre from Greek Drama to present day productions. This section is an attempt to place theatre in a social and historical context. \n\nPart Two is \"Theatrical Production\" and is an overview of the actual practice of producing theatre. This section is divided into five chapters, \"Acting,\" \"Directing,\"  \"Set Design,\" \"Costume Design,\" and \"Lighting Design.\" These chapters are all in depth and effective explorations of the creative and practical process of theatrical production.\n\nPart Three is \"Special Topics,\" which is a rather scattershot list of chapters that cover a variety of ideas: from \"Genre,\" to \"The American Musical,\" to \"Shakespeare\" and ending with \"World Theatre.\" \n\nThere is no glossary or index and the absence of these vital elements is very strongly felt.  ","accuracy_rating":3,"accuracy_review":"The book is accurate as long as we trust the authors as the final arbiters of fact and knowledge. They do not cite any scholarly sources or hyperlink to any outside authorities. As a reader you must accept that their description of the topic is trustworthy and accurate. ","relevance_rating":4,"relevance_review":"The book seems relevant and up to date in a way that seems engaging and clear. References and images are from both recent and historical examples, although a great deal of information is drawn from university theatres rather than professional productions. The book will need updates soon, but the interface of the text seems to make this accessible. ","clarity_rating":4,"clarity_review":"The book is written in accessible language (if sometimes too familiar, which I'll touch on more in my comments). Occasionally jargon or technical terms are used without any explanations or context clues. ","consistency_rating":3,"consistency_review":"Each chapter in this book was written by nine individual writers in what seems like an environment where collaboration was not emphasized. This means that each chapter is tonally very different from the others. The first section, \"Creating a World\" seems to be from an entirely different text than any of the others which is very jarring. This also leads to repetition of key points. ","modularity_rating":3,"modularity_review":"Part Two and Part Three are divisible into smaller reading sections that can be assigned at different points within a course. Part Two in particular seems to be appropriate for an introductory Theatre course and the chapters lend themselves well to general discussion topics that impart information in clear, effective chunks. Part Three covers such a wide range of topics that it seems as though it is not designed for just one class and elements could be included in several different courses. ","organization_rating":3,"organization_review":"The second section of the book, \"Theatrical Production,\" is  divided into useful sections that are divisible into self-contained units that would be useful in a general education style theatre course. They are intelligently modeled and deliver information in clear and succinct points. The third sections, \"Special Topics\" also follows a structure that would allow an instructor to deliver sections of text at different points during a course. \n\nThe first section of the book, \"Creating a World,\" does not have this easy to access structure. ","interface_rating":5,"interface_review":"I read the book on my laptop and found the interface to be clear and accessible. There was no distortion of images or chart and the display did a very nice job of highlighting quotations and including \"sidebars\" that are useful for furthering more in depth discussion of specific examples. ","grammatical_rating":5,"grammatical_review":"I found no grammatical errors. ","cultural_rating":4,"cultural_review":"The book is culturally relevant and does not contain anything that is insensitive or offensive. The chapter on Directing does choose to describe the director as the \"captain\" of a production and to use the pronoun \"he\" throughout, which is a little unfortunate. The chapter in the Special Topics section on World Theatre is very strong and manages to cover a very diverse discussion of theatrical styles with an admirable degree of thoroughness.  ","overall_rating":7,"overall_review":"This is an interesting and frustrating text. \n\nThe greatest weakness of the book lies in its first section, \"Mapping Reality; an Introduction to Theatre.\" This section is a digressive and rambling discussion of theatrical history and context that seems to have no fundamental idea of how to organize itself. It is not a history of the theatre nor is it an attempt to create a way to talk about theory. It's a mishmash of many different ideas about theatre presented in a scattershot style that is difficult to follow. The material seems too simple for an advanced discussion or seminar course and too discursive to be useful in an introductory general education course. The authorial voice veers from strong, unsupported statements, \"Nothing has as much potential as a stage,\" or \"Because theatre cannot help but generate meaning, it has a strong tendency to be allegorical\" to statements that are vague to the point of being incomprehensible, \"Theatre has other qualities that, collectively, make it distinct from other art forms\" \n\nThe second section of the book switches to a more specific discussion of the different roles played by members of a theatrical production's artistic team. These are strong and interesting and contain a good deal of information. While the discussion may be a little elevated for a basic or introductory course, they are well-written and include a number of good examples. \n\nThe third section, \"Special Topics\" is marked by its varied approach. The first \"Genres\" is a discussion of theatrical forms that covers theatre from melodrama to farce and attempts to give an overview of the ways that theatrical genres have evolved and grown (without, it must be noted, ever mentioning the name Brecht.) It is a fairly strong entry if a little broad. \n\nThe second, \"The World of Shakespeare\" is a very fast and loosely organized overview of Shakespeare and his influence on theatrical tradition. Far too heavy on the biographical details of Shakespeare's life it also attempts to outline an attempt to read Shakespeare's verse and understand language. It is unclear who this section is targeted towards - it is not detailed enough for an acting or voice class and too detailed for an introductory course. \n\nThe last section is entitled \"World Theatre\" and is a worthy attempt, effectively using images and visual examples, to give an introduction to theatrical styles that might not be covered in most General Education theatre courses. Including examples from Iran, Japan, China and Central Asia, this section was presented logically and intelligently and is easily accessible. That the section on \"World Theatre\" is about the same length as the section on \"The American Musical\" could be a little problematic. \n\nOverall this text is a solid attempt to tell the story of theatre. Many of its chapters could be incorporated into Theatre History courses or Introductory Courses. By including a glossary and index the editors could strengthen its functionality and usefulness - their absence is sorely missed. ","created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":947,"first_name":"Noreen","last_name":"Barnes","position":"Director of Graduate Studies, Theatre ","institution_name":"Virginia Commonwealth University","comprehensiveness_rating":2,"comprehensiveness_review":"This text enters a very competitive market for introductory texts in Theatre.  It is only partially comprehensive,\nas some aspects of theatrical production are omitted, or given short shrift, such as playwriting, producing and dramaturgy.  A huge drawback is that there is no glossary, no index, and no citation information for the quoted material in the book.  Wikipedia does a better job of documenting source material.","accuracy_rating":2,"accuracy_review":"There are some spelling errors","relevance_rating":1,"relevance_review":"With no mention of several of the important events in theatre in the last two years - particularly \"Hamilton\" - there are several\nsections (Introduction and Chapter on Musical Theatre) that are now obsolete.  Text should be updated with additions to be current.","clarity_rating":2,"clarity_review":"Lucidity of prose varies from author to author (there are nine contributors).  The strongest sections are those on design, particularly that on Scene Design.  Explanations of jargon/terminology in the field are adequate.\nIntroduction in particular is arbitrary, meandering, and sometimes difficult to follow how the author is linking unrelated events.  Text is interrupted by unrelated sidebars.  Shakespeare section is circular, redundant, and in need of editing.","consistency_rating":2,"consistency_review":"This varies from author to author.\nThe chapter on acting is an odd wander through acting history that stops abruptly with no contemporary teachers noted.  The Genre chapter contains a section on \"Isms\" then does not even mention Surrealism, Symbolism, Expressionism and Futurism. The discussion is arbitrary, hard to follow, and off on some genres, such as the origin of the term \"melodrama.\"","modularity_rating":2,"modularity_review":"Sections can stand alone - and some should stand apart - from the text.  I would use the design sections from this text, and complement them with other sources on other areas in theatre production.","organization_rating":2,"organization_review":"Discussion on Genre (one that would actually include more genres and be more organized) should be situated earlier in the text.","interface_rating":1,"interface_review":"There are no links - to actual source material would be nice.","grammatical_rating":2,"grammatical_review":"Uneven - beginning with the description of the text on the UMN site that is incorrect and poorly written.  Several incorrect names, captions, accent marks.","cultural_rating":2,"cultural_review":"The Directing chapter seems to imply that a director can manipulate a playwright's text at will - plays that are protected by copyright\ncannot be altered.\nSignificant contributors to musical theatre omitted, such as the pioneering production, \"Shuffle Along,\" and the work of George C. Wolfe.\nAlthough it's important to note the relationship of live theatre to film, there is too much mention of screen versions (and there should be a photograph of a stage production of \"Les Mis\" - not the movie).","overall_rating":4,"overall_review":"Might be acceptable for high school students or community college students, but would need some supplementary materials.","created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":1050,"first_name":"Brad","last_name":"Stoller","position":"Associate Professor","institution_name":"Piedmont Va Community College","comprehensiveness_rating":4,"comprehensiveness_review":"Though this book does cover a vast areas of theatre both in the west and other parts of the world it does not provide an index.","accuracy_rating":4,"accuracy_review":"In areas of production and design I found that the book accurately portrayed the life of an artist in the field. It is refreshing to have members of the technical design as well as professionals in directing and acting included together.","relevance_rating":4,"relevance_review":"I would say that the text will not be obsolete very quickly and or be able to be updated fairly easily.","clarity_rating":5,"clarity_review":"Jargon in theatre is becoming less and less obscure to the general public as so much of our contemporary wold is being viewed through the theatrical/film lens. So even though there is jargon I don't see that as a problem. ","consistency_rating":4,"consistency_review":"The book is arranged in such a way that the separate sections exist on their own merits and internal structure. I admire that they authors don't try to sound like they are too alike. In fact though, I would prefer even more distinction between the voices.","modularity_rating":5,"modularity_review":"I would say the strength of this book is that it can so easily be broken up into modular sections and used in a variety of classes.","organization_rating":4,"organization_review":"I would prefer the text were arranged slightly differently. The flow of book is challenged by saving until the end all of the various international theatre instead of them being an appendix. I appreciate the attempt to try to include other theatre outside the west in the main text but they are not given enough weight or detail to merit it. I would prefer them to be separated.","interface_rating":4,"interface_review":"There really aren't many charts. The images are helpful and contribute to the navigation of the text to find the section the student might want to find.","grammatical_rating":5,"grammatical_review":"NO errors.","cultural_rating":4,"cultural_review":"The inclusion of cultural sensitive issues in present in theatre in general. Including the world of theatre outside of the west shows a contrast to mainstream American/western culture. There is though a fringe theatre element that is no well represented and in my opinion cannot be expressed well in this kind of text. Cabaret, avant and improvisation theatre is impossible to pin down.","overall_rating":9,"overall_review":null,"created_at":"2017-02-15T18:00:00.000-06:00","updated_at":"2017-02-15T18:00:00.000-06:00"},{"id":1251,"first_name":"Tinamarie","last_name":"Ivey","position":"Faculty","institution_name":"Linn Benton Community College","comprehensiveness_rating":5,"comprehensiveness_review":"This text is extremely helpful as a general resource and overview of theater.  It is best for students who have little to no exposure to the arts and all the components that come together to create a production.  It is also a good resource for students to understand Genre and how it relates to the different types/styles of theater; and the student will benefit greatly from understanding of how theater affects our day-to-day lives.","accuracy_rating":5,"accuracy_review":"The content is accurate and does not appear biased.  There is quite a bit of detail, and more so than other sections, upon Shakespeare.  This may be intentional due to the intention of the instructor who compiled for instruction purposes.  Regardless, I appreciated the amount of work put into compiling an enormous amount of vital information on theater.","relevance_rating":4,"relevance_review":"Since commedia dell'arte is known for the mask work I believe offering an explanation in the way of an image or text would better describe the art form.  Commedia dell’Arte  which translates as “theatre of the professional\" which has significance to theater overall.  AND it is the first time women are found on stage performing.","clarity_rating":5,"clarity_review":"There is an ease to reading the material within this text.  I appreciate the attention placed upon how the material is presented and the clarity of how the material builds upon the each section.","consistency_rating":5,"consistency_review":"This text offers consistent terminology that offers the student a vivid and concise resource for theater.","modularity_rating":5,"modularity_review":"The structure of the reading sections are very easy to follow and find information.  I appreciate the subsections and the bolding of sections within the text which helps finding information quickly and easily.","organization_rating":5,"organization_review":"I believe it's difficult to speak about theater without mentioning the impact that the Greeks have played.  And more specifically the origins of theater, most students are quite surprised when they learn this - and that the origins of theater are based in religious ritual.  I give high points on the organization based on that alone, not on  what I perceive as components important to include. (do acknowledge that elements of the amphitheater were addressed in Set Design.)","interface_rating":5,"interface_review":"Images are very helpful to the student to better understand the text.  I especially appreciate describing how designers play an intriguing role in the storytelling of a play and the images offered to illustrate lighting equipment, which can be very difficult for students to imagine without a reference.","grammatical_rating":4,"grammatical_review":"'Wokabout Marketing' page 46\narti culating.....Acting page 51\nactormanagers....Directoring page 65\nriserlike....Lighting page 84 \nnoh...page 86 (should be Noh)\nlightemitting....lighting page 136 (light-emitting)  it may be a choice, I don't know.\nwellknown...page 154\ncenturyBCE ...page 157 Genre\nauthenticlooking...page 160\nwellknown..page 164\nEnglishspeaking...page 168\nStratfordupon-Avon...page 170   (Stratford-upon-Avon)\nGlobe Theatre and the “Beere bayting” ...page 173  (Bear Baiting)\npostPuritan...page 177\nEuripedes...page 180\nShakespeares...page 182\nInterpreting Shakespeare In the theatrical tradition,...page 190  (the 'i' is capitalized within sentence.)","cultural_rating":5,"cultural_review":"I find it would be essential to include a section on African American Theater.  There is mention of the minstrel shows and the historical relevance thoug I believe that it would be beneficial to add a section addressing the progress of the movement of African Americans in theater after that.","overall_rating":10,"overall_review":"I realize that Theater is a big subject and this text does a good job covering a nice variety - there is alot of Shakespeare in ratio to other subjects; it would seem that Commedia dell'arte could be properly explained: it is an extremely important Genre that greatly influenced not only Moliere but slapstick comedy (in fact the word 'slapstick' comes from the battochio used in commedia); Though, this in no way diminishes the value of the text for the new learner.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1499,"first_name":"Ken","last_name":"Parks","position":"Associate Professor of Theatre","institution_name":"Randolph College","comprehensiveness_rating":3,"comprehensiveness_review":"There is a a wealth of information in this book and more detail in some sections than is commonly found in introductory texts. Yet it suffers from too little that pulls the separate discussions together to provide a comprehensive understanding of the subject.\n\nThe Theatrical Production chapters are well crafted, balancing theory and practice in a way that both provides overview and gives the reader the way to begin in each specialized area. The various authors describe process in similar ways: steps and considerations are repeated across the chapters; which reinforces a generalized focus to the work.  A separate chapter that addresses the development of the work as a whole, with emphasis on the collaborative process and the integration of individual efforts, would serve to fill in the gaps and foster a more comprehensive understanding, and provide the opportunity to include production management in the discussion.\n\nThe Special Topics chapters are perhaps too detailed, setting that section off beyond the general purpose of the book.  If elements of the special  topics discussions were incorporated more in the earlier chapters, the Special Topics section could be used for further reading or advanced study.  As it stands the detail is too specialized and the chapters, which individually are quite thorough treatments, fail to provide a comprehensive viewpoint.  This is especially true with the World Theatre chapter, where the detailed presentation of select theatre forms creates a sense of difference rather than emphasize the universality of the theatrical impulse.  The opportunity lies in the first chapter where too much is treated too broadly. The first chapter could easily become three or four if the sub-sections were expanded to match the level of detail in the production chapters and elements from the special topics chapters were integrated into the general discussion.  \n\nThe Beta version has no index or glossary.  Specialty terms are introduced throughout the book, most notably in the Special Topics chapters.  Many are presented without explanation in the text.  A hyper-linked glossary would be a welcome addition.","accuracy_rating":5,"accuracy_review":"The text appears to be accurate and error free for the most part, with one obvious oversight on page 43, where Oedipus is given to be both the son of Laius and Jocasta, and \"not the son of King Laius.\"","relevance_rating":5,"relevance_review":"As a general survey the information presented in the text has lasting relevance.   Periodic updates to reference newer work and technologies may be desired to keep the discussion fresh, but not necessary.  As a digital publication references can be updated relatively easily.","clarity_rating":4,"clarity_review":"Awkward phrasing, convoluted and choppy syntax, and occasional non-sequiturs at the beginning make it hard to get interested in the text, but that evens out midway through the first chapter. The Theatrical Production chapters read very well with language that is both accessible and compelling.  The Special Topics chapters are organized well and provide considerable insight, but often include references that are not explained in context.","consistency_rating":3,"consistency_review":"The advantage of many writers is the richness of perspectives.  That plays well in the production chapters where the authors clearly share a similar vision of the work.  The inconsistency is between the three sections. The first section includes too much in a single chapter.  Topics are hit on briefly and presented with too little detail.  The third section too detailed to incorporate in a survey course.  The production chapters are well balanced but their separate discussions remain solitary.","modularity_rating":2,"modularity_review":"The single chapter covering history and criticism, the meaning and uses of theatre, and the nature of art, is inconsistent with the separate chapters afforded to each of the production areas.  Divining a reading schedule that balances the work across a semester would be difficult.","organization_rating":4,"organization_review":"The organization is good.  The topics introduced in the first chapter develop the purpose and value of theatre and lead the student into the production chapters.   The production chapters provide a framework for practice and promote a broader interest.  The special topics chapters answer that call with more in depth study.  \n\nThe discussions of the nature of art and the uses of theatre in the first chapter are particularly good and well placed at the beginning of the book.  The first chapter is too condensed with jumps in thought and random details that read as anecdotal rather than typical examples.  Expanding the various topics of the first chapter would go far to make the text more well rounded and improve the flow.","interface_rating":5,"interface_review":"The pages display well in i-books and there is a graphic display of pages available at the bottom of the page that allows quick navigation.  Different reader software may provide other tools.","grammatical_rating":4,"grammatical_review":"Grammar is typically quite good, with notable exceptions in the first chapter.  (pg. 3 \"The director who shaped this production, once a powerful creative force, is now helplessness.\";  pg. 7 \" A working definition of art . . . has occupied us for centuries.\")","cultural_rating":3,"cultural_review":"A separate chapter for World Theatre that presents examples that are not referenced in the general discussion of the theatre, emphasizes the otherness of non-western traditions and works against the inclusive perspective of the first chapter.","overall_rating":8,"overall_review":"Overall the book is an enjoyable read and includes material that I will use in classes.  It suffers most from a first chapter that is too condensed and difficult to read.  That would prevent my adopting it for an introduction to theatre class where I need a better balance.","created_at":"2017-08-15T19:00:00.000-05:00","updated_at":"2017-08-15T19:00:00.000-05:00"},{"id":1537,"first_name":"Scott","last_name":"Walters","position":"Professor of Drama","institution_name":"University of North Carolina at Asheville","comprehensiveness_rating":5,"comprehensiveness_review":"This is an interesting book in that it is somewhat of a hybrid -- a combination of an Introduction to Theatre book and a Theatre History book. It successfully covers all the major players in a theatre production while providing reasonably thorough descriptions of the history of those roles. It then supplements this with full chapters on Shakespeare, the American Musical, and the World Theatre. The book does not have an index or glossary.","accuracy_rating":5,"accuracy_review":"The book is accurate and unbiased, following a fairly well-worn path used by many other introductory textbooks. One minor but important change should be made to the inset box called \"Cross-Dressing in Performance: Dan, Hijra, Takarazuka\" in the World Theatre chapter.\" In the description, the author refers to \"transgendered women\" -- the preferred term is \"transgender women.\"","relevance_rating":5,"relevance_review":"For the most part, the content should stand the test of time. The only parts that might have to be updated involve things like technology (in the lighting chapter) and changes in the geo-political climate (e.g., the segment on Chinese censorship). These are minor. Overall, this book should remain fairly stable.","clarity_rating":5,"clarity_review":"This is a textbook that has a different author for each segment. While every chapter is clear and readable, some are more dynamic than others. I particularly commend Charlie Mitchell and Michelle Hayford's chapter \"Mapping Reality,\" which is extremely well-written and fascinating.","consistency_rating":5,"consistency_review":"The structure of the book is consistent, containing insets with interviews with a representative artist for each topic, thorough examinations of illustrative examples, and usually each chapter has an overview of the history as well as a thorough description of the duties and processes of each member of the artistic staff. (I say \"usually\" because the chapter on Costumes does not have an historic overview.)","modularity_rating":5,"modularity_review":"Each chapter stands complete on its own, and can easily be separated from other chapters without causing students to be puzzled. Sometimes, this means a little redundancy between chapters, but nothing overly serious. Someone teaching a theatre history course could easily separate out those sections of each chapter devoted to the subject, and those focusing only on describing who does what on a show can do the same.","organization_rating":4,"organization_review":"The book follows a logical progression through the various members of the artistic team with the puzzling exception of the playwright (I think the editor might consider adding a chapter concerning this important artist). The chapter on Genre seems a bit tacked on, although the part on \"isms\" is valuable.","interface_rating":4,"interface_review":"Very easy to read online with many vibrant color pictures. The hyperlinked table of contents aids navigation. Without an index or glossary, having the subtopics included in the TOC might be helpful.","grammatical_rating":5,"grammatical_review":"The book is very well-written and edited. Impressive.","cultural_rating":5,"cultural_review":"Aside from the \"transgender\" issue mentioned above, this book includes a great deal of diversity.","overall_rating":10,"overall_review":"As someone who teaches theatre history (but not an introduction to theatre class), I have always had to make a decision between assigning and expensive anthology of plays and an equally expensive theatre history textbook. I have always chosen the anthology and provided the theatre history through lecture. This book will allow me to assign the theatre history segments of the book to supplement the anthology, which will allow me to lecture less. Excellent resource!","created_at":"2017-08-15T19:00:00.000-05:00","updated_at":"2017-08-15T19:00:00.000-05:00"},{"id":1619,"first_name":"Catherine","last_name":"Schuler","position":"Professor","institution_name":"University of Maryland, College Park","comprehensiveness_rating":2,"comprehensiveness_review":"The book includes three sections: Creating a World, Theatrical Production, and Special Topics.  As one might expect in an intro text for non-majors, part two is the most comprehensive, probably because it best reflects the authors' primary interests.  Nonetheless, the authors rarely move beyond canon practices (i.e. Stanislavskii) and productions.  Part one wanders through theatre history, backstage myth, audience etiquette, and cliches like \"the magic of theatre --part history,  part myth, part spectator etiquette--wanders.  Despite a nod to \"world theatre,\" part three, \"Special Topics,\"  is the least comprehensive and least satisfactory.  The lack of original thinking (reflected in the prominent place given to Shakespeare and the American Musical) is particularly troubling.","accuracy_rating":3,"accuracy_review":"In parts one and two, I noted many unsupported claims and occasional inaccuracies (for example, the characterization of Aristotle as a \"drama critic\"). Theatre and performance seem to be interchangeable (they're not).  \"Decorum\" is mischaracterized.   \"Performativity,\" not a concept for an intro text, is mentioned in passing, but never defined.  Somehow the author of the chapter on acting connects Quintilian (rhetoric) to Delsarte (reflexology) through signifying gesture.  Few theatre practitioners and scholars still think of the director as a translator for the playwright.  And so on.  Bias reveals itself in the text's Anglo American focus and in what too many of the authors omit--gender, race, class, ethnicity, and many, many genres of theatrical theory, history, and practice.","relevance_rating":3,"relevance_review":"As long as white men dominate the profession and the academy and graduate students teach intro to theatre, this  text will remain relevant. ","clarity_rating":3,"clarity_review":"See my comment above on \"performativity.\"  While this kind of oversight isn't constant, it occurs often enough to cause concern.","consistency_rating":3,"consistency_review":"Yes and no.  This book is an edited volume rather than a unified text written by a single-author.  The very choice of genre compromises its consistency, but I expect that from an edited volume.  The authors don't contradict each other, but each has her or his own topic.","modularity_rating":5,"modularity_review":"Yes, I think that the language above describes the text accurately.","organization_rating":2,"organization_review":"Part one is a stand alone unit that tries to cover too much ground.  Too often logical segues from one topic to the next are missing.  The topics in part two are presented in a logical fashion.  Part three is random.","interface_rating":5,"interface_review":"I didn't have problems, but I downloaded it to my iBooks where it behaved like all of other texts.","grammatical_rating":2,"grammatical_review":"As former editor of a prominent theatre journal, I was astonished at the number of typographical errors.  The volume editor needs a good copy editor.","cultural_rating":2,"cultural_review":"See my comments above.  One chapter on \"world theatre\" does not = relevance.  Insensitivity to gender certainly mars the text and again, the authors focus primarily on Anglo American plays and production practices.","overall_rating":6,"overall_review":"I have been very hard on this book because I strongly believe that intro texts targeted primarily to non-majors should draw new audiences to live theatre.  With its rather tedious emphasis on canon texts and production practices, I don't think this book accomplishes that.  That's not to say that it doesn't have good moments.  I'm sure it would work in a standard, large lecture intro to theatre class taught by practitioners (rather than scholars) and advanced graduate students.  ","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1832,"first_name":"Christiana","last_name":"Molldrem Harkulich","position":"Assistant Professor","institution_name":"Miami University of Ohio","comprehensiveness_rating":4,"comprehensiveness_review":"This text covers a wide range of subjects surrounding Theatre- acting, directing, design, and then Shakespeare, World Theatre, and Musical Theatre. It is a mix of Intro textbook and Theatre History textbook. The sections on Design (scenic, lighting, and costume) is particularly useful and much better than several intro textbooks I have used previously. I especially enjoyed the interviews with designers, and I think that students will enjoy those. The major gap I see in this text is that If you're looking for a text that will help break down how to read a play, thinking about beats and objectives or even Aristotelian linear plot structures this text does not do that. There is no index or glossary, although the text is searchable and they have bolded key words. Sound design is given very little space. The Shakespeare section is very long, and frankly somewhat unnecessary, although quite comprehensive. ","accuracy_rating":4,"accuracy_review":"Overall, the book maintains accuracy fairly well- especially in the sections Introductory and design sections. However, the history sections (which make up a large section of this book) are un-cited and do not have suggested further reading sections- so they present many ideas of the past and the rest of the world as fact when they are not, which would make me uncomfortable using this text in a theatre history class.  I suppose, however, that a textbook needs to present a clear narrative. ","relevance_rating":4,"relevance_review":"I think the design sections will be useful for many years, although the sections on technology will need to be updated as that changes.The Musical Theatre and World Theatre sections will need to be updated as time passes. On the whole, the book's structure and content will hold up. ","clarity_rating":5,"clarity_review":"The text is VERY readable and accessible.","consistency_rating":4,"consistency_review":"The first and second sections of the book are quite consistent in what they write about and how they write about it, and I think would be quite easy to teach. The third section- Special Topics- which covers: Genre, Shakespeare, Musical Theatre, and World Theatre- is inconsistent in terms of space. While Shakespeare is a major aspect of theatre, it is interesting that so many more pages are given to Shakespeare than all of the rest of the world. ","modularity_rating":5,"modularity_review":"The modularity is great. I love the block sections and subheadings. Potentially very useful in assigning shorter readings.  ","organization_rating":4,"organization_review":"I wish genre came earlier in the textbook, since that is mostly where we get a framework for talking about different kinds of plays. Other than that I think the organizational flow is very good. ","interface_rating":5,"interface_review":"The text is easy to use and utilizes the form for LOTS of full-color production photos which is marvelous. ","grammatical_rating":5,"grammatical_review":"The grammar in the book is good.","cultural_rating":3,"cultural_review":"The book puts all world cultures into one chapter at the end, which presents a Theatre as Western/everyone else dichotomy which isn't great. The world theatre section is written well. ","overall_rating":9,"overall_review":"I look forward to using sections of this text in the future! ","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":2548,"first_name":"Gabriel","last_name":"Vanover","position":"Assistant Professor of Theatre","institution_name":"Hanover College","comprehensiveness_rating":3,"comprehensiveness_review":"The book is very elementary in its coverage of theatrical practices, traditions, and technical processes, but also omits entire areas of the arts, including playwriting, dramaturgy and producing. ","accuracy_rating":3,"accuracy_review":"The materials in the book seem credible and correct, but the lack of any glossary or work cited, as well as its lack of citations within the text cause it to loose credibility.  ","relevance_rating":3,"relevance_review":"The materials in the first half of the book are up-to-date, but don't cover new trends that will be the traditions and standards of the near future.  The musical theatre chapter is already out-of-date, not covering recent or current productions of significance, including Hamilton. ","clarity_rating":2,"clarity_review":"The book attempts to introduce students to terminology, but because it lacks any glossary or index, it sets students up for confusion.","consistency_rating":2,"consistency_review":"Because it is a collaboratively written text, it lacks a consistent voice and tone.  The book could have been helped by a strong editor. ","modularity_rating":4,"modularity_review":"The modularity of the book is one of its only strengths, primarily because it has a dedicated writer for each chapter.  Some chapters and units are strong enough to use on there own, but many would need supplemental materials to provide a more in-depth course and to bring clarity.  ","organization_rating":3,"organization_review":"Not certain why the last section of the textbook has been divorced from the first two-thirds.  Most of those topics, including genre, seem like they could've been incorporated in early sections of the book. ","interface_rating":4,"interface_review":"The book does provide handsome images and charts, though more would be welcome, as well as captains explaining their significance. ","grammatical_rating":2,"grammatical_review":"Multiple grammar and spelling errors throughout the text.  A strong editor would have been beneficial for this text. ","cultural_rating":3,"cultural_review":"Nothing is offensive, but the text is rather Eurocentric in its approach and could've been strengthened by including more references to non-traditional theatre, non-white theatre in the US and the role of the LGBT community in the world of theatre.","overall_rating":6,"overall_review":null,"created_at":"2019-01-25T09:54:48.000-06:00","updated_at":"2019-01-25T09:54:48.000-06:00"},{"id":3137,"first_name":"Jennifer","last_name":"Popple","position":"Assistant Professor ","institution_name":"Augustana College","comprehensiveness_rating":3,"comprehensiveness_review":"The book has a strong (albeit lengthy) introduction, including the types of theatre and staging practices, as well as solid chapters on (some) aspects of design, world theatre, and the origins of musical theatre. While it does not have a glossary or index, it is searchable, which is a plus. The different aspects of theatrical practice are strongest in the design and directing chapters. The acting chapter contains little aside from Stanislavski (whose \"system\" is covered well), there are no chapters on playwriting or dramaturgy, and no full chapter on script analysis (although the basics of the climactic plot structure are covered in the introduction). ","accuracy_rating":4,"accuracy_review":"It's hard to judge this portion, as the book does not contain a works cited or bibliography list. There are up to date portions in many chapters, but without the sources to back up the information, it's tough to help students see the evidence. ","relevance_rating":4,"relevance_review":"The musical theatre chapter is the most behind, as it is missing several groundbreaking productions from the past few years, but that can be supplemented - and it's a problem in many theatre classes that great art keeps being produced that textbooks struggle to keep up with. The focus on immersive theatre in the staging portion is helpful, but is missing some of the more up-to-date productions, which would need to be supplemented as well. Generally, the book contains much that can be used for some time, with some supplementary materials on the part of the instructor. ","clarity_rating":5,"clarity_review":"The writing is extremely clear and accessible, which is perfect for an introductory course. ","consistency_rating":4,"consistency_review":"Shakespeare is given an entire huge chapter, which is a bit odd for an introductory textbook, and there is a tremendous amount put into the introductory chapter (some further division there would have been helpful). The remainder of the book is split well. ","modularity_rating":4,"modularity_review":"Apart from the introductory chapter, which does have the benefit of subheadings for division of reading, the book has nice divisions within it. It would be very easy to divide it into assigned readings. ","organization_rating":4,"organization_review":"The Special Topics section feels a bit odd in its assigned divisions, and the spaces and types of theatre would have been better if they had come earlier in the book. Otherwise, the book is set up in a logical fashion, comparable to other introductory textbooks. ","interface_rating":5,"interface_review":"No problems with interface. ","grammatical_rating":4,"grammatical_review":"There were some errors throughout that could have been caught easily with a solid editor.","cultural_rating":4,"cultural_review":"World theatre is given its own chapter, which is not where theatre studies are going right now (and is something that would need to be pushed back on in the class if the text was used), and aspects of theatre produced by other communities in the U.S. was not covered apart from a good focus in the genre portion on companies that have done political theatre. ","overall_rating":8,"overall_review":"While I don't think I would use the entire book, I do think some of the chapters (on design in particular) are strong enough to be included in my class. I look forward to more open access Introduction to Theatre textbooks!","created_at":"2019-07-31T19:20:43.000-05:00","updated_at":"2019-07-31T19:20:43.000-05:00"},{"id":3213,"first_name":"Carrie","last_name":"Winship","position":"Assistant Professor","institution_name":"Bloomsburg University of Pennsylvania","comprehensiveness_rating":3,"comprehensiveness_review":"This text attempts to cover a wide range of topics at an introductory level. It succeeds in some areas of content: the introduction, as well as chapters on design, directing, and Shakespeare are particularly thorough. However, there are some notable omissions or areas that are given very little discussion: sound design, dramaturgy, and producing are but a few examples of content areas that need expansion. There is no index or glossary, but the text is searchable and does include terms in bold font throughout that may aid students in locating specific vocabulary terms. ","accuracy_rating":2,"accuracy_review":"The majority of the text appears accurate, but the text does not include a bibliography or in-text citations. This does not provide students the opportunity to further explore the information and claims the book articulates. Perhaps more significantly, the lack of this information suggests to students that there are not competing ideas about the practices, historical developments, and theatrical works that the book explores and engages. This is a substantial oversight. ","relevance_rating":3,"relevance_review":"Much of the content is relevant, particularly if using this text in an introductory and non-major focused course. However, the book is in need of updating within several sections, including musical theatre and world theatre. The design sections also need updating to reflect changes in technology and practice. While it is impossible to expect all textbooks to be addressing the newest developments, I think this text is in need of updating at this time. ","clarity_rating":5,"clarity_review":"The text is very readable and defines specific jargon used in theatrical practice (which is part of its goal as an introductory text). The fact that the text is searchable also makes it accessible and reader friendly. ","consistency_rating":4,"consistency_review":"The book features several authors as it is an edited collection, but it still remains fairly consistent in terms of reading level and overall voice. There are few places where the content feels repetitive or contradictory as a result of different authors. Furthermore, I appreciate that the book includes a array of authorial voices--I think this adds to the richness of the material. ","modularity_rating":4,"modularity_review":"The text on the whole is very modular and easy to break up into smaller assigned readings. I find the interwoven interviews and highlighted content sections particularly useful for assigning smaller sections of content. There are a couple chapters where this is not the case, and these would be served by the incorporation of headings and subheadings. ","organization_rating":4,"organization_review":"Overall, the organization of the text is logical and supports the student reader. The text begins by exploring broader aspects of theatre, moves to more in-depth discussion of practice, and then ends with more intermediate-level explorations of specific topics. I would prefer that \"World Theatre\" be eliminated as a separate section and the book was more inclusive of non-western practices and history throughout the entire text. ","interface_rating":5,"interface_review":"I experienced no issues accessing, displaying, or navigating the text. I appreciated the quality of the images and amount of images included throughout the text. ","grammatical_rating":4,"grammatical_review":"The book contains some grammatical errors, but few that are distracting or significantly impact its readability.  ","cultural_rating":2,"cultural_review":"The text does not include enough content overall that is outside of the dominant canon, and its brief and inadequate chapter on world theatre is disappointing. While it is an introductory text, it limits its use by focusing predominantly on western voices: Stanislavski, Shakespeare, etc.  There is also a lack of representation of women, queer artists, and artists of color in the works it engages and explores. These oversights make the book feel dated and out of step with contemporary discourses in theatre practice and education. Instructors will need to incorporate additional readings and materials to supplement this text. ","overall_rating":7,"overall_review":"While I think the text is in need of updates and edits, I do think it has potential for use in non-major and introductory focused courses. I hope that the book will continue to be developed by the authorial team. ","created_at":"2019-10-24T17:17:32.000-05:00","updated_at":"2019-10-24T17:17:32.000-05:00"},{"id":3285,"first_name":"Kelly","last_name":"Bremner","position":"Associate Professor and Chair of Theatre","institution_name":"Emory and Henry College","comprehensiveness_rating":4,"comprehensiveness_review":"The topic is so vast....  but it does a solid job at covering the basics for an introductory student.  I like how it is organized by profession.  I am always looking for a book for this class that is organized this way, but find so few.","accuracy_rating":4,"accuracy_review":"Theatre is too subjective to be \"accurate\" per se, but I found the terminology to be well defined and the images quite diverse.","relevance_rating":5,"relevance_review":"The book seemed to capture the present state of the Theatre profession as a great window into the larger study of Theatre itself.","clarity_rating":4,"clarity_review":"I think it is always a struggle to find the balance between enough technical language to be important to an Introductory Theatre student, but not too specific for them.  At times it is almost too detailed.  That would be a lot of content to cover in a call, even though I don't know exactly what I would want cut.","consistency_rating":5,"consistency_review":"Language is consistent and used well throughout.","modularity_rating":5,"modularity_review":"Loved the sectioning by jobs, and then the special sections related to special topics like Shakespeare, Musicals and Word Theatre.","organization_rating":5,"organization_review":"Loved the sectioning by jobs, and then the special sections related to special topics like Shakespeare, Musicals and Word Theatre.","interface_rating":5,"interface_review":"No problems.  Easy to use,","grammatical_rating":4,"grammatical_review":"I caught a few typos....","cultural_rating":4,"cultural_review":"Great work with diverse content.","overall_rating":9,"overall_review":null,"created_at":"2019-11-14T20:43:14.000-06:00","updated_at":"2019-11-14T20:43:14.000-06:00"},{"id":3608,"first_name":"Carrie","last_name":"Colton","position":"Assistant Professor","institution_name":"Metropolitan State University of Denver","comprehensiveness_rating":4,"comprehensiveness_review":"Overall, good. I wish theatre history had been broken down differently. It jumped around a lot. ","accuracy_rating":5,"accuracy_review":"Info is good. ","relevance_rating":4,"relevance_review":"Yes and no. I appreciated the world theatre chapter but I wish the book had a section on American Theatre and the minority theatre here. ","clarity_rating":5,"clarity_review":"A lot of text. More pics and play scenes would be better","consistency_rating":5,"consistency_review":"Yes. It jumps a little but the language is clear. ","modularity_rating":3,"modularity_review":"Ya, no. Some of these chapters needed to be broken down differently. ","organization_rating":4,"organization_review":"Most of it. ","interface_rating":5,"interface_review":"Navigation was super simple. ","grammatical_rating":5,"grammatical_review":"Perfect. ","cultural_rating":5,"cultural_review":"I do think it covers the cultures that are included, very well. ","overall_rating":9,"overall_review":"It's good! I think I am going to use it because it has a nice base and even though it's missing some things, I think overall it will be a good jump off point. ","created_at":"2020-03-03T12:19:11.000-06:00","updated_at":"2020-03-03T12:19:11.000-06:00"},{"id":3640,"first_name":"Jeanne","last_name":"Tiehen","position":"Assistant Professor","institution_name":"Susquehanna University","comprehensiveness_rating":5,"comprehensiveness_review":"Theatrical Worlds covers the necessary material that can be found in comparable introduction to theatre textbooks. Having used a variety of texts before in Intro courses, Theatrical Worlds addresses key terms and ideas, provides appropriate historical context, and cites major names and their contributions. There are of course areas that could be given more time or attention, and an oversight here or there one might wish were included, but there was nothing left out that is substantial. There were also plenty of terms in bold in each chapter to give the student reader an easy grasp of the main ideas to draw out from each chapter to aid their knowledge.","accuracy_rating":5,"accuracy_review":"Overall, Theatrical World does a nice job of balancing major ideas in theatre and also highlighting some interesting side topics that supplement these main ideas. It does skew more to European/Western history, but it does still fairly addresses practices in other parts of the world in one chapter and is inclusive in ways comparable to other major intro to theatre textbooks. Most of the information seems to give a fair look at the material at hand. In the beta- version I read, there were a couple minor errors that may be perhaps due to the formatting (a year with a letter in it, a typo here or there), but nothing appeared overtly biased or inaccurate.","relevance_rating":5,"relevance_review":"Theatrical World is a fully comprehensive textbook that could be used for several years in most intro courses. Again, as many theatre instructors and professors debate the cost of using an intro textbook (especially for non-majors), any newer trends in the field could be easily addressed through supplemental readings given this has no expense. That being said, I thought the book nicely balanced history, application, and more recent trends and practices in the field, including interviews with professionals and talking about controversies or productions in the last 10 years. These examples also do not seem time sensitive and will not be outdated too soon. Most of the key terms in bold found in each design chapter, directing, etc. are so standard they also do not run much of a risk of becoming irrelevant any time soon.","clarity_rating":4,"clarity_review":"As each chapter is authored by someone different, there is some variety in the prose and the framework of the ideas. For an undergrad, I would say some chapters are more accessible and easy to read than others. A couple chapters now and then presume knowledge about theatre, and a few times in a chapter the analysis would get too deep on certain historical moments or terms. I did not find this an overarching issue with the textbook, however. I also think having different authored chapters can provide another perspective to reading, allowing students to see how people talk about these ideas uniquely. That being said, it was noticeable compared to other textbooks where one might not notice a difference in voice or style of writing.","consistency_rating":4,"consistency_review":"There are some distinct differences between the chapters. I felt the acting chapter was short and could've had a bit more information in it, especially compared to the following chapters about directing and design. The Shakespeare chapter was very intensive, and read a bit like an outlier due to its specificity that perhaps might not be a great fit for all Intro courses. Still, most chapters had a good blend of history and practice with a variety of key terms.","modularity_rating":4,"modularity_review":"Most chapters are an appropriate length and easily palatable for an undergrad (20-25 pages or so). The first chapter is an Introduction to the book and reads fairly long and dense. It would likely require a couple assignments to be feasible as an introduction to the course, although the material in the chapter would offer much for discussion and to consider as framing for the rest of the course.","organization_rating":5,"organization_review":"The organization is very similar to other online and print copy textbooks. It covers some theoretical ideas of theatre in the first chapter, then jumps into production, covering topics through individual chapters on acting, directing, set design, costume design, and lighting design. The special topics sections has four chapters: genre, Shakespeare, the American musical and world theatre. The flow of the book makes sense as you get a good idea of some larger ideas in theatre, delve into practice, and conclude with specific and broader application. I do wish the Shakespeare chapter focused more generally on playwrights (play construction is dealt with in an earlier chapter), as certain instructors would wish to address a more broad idea of important playwrights in theatre more closer to their own interests or current practices.","interface_rating":4,"interface_review":"There are some minor issues here and there with the Beta version including some minor text layout issues or typo numbers or letters. Overall, the images look great and help the chapter examples. The overall format is not quite as glossy or smooth as other online textbooks, but I did not find it to be a problem in reading.","grammatical_rating":5,"grammatical_review":"Only very minor grammar issues here and there.","cultural_rating":4,"cultural_review":"For an introduction textbook, it feels appropriately inclusive of practices in other countries. It addresses some issues of diversity in theatre like race, gender, and sexuality. It could still include more, and some using it might wish that it in fact did. I would say it still addresses these ideas and does not dismiss or ignore them, even if it primarily focuses on more basic ideas in theatre. Overall, many examples of theatre in the first chapter and in following chapters include important theatre groups and artists from other countries and outside of white/European history, so I found it to culturally aware and inclusive.","overall_rating":9,"overall_review":"Theatrical Worlds offers a comprehensive option for those who want to avoid the costs of textbooks that can be prohibitive for many students. The content and format of the textbook is comparable to several other moderate/expensive textbooks currently used online and in print. The book utilizes a fair amount of images to aid in its information and has bold terms in each chapter that are helpful for students and instructors. It is pretty easy to read for an undergraduate level and gives a good foundation of history and ideas that an instructor can base many lectures/discussions/quizzes/tests from. The book covers a wide amount of topics relevant in theatre, including main ideas in practice, design, acting, and directing. It also addresses theoretical ideas that theatre scholars continue to debate, a broad understanding of theatre practices in other parts of the world, and interesting interviews with professionals in the field. The later chapters on genre, musical theatre, world theatre, and Shakespeare are also engaging to see how the basics can be applied to more in-depth applications in theatre. Any issues with the book are more one of preference and less of a critique of the book itself, and I would recommend this book for many who want the foundation of a textbook for their intro course without worrying that the price will deter students from using it.","created_at":"2020-03-10T15:14:23.000-05:00","updated_at":"2020-03-10T15:14:23.000-05:00"},{"id":3715,"first_name":"Danielle","last_name":"Barry","position":"Associate Adjunct Prof","institution_name":"Raritan Valley Community College","comprehensiveness_rating":4,"comprehensiveness_review":"See all comments in final comment.","accuracy_rating":5,"accuracy_review":"See all comments in final comment.","relevance_rating":4,"relevance_review":"See all comments in final comment.","clarity_rating":3,"clarity_review":"See all comments in final comment.","consistency_rating":3,"consistency_review":"See all comments in final comment.","modularity_rating":4,"modularity_review":"Se all comments in final comment.","organization_rating":4,"organization_review":"See all comments in final comment.","interface_rating":2,"interface_review":"See all comments in final comments.","grammatical_rating":4,"grammatical_review":"See all comments in final comments.","cultural_rating":4,"cultural_review":"See all comments in final comments.","overall_rating":7,"overall_review":"Review of Open Textbook – Theatrical Worlds – Mitchell\r\nDATE:\t\tSubmitted by email 4-13-20\r\nTO:\t\tOpen Textbook Network\r\nFROM:\tDanielle Barry, Associate Adjunct Professor\r\n\t\tRaritan Valley Community College\r\n\t\tBranchburg, NJ 08876\r\n\t\tDanielle.Barry@raritanval.edu\r\n\r\nPer email reminder dated 4-6-20 and as suggested, I am completing my review on separate paper and will attach to email review form in the final additional comments box.  \r\n\r\nElements to review:\r\n(5 is high, 1 is low)\r\n1.\tComprehensiveness – 4 - As another reviewer noted, the fact that the “Writer” is not covered here is big lack.  The writer is certainly equal in importance to actor and director./////I very much liked the treatment of “Actor”.  The work on Stanislavski, DelSarte and Quintilian were rich and yet concise.  Loved the pictures accompanying\r\n\r\n2.\tAccuracy – 5 - Tho’ I am no expert I saw no facts that I felt deserved challenge.\r\n\r\n3.\tRelevance – 4 - There were names used that were current to today as examples and I don’t see why they wouldn’t be useful for a reasonable amount of time before updating would b required.   \r\n\r\n4.\tClarity – 3- I sometimes felt I would have lost the students, especially in the opening entitled “mapping reality”.   Design Chapter made up for this.\r\n\r\n5.\tConsistency – 3- I do sense that different people wrote the different chapters and I felt the loss.  Not an awful thing to have many voices…..  But I missed hearing one cohesive “voice” in this choppy approach.  I miss getting to know one person, one theatrical expert, one approach.  This not to say the writing was flawed in any way beyond what I may have cited. \r\n\r\n6.\tModularity – 4 - There were times that text was indeed in big blocks with little relief to the eye or brain. Origins of Theatre Page 36 . But the pieces can be easily utilized separately. I did like that.\r\n\r\n7.\tOrganization/Structure – 4- Fine \r\n\r\n8.\tInterface- 2- I’m not sure if it was a fault in my own access to the book, but there was often wrong type/font gibberish both in text and in images:  pg 8 specialness, and the “word cloud” was unintelligible; pg. 7 communicate; pg 10  20rr; pg. 15 ioi; pg. 17 rSqos, and many more…. The later chapters seemed to be more free of these “script” errors.   Set design chart Pg. 96 had problems as well. The table of contents has same errors.\r\n\r\n9.\tGrammatical - 4 – accessible  \r\n\r\n10.\tCultural Inclusion – 4- I did notice the Global information. Perhaps a statement (in title or preface) could note that this text coverage goal is “Western Theatre”.   That might cover it better then. \r\n\r\n\r\n11.\tADDITONAL COMMENTS: Design was very complete and patient with the reader, meaning comprehensive!  Included other facts and info. not presented elsewhere.  Nice balance between history and innovation. The  lists of terms was good.","created_at":"2020-04-13T11:32:46.000-05:00","updated_at":"2020-04-13T11:32:46.000-05:00"},{"id":3992,"first_name":"Edward","last_name":"Eaton","position":"Instructor","institution_name":"Massachusetts Bay Community College","comprehensiveness_rating":2,"comprehensiveness_review":"The book touches on a lot of areas. However, some are not covered well. There appears to be an attempt at making some of the subjects discussed more relevant in terms of today's social and political movements at the expense of subjects that should be covered or expanded on more fully.\r\nThe essays are inconsistent in the quality of the writing and of the research. Sometimes the choices made are sloppy. The whole volume needs to be edited and then proofread.\r\nIt seems inexplicable that in the section \"Theatrical Production\", the playwright is left out. For an introductory book, the actual way a production is put together is not covered very well. The subsection \"How to Read a Play\" spends almost no time giving advice to students; instead, it goes into a rather casual and sloppy description of structure. There is also something of an obsession with the idea 'theme', which suggests that the writers are not familiar with Aristotle or other classical and traditional theorists.","accuracy_rating":3,"accuracy_review":"In some places, the writers are simply wrong. In some places, they make decisions to highlight certain aspects of theatre without explaining why one specific area in lieu of another. Certainly, 'Feminist' theatre is important, but it does not necessarily make sense to include it so prominently to the exclusion of other more demonstrably influential genres. \r\nSome of the essays are quite good. Jeremy Fiebig's essay \"The World of Shakespeare\" may inexplicably criticize Shakespeare for being a white male and latches on to that old and questionable theory that boys played women on stage, however, for the most part, it covers the topic nicely. Margaret R. Butler's \"The American Musical\" and Michelle Hayjord's \"World Theatre\" are well-researched and well-crafted chapters that even students with more experience and education in theatre might learn much from. Others are not as strong.","relevance_rating":3,"relevance_review":"The writers try hard to be relevant, which suggests that the book with not have any real staying power.","clarity_rating":3,"clarity_review":"For the most part, this book is clear and easy to understand. There is a great need for editing. It feels rushed--as if the writers were told to get their chapters in sooner than they thought. The introduction rambles a bit, as does the Shakespeare section. Perhaps it is a problem with the transfer, but the placement of the pictures and sidebars does not always make sense.","consistency_rating":2,"consistency_review":"This was written by several writers. They are stylistically and scholastically inconsistent. One thing they all have in common is that each section comes across as rushed and that the writers were more concerned with putting in their own areas of special interest instead of putting together a solid introduction to theatre.","modularity_rating":3,"modularity_review":"The book is essentially a series of essays by different teachers and scholars. Each essay more or less could stand on its own, even though there is a logic to the organization and to most of the general topic choices. There are some internal divisions, but these do not follow a specific organization.","organization_rating":5,"organization_review":"The book's structure, overall, is fine.","interface_rating":4,"interface_review":"Navigation is generally fine. A couple of the images seem to be smudged. In one case, at least (the list of Shakespeare's plays), a clean version of the image certainly could have been found or created.","grammatical_rating":2,"grammatical_review":"There are a lot of proofreading errors and even some fairly basic grammatical errors. Some of these (numbers and letters, for example) are seemingly the result of transferring data to the format. However, it comes across as sloppy.","cultural_rating":3,"cultural_review":"It covers the bases and makes sure it offends no one.","overall_rating":6,"overall_review":"It is not very good. I would not use this for an introductory class. I did find it interesting, but that is because I am interested in the subject area--and have studied it extensively. No one without a background in theatre would find much use for this book.","created_at":"2020-06-16T16:36:10.000-05:00","updated_at":"2020-06-16T16:36:10.000-05:00"},{"id":3995,"first_name":"Marisa","last_name":"Jones","position":"Professor of Acting, Speech \u0026 World Theatre","institution_name":"Roxbury Community College","comprehensiveness_rating":4,"comprehensiveness_review":"\"Theatrical Worlds\" is the most comprehensive text available to professors interested in selecting an OER (Open Educational Resource) for their theatre courses.  While the book offers a general overview of various topics, ranging from stage directions to the American Musical, no single topic is covered in significant depth.  However, the text lends itself to use in a variety of introductory theatre courses and is, therefore, an extremely valuable contribution to the otherwise limited catalog.","accuracy_rating":4,"accuracy_review":"\"Theatrical Worlds\" is largely a fair and accurate read based on widely-accepted knowledge within the arts discipline.  In sections where opinions or high-level ideas are asserted, the authors lean towards the benign rather than the controversial.   The text's contributors are noted by short biographies at the end of the book which is helpful, however, citations throughout the text are rare and sporadic.  For ease of reading, the lack of footnotes and citations are preferable, even if the overall documenting of the source material is insufficient.","relevance_rating":4,"relevance_review":"The online version of \"Theatrical Worlds\" appears to have the copyright year of 2014, which is reflective of the topics covered.  Given the tremendous cultural changes and historical moments of the last five years, \"Theatrical Worlds\" would benefit from revisions and updates, including a nod towards the #metoo movement and Black Lives Matter, the success of \"Hamilton\" and the Broadway shutdown of 2020.  It appears that the authors attempted to produce a comprehensive overview of the theatre discipline in general, past to present, which will necessitate some updating as the theatre discipline pivots and evolves.","clarity_rating":3,"clarity_review":"The language used in \"Theatrical Worlds\" is easy to understand and accessible for most high school and nearly all college students.  Part Two: Theatrical Production is extremely well-written, organized, and provides an easily digestible account of the \"behind-the-scenes\" work often left unexplored in other intro-to-theatre texts. In general, the various authors appear to be writing for students at the introductory level but occasionally a term or concept is introduced without context or further explanation - while this feature is not impossible to overcome, some students may need to look outside this text to fully understand all the topics and ideas comprised within it.","consistency_rating":4,"consistency_review":"Given the number of authors contributing to \"Theatrical Worlds,\" it is unsurprising that the text lacks a theme or overarching narrative. This fact does not, however, interrupt the perceived goal of creating a generalist's textbook.  Additionally, the multiple contributors do not necessarily create an internally inconsistent message (the number of contributions may actually insulate it from expressing a narrow viewpoint), but there are a few content overlaps and perhaps a few content gaps as each individual chapter is connected one to the next.","modularity_rating":4,"modularity_review":"\"Theatrical Worlds\" could be viewed as a compilation of many shorter texts which are outlined in the table of contents.  An index would be helpful in order to navigate the wide range of topics but the division of each section is clear, coherent, and logical.  The text is not self-referential and is easily divided for short readings.  With the exception of a long (and slightly meandering) introduction, most chapters are straightforward and could be viewed as self-contained units, mostly readable in one sitting.  The side-bars are interesting and could serve a number of different purposes in the classroom as they present specific examples highlighted in the surrounding chapters.  The interview with Broadway producer Ken Davenport and the article 1833 article written by a German traveler (How to See a Play) stand out - great for insight and context and could possibly be used as a platform for a larger class discussion.","organization_rating":5,"organization_review":"As each topic does not necessarily flow one to the next, the division of the textbook into three parts help to give it shape, dividing like ideas in a clear and logical fashion.  \"Theatrical Worlds\" is arranged into three sections: Creating a World, Theatrical Production, \u0026 Special Topics.  The first section of the book is largely narrative providing the theory behind theatre as a collaborative art form, one in which the possibilities are limitless.  The tone shifts as the reader is brought into the practical and technological aspects of production followed by a look at notable playwrights and theatre genres (the chapter on Shakespeare stands out given its length and prominence in the text).  While one could argue about what the authors chose to include (and what was notably left out), the topics that made their way into the book are discussed in an orderly fashion.","interface_rating":4,"interface_review":"While a quick search of the OER catalog yields \"Theatrical Worlds\" as a text relevant to my discipline, the first few links were unusable.  The Roxbury Community College librarian was able to provide a pdf through the University of Florida website which was extremely helpful.  The beautiful production photos, costume renderings, and sidebars are readable and clear.  There is no distortion of images, and scrolling through the text was seamless once the pdf was downloaded.","grammatical_rating":4,"grammatical_review":"Grammar usage is generally well-executed.  Minor spelling and capitalization errors were infrequent. Production of newer edition would likely resolve any of the few editing issues currently in the text.","cultural_rating":4,"cultural_review":"As mentioned earlier, the world today is very different from the time in which \"Theatrical Worlds\" was published, and updates to the text would go a long way in solidifying its cultural relevance.  However, it is in no way culturally insensitive or offensive and attempts to include BIPOC, LGBTQIA+, and female voices, however limited those sections may be.  It's noteworthy that both Anna Deveare Smith (focused on her early work - please expand to include \"The Pipeline Project\") and Augusto Boal are featured in the text, among others.","overall_rating":8,"overall_review":"\"Life beats down and crushes the soul and art reminds you that you have one.\" - Stella Adler (Part One: Creating the World)\r\n\r\nAs a professor of a number of introductory theatre classes, \"Theatrical Worlds\" will be the OER text I rely on next school year.  My commitment to providing my students with materials that do not place an unnecessary financial burden on them is complicated by the limited number of resources available within my discipline.  However, \"Theatrical Worlds\" covers a wide array of topics and will be useful in Acting I \u0026 II, World Theatre, Theatre Appreciation and Theatre Production courses.  While I do not think this text would serve a purpose in a rigorous BFA or graduate studies program, I think it is quite relevant for my students at the community college level.  I appreciate that the authors chose to add this text to the OER network.","created_at":"2020-06-16T20:28:05.000-05:00","updated_at":"2020-06-16T20:28:05.000-05:00"},{"id":4049,"first_name":"Christin","last_name":"Rills","position":"Adjunct Professor","institution_name":"Bridgewater State University","comprehensiveness_rating":3,"comprehensiveness_review":"This textbook is somewhat comprehensive. It does a decent job of introducing and providing general information several aspects of theater, acting, directing, costuming, but leaves out  other important parts, such as playwriting and dramaturgy.","accuracy_rating":4,"accuracy_review":"I only notices a few statements that were questionable, but without an index or citations it is difficulty to follow up on sources for information.","relevance_rating":4,"relevance_review":"It's mostly relevant, however a few paragraphs could easily be added to update it.","clarity_rating":3,"clarity_review":"Clarity varies from author to author. The clearest chapter, design, are also the ones that could also be in danger of using the most jargon. However they do an excellent job of defining technical terms including easy to read diagrams. The introductory portion, Mapping Reality, was the most difficult for me to read and seemed to meander. At one point it goes from theater etiquette to talking about “kindly ghosts” in theaters.","consistency_rating":2,"consistency_review":"The inconsistency of this book is what I liked the least. There are 9 contributors to this book, each, for the most part, taking a different chapter of the book. Of course with different writers the tone is going to be different, even the depth of knowledge.  However, they could have at least agreed on a structure for each chapter, or edited them that way.  Even something as simple as having a glossary with important terms and 3 discussion questions at the end of each chapter would help unify this book. As an instructor it makes developing a class routine around the reading assignments much more difficult not only for myself, but my students as well.","modularity_rating":4,"modularity_review":"For the most part the book can be divided into digestible chunks.","organization_rating":3,"organization_review":"Part one I found difficult to read. It did not seem to have a logical order. Part two was well organized. Part three is pretty random, so it would be just as effective if the chapters were mixed up.","interface_rating":2,"interface_review":"I read this on an ipad and made notes of what I assumed were interfacing issues and then re-oped on my laptop and had the same issues. Lots of instances of \"c\" appearing instead an an \"e\", tons of dates were unreadable with different characters which is  problematic. Some of the graphics with quotes were incorrect.  \"Han is the only animal that laughs....\" by William Hazlitt is an example. I'm not sure if this is a typo or if some sort of character recognition software and it mis-read many of the characters.","grammatical_rating":4,"grammatical_review":"There were few grammatical errors. There is a problem with the style and the tone changing so much from chapter to chapter.","cultural_rating":3,"cultural_review":"It does a decent job of being inclusive but it could be better.","overall_rating":6,"overall_review":"Overall this is a good starting point for an introductory text. I’ve never had the pleasure of using a textbook that I absolutely loved from cover to cover and this is no exception. However, the lack of citations, glossary and index is very troublesome. In an introductory text, students should be able to turn to the back of the book or click on a term that’s in bold. \r\n \r\nThe inconsistency in writing style and quality from chapter to chapter isn’t great, but if you like to cherry pick your readings there is some good stuff in here. From a teaching standpoint the inconsistency in the format from chapter to chapter would make it difficult to establish any sort of classroom routine around the readings.","created_at":"2020-06-23T14:01:54.000-05:00","updated_at":"2020-06-23T14:01:54.000-05:00"},{"id":4058,"first_name":"Robert","last_name":"St. Laurence","position":"Adjunct Theatre Professor","institution_name":"Bunker Hill Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The text touches on many subjects within the field of theatre, to the extent that it isn't clear what purpose this book serves. Due to it's broad range of subjects the depth is lacking, and the organization is at times questionable.","accuracy_rating":5,"accuracy_review":"As much as can be expected for an art form that inherently has some room for subjectivity, this text does a good job of not over stating any potentially controversial areas. Consequently, it can feel a little watered down at times.","relevance_rating":4,"relevance_review":"Theatre technology and performance spaces change rapidly, so naturally the text isn't as current as desired. Theatrical projection design has evolved into an independent design field for production teams and immersive spaces should be touched on more.","clarity_rating":5,"clarity_review":"The text is very digestible. At times, the writing is rather conversational (in a good way), which allows the reader to have space for reflection and personal opinions.","consistency_rating":5,"consistency_review":"The text maintains it's accessible tone throughout. Some of the formatting (blue highlighted sections) of information was unclear, regarding how or why it was separate from the original thread.","modularity_rating":4,"modularity_review":"This text is probably most useful when divided for different courses' purposes. That being said each individual section does not go indepth enough to be primary reading for a class unit. Excellent supplemental reading to anything a professor is already teaching.","organization_rating":2,"organization_review":"The organization felt a bit like a wikipedia page at times. the content was engaging but it meandered from point to point, seeming without direction. The production half of the text doesn't seem to flow with the history/literature half of the text.","interface_rating":3,"interface_review":"Numbers were consistently altered to letters and symbols throughout. This meant all dates were impossible to know, which is very problematic. If this is a widespread problem, it needs addressing asap.","grammatical_rating":5,"grammatical_review":"The text wisely does not over complicate it's language. Spelling is accurate and structure is sound.","cultural_rating":4,"cultural_review":"I was taken aback by some of the brief mentions of racial inequalities in the production world. I'm glad they were mentioned, as ignoring them does students and society a disservice, but I would have liked a little more attention given to the matters once brought up. It felt like the text was quick to move on from these sensitive topics.","overall_rating":8,"overall_review":"I will likely find opportunities to incorporate some of this text into my classes, but mostly as additional reading for students who need more clarification or time to sit with topics addressed in classes.","created_at":"2020-06-23T16:28:34.000-05:00","updated_at":"2020-06-23T16:28:34.000-05:00"},{"id":4060,"first_name":"Lilli Ann","last_name":"Linford-Foreman","position":"Professor of Communication \u0026 Theatre","institution_name":"Central Oregon Community College","comprehensiveness_rating":2,"comprehensiveness_review":"This book is a decidedly mixed bag.  It was published in 2014 as a 'beta' edition, so perhaps there were plans to edit and/or complete it, but as it stands it has no glossary and no index.  The absence of those contents makes it much less user friendly than it could be. There is a general table of contents listing the main topic of each chapter. Discussion of playwrights is scattered throughout, rather than given its own section. Sections on Directing, Costume Design and Shakespeare are strong.  The origins of western theatre are given short shrift. There are individual aspects of theatre that are covered well, but in total it is not comprehensive.","accuracy_rating":2,"accuracy_review":"Information is accurate and unbiased.  There is a  formatting issue with the accessible .pdf: many dates, some illustration titles, and certain letters of the alphabet are scrambled into something entirely different from what was intended.  For some reason the letters c and e have been exchanged in many words. As a result, some dates are completely illegible and some words are challenging to decipher. This isn't \"a few typos\" as indicated by some other reviewers; fully a quarter of the pages have these formatting errors.","relevance_rating":4,"relevance_review":"Material appears timely.  With individual chapters written by different authors, updating the book is unlikely to be quick or easy, but the contents are likely to stand the test of time at least for the next few years.","clarity_rating":4,"clarity_review":"Because individual chapters are written by different authors, the lucidity and accessibility of the prose varies by article. It is satisfactory throughout, and several chapters are stand-outs.","consistency_rating":4,"consistency_review":"The text doesn't appear to have an editorial through-line, but the terminology used throughout is satisfactorily consistent.","modularity_rating":5,"modularity_review":"I think this is where the book shines.  Chapters are free-standing and will be useful to those who want to offer students information on specific sub-topics.","organization_rating":4,"organization_review":"The opening section, titled \"Mapping Reality: An Introduction to Theatre\", is a wide-ranging discourse on the nature of performance that is full of unexpected connections between ideas, but doesn't provide the initial introduction to theatre that I would want for my undergrads. Most of the other chapters follow a logical progression.","interface_rating":3,"interface_review":"Many, many formatting issues. I found the file slow and unwieldy.","grammatical_rating":4,"grammatical_review":"No grammatical errors -- but many formatting problems, including switched letters and illustration descriptions replaced by illegible symbols.","cultural_rating":5,"cultural_review":"While a predominantly Western theatre text, there is a competent section on World Theatre.","overall_rating":7,"overall_review":"I will use portions of this text in my Intro to Theatre course as a supplement..  As a stand-alone text, the introductory chapter is too quirky and the formatting issues too distracting for me to rely on it as a main text.","created_at":"2020-06-23T18:16:53.000-05:00","updated_at":"2020-06-23T18:16:53.000-05:00"},{"id":4362,"first_name":"Cady","last_name":"Garey","position":"Lecturer","institution_name":"University of Virginia","comprehensiveness_rating":5,"comprehensiveness_review":"Text covers major areas of study and practice within the world of Theatre artistry.","accuracy_rating":5,"accuracy_review":"I find it to be accurate and informational.","relevance_rating":5,"relevance_review":"Text is includes mostly exploration of ideas and practices of Theatre artists in a general and historical perspective.  Most topical and evolving information is contained in photos and brief blurbs about the work of producing organizations around the country and the globe.  These could be easily updated to include changing and recent work.","clarity_rating":5,"clarity_review":"Very easy to read. Potentially unknown and new concepts and vocabulary are explained.","consistency_rating":5,"consistency_review":"Text is consistent in terms of terminology and overall structure and framework.","modularity_rating":3,"modularity_review":"Text is broken down into areas of Theatre work in the second half of the text, which  provides a clear and focused read for students.  The first half of the text would benefit from additional subdivision of ideas.  There are long chunks of solid text that contain many ideas. Proves a bit hard to read, especially in a digital format.  I can see that it will be somewhat challenging to direct students to specific areas to read.","organization_rating":5,"organization_review":"Overall appropriate organization for an introductory book.","interface_rating":5,"interface_review":"See notes under grammatical.","grammatical_rating":4,"grammatical_review":"While a quick and loosely focused read on my part did not reveal grammatical errors, there are numerous areas in need of editing. These areas, I believe, happened in the translation of the text to the digital format-- replacement of words or letters with strange text or odd additions to photos.  Not too bothersome and would likely be an easy fix.","cultural_rating":5,"cultural_review":"Inclusive of the work of many communities, peoples, and histories from around the world.","overall_rating":9,"overall_review":"This resource includes all of the elements I am interested in for my introduction to theatre course, How Theatre Works. It examines the major areas of theatre artistry and work, ideas behind the human need to perform and participate, foundational and transformational thinking about theatre, and histories of the performing arts of communities from around the world. It provides a strong foundation of information for students new to the ideas, art, and practices of theatre.","created_at":"2020-10-30T07:53:16.000-05:00","updated_at":"2020-10-30T07:53:16.000-05:00"},{"id":4483,"first_name":"Donna","last_name":"Sorbello","position":"Associate Professor","institution_name":"Bunker Hill Community College","comprehensiveness_rating":5,"comprehensiveness_review":"This is a terrific, easy-to-read overview of various, significant aspects of theatre. In many instances, it goes into more depth than one would expect from a book wanting to cover so many categories.","accuracy_rating":5,"accuracy_review":"I found nothing contradictory in any of the information presented in the book, relative to other textbooks and in my own eperiences in years of theatre  acting, wriing, teaching..","relevance_rating":5,"relevance_review":"SInce many students now are imered in \"pop culture,\" with little history of past traditions, \"Theatrical Worlds\" is relevant in it's delving into the origin of theatre, the various forms of acting traditions, and varied cultural differences in theatre,  It is relevant in its offering of design and technical practices as well as offering practical information about  being a participant in the theatre.","clarity_rating":5,"clarity_review":"Very accessible. Unlike some textbooks, there was a sense of the author(s)  talking to you specifically in most instances. It is to its credit that the book is all of a piece, despite varied voices, as if, as a director would strive for in a play,  he/ she managed to get everyone, with their different backgrounds, interpretations and training/styles,  in the same play. (In this case, the authors capture a consistent tone in the book.)","consistency_rating":5,"consistency_review":"Yes. See above.","modularity_rating":5,"modularity_review":"This book makes for easy assignments via section.","organization_rating":5,"organization_review":"I felt it  flowed from one topic to the other in logical patterns. The personal aspect in the style helps one move from one area to the next.","interface_rating":5,"interface_review":"Nothing confusing. Any images enhance the material.  The colorful images of the world-wide cultural practices add excitement and visual explanation. In the technical sessions I found the dirawings, diagrams, etc. --succinct, useful.","grammatical_rating":5,"grammatical_review":"None that I saw.","cultural_rating":5,"cultural_review":"The additional coverage of the practices of various cultures, not just Western theatre, in \"Theatrical Worlds,\" covers many  practices often overlooked, though, perhaps unknowingly, such practices often find their way into various enemble approaches.","overall_rating":10,"overall_review":"I genuinely enjoyed reading this. I especially like that it poses an important question for students; Do I really want a life in the theatre? I lappreciated the insiders take on some of the general theatre practices,  making being involved in the theatre world less intimidating for the reader. The colorful photos of the varied cultural theatre companies and practices captured the spirit of many of these forms. They added an excitement and a broadening to one's concept of theatre. I like the authors' abilities to opt for what are  basic, practical pieces of information that would be helpful to a student, or anyone interested in theatre, and I also like the detail in areas like costumes or lighting design.  A very useful book for any course in the overview of theatre and a good reference for individual theatre practices.","created_at":"2020-12-27T17:18:38.000-06:00","updated_at":"2021-01-06T11:41:41.000-06:00"},{"id":4993,"first_name":"Elizabeth","last_name":"Rapoza","position":"Adjunct Faculty","institution_name":"Cape Cod Community College","comprehensiveness_rating":1,"comprehensiveness_review":"Unfortunately, this text jumps from subject to subject without giving clear, concise information. Instead of following a logical format, it starts to focus on one subject, only to reiterate something that has been gone over at length earlier. Theater is an easy subject to organize. Most texts covering this material follow the logical progression of: 1. What is theater and the nature of art? 2. A brief theater history. (Most colleges require Theater History courses for theater majors) 3. The progression of staging/producing a play, focusing on each theater profession in turn. For example: Playwrights; Producers; Directors; Designers; Stage Managers; Actors. The topic headings are sometimes in bold as headings, and at other times, buried in bold in the middle of a paragraph. The book has at least 113 pages of material that should have been no more than 10 pages. These include the final sections on Shakespeare, World Theater, and the American Musical. While each of these categories are important, they should not require more than 3-5 pages in a book such as that. Each of these are also offered in other courses. Instead, it's important to cover profession relevant vocabulary, what each profession's creative process is, etc. These should be in concise, easy to access tables or addenda. Instead, they are buried in long, rambling observations of the author's own experience.","accuracy_rating":1,"accuracy_review":"There are many formatting, spelling, usage and grammatical errors in this text. I started to list them by page, but they became too numerous to list. Some examples: P.3: \"A director is now helplessness\" (should be \"helpless\"); P.4: Sp. error \"eommunicate\" (should be \"communicate\"); P.6: Should list all of the Fine Arts, not just mention a few; P. 8: Sentence spacing; P. 9: Text uses \"Greek Tragedy\" to reference what should be called \"Greek Theater\", as it leaves out Greek Comedy which is equally important; P. 14: \"How Theater 'Means'\" makes no sense as a heading; P. 36: \"Origins\" as a topic should be at the beginning of the text. \"Actors\" should be the last section of the book, as they're the last part of the process. There's constant jumping between topics, irrelevancies and redundancies throughout the book. The reference to \"Master Carpenter\" is buried in a paragraph on the Tech Director, when it should be under the topic of \"Set Designer\".","relevance_rating":2,"relevance_review":"This book isn't ready to be offered as a text book. It's relevance is irrelevant. It needs to be rewritten in a much more accessible format. It was difficult to follow and very difficult to read. I am an avid and voracious reader, and I had a very difficult time getting through this relatively short text. There are far too many long, run-on sentences that need to be shortened into smaller, digestible pieces. The author needs to stay on topic, organize those topics in a more logical format, add in clear headings, and recheck for spelling and grammatical errors. Most importantly, instead of going into long rambling descriptions of their interpretations of what reactions, thoughts and emotions a theatrical experience should bring, they should pose these as discussion questions. These discussions questions should allow students to share their own experiences as well as apply what they've learned, use analytical reasoning and to find answers for themselves.","clarity_rating":1,"clarity_review":"The book was very unclear and hard to follow. Recommendations: 1. Shorten long, run-on sentences. 2. Replace personal observations with thought-provoking discussion questions. 3. Stay on topic. The text continually goes back to reiterate points made earlier. Be concise. 4. Follow theater organizational structure as a guide to progression through topics. Review other Introductory Theater books for formatting tips. 5. Fix grammatical and spelling errors.","consistency_rating":1,"consistency_review":"Again, this was a very inconsistent book. A clear vocabulary list would have been helpful. It did not stay on topic. Long, rambling personal observations as opposed to facts followed by discussion questions. Very poorly organized.","modularity_rating":1,"modularity_review":"Very poorly organized and headed. Redundancies abound. It would be very difficult to organize a course and homework around this text.","organization_rating":1,"organization_review":"Not even close. This book is all over the place. Valuable information is buried in paragraphs of long irrelevancies.","interface_rating":1,"interface_review":"Illustrations are theater related, but their relevancy is not explained or used as a vehicle to teach a lesson. There are no charts illustrating theater hierarchy; the process and responsibilities of each theater profession; vocabulary lists.","grammatical_rating":1,"grammatical_review":"Errors abound. As a teacher, I would have this writer: 1. Correct the many spelling and typing/formatting errors. 2. Rewrite the entire book, staying firmly on clearly delineated topics. 3. Rewrite the very many long, run-on sentences into smaller pieces. 4. Shorten subjects covered in too much detail that are covered in other courses. Focus on Intro Subjects - explaining what theater is, who the are people that make it happen, what is the process, and what is happening in theater today around the world.","cultural_rating":3,"cultural_review":"I didn't notice anything offensive. The author tried to be culturally inclusive.","overall_rating":3,"overall_review":"I liked the interviews with theater professionals, but they were far too long. I have my students watch videos that accomplish this in a much more accessible way. I would never use this as a text  book. It was rambling, poorly organized and confusing. This should be considered a first draft in need of seriously heavy revision.","created_at":"2021-05-27T07:00:24.000-05:00","updated_at":"2021-05-27T07:00:24.000-05:00"},{"id":5068,"first_name":"Christina","last_name":"Allaback","position":"Assistant Professor of Theatre, Director of Theatre","institution_name":"Umpqua Community College","comprehensiveness_rating":4,"comprehensiveness_review":"This is a comprehensive book, for the most part. The good thing about this book is that every chapter is written by a different person. So the costume designer writes the costume design chapter, and the set designer writes the set design chapter--so pretty much every area is covered by an expert in that area. They are, however, missing a chapter on playwriting. They also might want to include a chapter that covers the “lesser discussed” aspect of design: something on sound, projection, and props. There are chapters on American musicals and Shakespeare that are too long and detailed for an intro text. I would cut the Shakespeare chapter and cut down the chapter on The American Musical, and expand the chapter on “World Theatre”--- which by the way, I think is a problematic title. I would prefer it be called “non-Western” theatre with a bit more discussion on the problems of Western theatre education concentrating so much on Western theatre. \r\nNo index or glossary.","accuracy_rating":4,"accuracy_review":"I would say this has very accurate content and usually the sort of information you find in every Introduction to Theatre text book. The only problem is that there isn’t a works cited, and there was some historical information that I questioned, so it would have been nice to go look that up. \r\nA good amount of information about auditioning should probably be in the acting chapter, but it was in the directing chapter. I don’t know if this is a big deal or not. Just my preference. \r\nIt would have been nice to mention some historically important directors in the directing chapter. And while they brought in Artaud in the genres chapter, I am very disappointed at the absence of Brecht. \r\nThere is too much theory and history in the acting chapter and I feel it is too much for an introduction course. There is no discussion on the actor’s process, which I think is the whole purpose of Intro to Theatre: is to learn how theatre artists work and to appreciate the work. \r\nI had some issues with the chapter on lighting design. The author spends a good deal of time discussing lighting equipment and not so much on how to analyze a design. The chapter needed more images of interesting designs from plays, to demonstrate good lighting design.","relevance_rating":4,"relevance_review":"This book could use some updating: as in more non-Western theatre discussion and more discussion on gender. One author referred to the director as “he,” and this really bothered me, as a female director. \r\nAt one point, color blind casting was mentioned and discussed, but in my circles this is a very controversial and old way to casting. The controversy wasn’t discussed.","clarity_rating":5,"clarity_review":"The only problem with a different author from every chapter is that the chapters seem a bit disjointed, but it’s not a big deal.  Some chapters were more word heavy with less diagrams than others. Some chapters were written in a \"boring\" manner and others were very lively.  Some chapters were quite long and, I feel, need to be shortened. \r\nEvery important word is in bold and explained. There are lots of great images, diagrams, and maps that help demonstrate concepts and add interest. And it's nice that not all the images were from the author's institution or from the region of that institution.","consistency_rating":5,"consistency_review":"This is a very consistent book, even though it is written by many different authors. Terminology and framework is clear. They start the book with a good introduction of theatrical terms that help the student understand the later chapters.","modularity_rating":5,"modularity_review":"This book has three sections: Part One: Introduction, Part Two: Production, and Part Three: Special Topics  The introduction was a good overview of theatre and reading plays, as well as had some good historical information (Although possibly a bit too much for an intro class). Part Two had all the areas of production (lacking playwriting and “minor” design areas). And Part Three had four chapters: Genre, Shakespeare, The American Musical, and World Theatre. \r\nThe book was well organized and will be easy to assign areas, and there were subheadings for certain topics.\r\nAt the end of each production chapter, there was an interview of a professional artist in a blue box and that was a nice bonus. Over the course of the book, there were little blue boxes that provided extra information.","organization_rating":5,"organization_review":"This is a well-organized book and is pretty much organized like most Introduction to Theatre textbooks. It flows nicely and works well with an intro first, then production, the discussing special topics. All of these are pretty typical in all the textbooks I know.","interface_rating":2,"interface_review":"This is very difficult to navigate online. It does not have the option to click on a chapter and take you there.  You have to scroll.  And there is no way to search the book. It is also on an old website, so it kept freezing when I tried to scroll. I don't think it was my internet. It was very frustrating. \r\nThere are LOTS of typos, weird layout problems, smeared photos, and images with nonsense lettering typed over photos. In many places, where there were supposed to be numbers (especially dates), there were symbols. Not sure what was going on there. In some images, there were type over photos where there was text.  For example, there was an image of people protesting and one sign looked blurred and then writing was typed over it. I wondered if they were trying to censor something, which actually bothered me. There were images and quotes that bled off the side of the page, so they were incomplete. Overall, this is just a messy book. However, it says at the top this is the “Beta version.\"  But it was published in 2014, so I think maybe they would have fixed it up by now.","grammatical_rating":4,"grammatical_review":"Grammar is fine and text is well written, just many typos.","cultural_rating":4,"cultural_review":"The author used “he” to refer to the director. I said this above. \r\nI think the chapter title “World Theatre” is problematic. I feel “non-Western” theatre is more appropriate.  \r\nThere is some good discussion on gender and race when talking about casting and types. \r\nThere is only one page on feminist theatre. \r\nThere needs to be more diverse content in this book.","overall_rating":8,"overall_review":"Overall, this is an adequate textbook for an Intro to Theatre class or possibly a Theatre Appreciation class. The only major issues I have were with interface. It just looked bad. And lots of typos. I will be using it, though, because it is the only Introduction to Theatre OER out there. I will expand in my lecture on what I feel the book is missing. But it covers all the main areas of theatre, covers how to read a play, covers some historical aspects, and discusses how theatre is made and that is what I am looking for in a textbook. I teach five plays in my class and find free ones from Project Gutenberg.  My students have to purchase two contemporary plays for this class, which does cost something, but I encourage them to find used copies, rent copies,  or borrow from friends etc...","created_at":"2021-06-09T16:42:31.000-05:00","updated_at":"2021-06-09T16:42:31.000-05:00"},{"id":33626,"first_name":"Heidi Winters","last_name":"Vogel","position":"Associate Professor of Theater","institution_name":"Wabash College","comprehensiveness_rating":3,"comprehensiveness_review":"The text covers theory, history, design, and performance (oddly enough, playwriting is missing). While it is comprehensive, not all areas are given appropriate weight. The Shakespeare section could be used alone for a course on Shakespeare but is too much for an Introduction to Theatre class. The Musical Theatre section is heavy on history but is already dated, no musicals past 2009 and very little diversity represented. The World Theatre chapter is wonderfully comprehensive but is a \"special topic\" instead of being integrated into the text as a whole. This makes the work more aptly titled Western Theatre Worlds. \r\n\r\nThere is no index or glossary, much needed for a survey text.","accuracy_rating":2,"accuracy_review":"The text is Western-focused with the majority of quotes coming from white men. This bias is easily remedied and would make the work more valuable for my students. \r\nIt is also missing a bibliography. The importance of citing sources must be modeled in textbooks!","relevance_rating":3,"relevance_review":"Updates already needed. One very problematic section defines color-blind casting and its pros and cons. That is no longer a helpful construction for our students. We need to be discussing color-conscious casting and cultural diversity in theatre in every chapter.","clarity_rating":5,"clarity_review":"The writing is accessible and the definitions and explanations of theatre jargon are very useful.","consistency_rating":3,"consistency_review":"A strength of the text is that each section is written by an expert in that area. Unfortunately, there isn't an introduction or bridge between the different voices. Change of topics is often abrupt.","modularity_rating":4,"modularity_review":"This would be a 5 if the navigation between chapters, sections and pages was easier.","organization_rating":4,"organization_review":"Organization is fine, I would assign the chapters in a different order but that is personal preference. Navigation aids would make this element more user-friendly.","interface_rating":4,"interface_review":"Navigating to particular sections without scrolling through page by page is needed. Some of the titles are distorted and the formatting doesn't translate (particularly numbers in dates).","grammatical_rating":3,"grammatical_review":"Grammar is fine but the text is rife with typos. Many of the dates (especially in the introduction) are scrambled and words are spelled incorrectly.","cultural_rating":2,"cultural_review":"This book is not culturally aware. Racial, ethnic, gender, and sexual diversity is severely lacking. On the first page, the playwright is referred to as male. I hoped we in educational theatre were past defaulting to the white male perspectives as the norm. I encourage the editor to revisit the work and update to encompass other perspectives.","overall_rating":7,"overall_review":"There is much to recommend in this text: comprehensiveness, expert contributors, thoughtful definitions and accessible writing. With thorough copy-editing, appendices, and sensitivity to diversity, I would be happy to share this with my students.","created_at":"2021-12-31T17:12:36.000-06:00","updated_at":"2021-12-31T17:12:36.000-06:00"},{"id":35276,"first_name":"Laura","last_name":"Lucci","position":"Senior Lecturer","institution_name":"Saint Mary's College","comprehensiveness_rating":3,"comprehensiveness_review":"As other reviews have noted, the text is an ambitious one, tackling a wide range of topics. However, as a result, is also somewhat mixed with regards to the depth with which it approaches some of these topics. For example, just looking at the table of contents, how can both Shakespeare and World Theatre be relegated to the level of \"special topics\"? Courses, not to mention entire subdisciplines, are built around both and more; how can Shakespeare be equal to the weight of the world? Likewise, the first chapter, serving as an introduction, seems to try to account for all those \"special topics\" for which chapters were not supplied, leaving the reader overloaded with information and unsure of how the book will proceed.","accuracy_rating":4,"accuracy_review":"While it seems that the content is accurate, as others have noted, the lack of glossary, index, and bibliographic entries makes that accuracy difficult to evaluate thoroughly. Additionally, as the book offers an extremely wide scope and contributions from many authors, it is hard to identify a single unifying/organizing purpose for this book. Who is it for, and how might we evaluate authors' biases in relation to that purpose. This seems especially true in relation to the \"special topics\" sections, in which three of four sections heavily emphasize western theatrical traditions.","relevance_rating":4,"relevance_review":"While the historical and theoretical content is largely up-to-date, the book could do more to incorporate more recent developments in contemporary theatre, such as questions and conversations around representation, accessibility, and equity, and inclusion.","clarity_rating":5,"clarity_review":"Generally, the book's language is clear and easy to follow.","consistency_rating":3,"consistency_review":"The tone of each chapter shifts slightly, as each is written by a different author. This is also true of the breadth and depth of each chapter, with some subjects given disproportionate attention.","modularity_rating":3,"modularity_review":"I would say this is true of the parts of the book dealing with the elements of the theatre (acting, directing, etc), provided they were further supplemented with other readings and/or classroom activities.","organization_rating":3,"organization_review":"As mentioned above, the uneven weight given to certain topics and the shift in tone and style from chapter to chapter can sometimes make it difficult to \"switch gears\" as a reader, even if at first glance the topics seem well-organized. This is compounded by the absences of an index and glossary.","interface_rating":5,"interface_review":"No major issues with the interface.","grammatical_rating":5,"grammatical_review":"I did not encounter any grammatical errors.","cultural_rating":1,"cultural_review":"Again, the Special Topics section is problematic in its execution. While this is a beta edition, it is also ten years old. Certainly, there is more to say about \"world theatre\" than what is currently being offered here.","overall_rating":7,"overall_review":null,"created_at":"2024-10-20T17:12:02.000-05:00","updated_at":"2024-10-20T17:12:02.000-05:00"}],"url":"https://staging.open.umn.edu/opentextbooks/textbooks/theatrical-worlds","updated_at":"2025-12-15T02:08:49.000-06:00"},{"id":257,"title":"Understanding Basic Music Theory","edition_statement":null,"volume":null,"copyright_year":2013,"isbn10":null,"isbn13":null,"license":"Attribution","language":"eng","accessibility_statement":null,"accessibility_features":["unknown"],"description":"Although it is significantly expanded from \"Introduction to Music Theory\", this book still covers only the bare essentials of music theory. Music is a very large subject, and the advanced theory that students will want to pursue after mastering the basics will vary greatly. A trumpet player interested in jazz, a vocalist interested in early music, a pianist interested in classical composition, and a guitarist interested in world music, will all want to delve into very different facets of music theory; although, interestingly, if they all become very well-versed in their chosen fields, they will still end up very capable of understanding each other and cooperating in musical endeavors. The final section does include a few challenges that are generally not considered \"beginner level\" musicianship, but are very useful in just about every field and genre of music.","contributors":[{"id":3582,"contribution":"Author","primary":true,"corporate":false,"title":null,"first_name":"Catherine","middle_name":null,"last_name":"Schmidt-Jones","location":null,"background_text":"Catherine Schmidt-Jones graduated from Rice University in 1985, completing a BA in chemistry, a BA in music and a Master of Music in French horn performance."}],"subjects":[{"id":29,"name":"Arts","parent_subject_id":6,"call_number":"N85","visible_textbooks_count":56,"url":"https://staging.open.umn.edu/opentextbooks/subjects/arts"},{"id":6,"name":"Humanities","parent_subject_id":null,"call_number":null,"visible_textbooks_count":418,"url":"https://staging.open.umn.edu/opentextbooks/subjects/humanities"}],"publishers":[{"id":147,"url":"http://cnx.org/contents/KtdLe6cv@3.74:_GmJ4ENa@7/Understanding-Basic-Music-Theo","year":null,"created_at":"2018-09-07T12:22:37.000-05:00","updated_at":"2018-09-07T12:22:37.000-05:00","name":"OpenStax CNX"}],"formats":[{"id":214,"type":"PDF","url":"https://cnx.org/contents/KtdLe6cv@3.74:_GmJ4ENa@7/Understanding-Basic-Music-Theory-Course-Introduction","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":215,"type":"XML","url":"https://cnx.org/contents/KtdLe6cv@3.74:_GmJ4ENa@7/Understanding-Basic-Music-Theory-Course-Introduction","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":1195,"type":"Online","url":"https://cnx.org/contents/KtdLe6cv@3.74:_GmJ4ENa@7/Understanding-Basic-Music-Theory-Course-Introduction","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":2143,"type":"Hardcopy","url":"https://www.lulu.com/shop/catherine-schmidt-jones/understanding-basic-musics-theory/paperback/product-20323305.html?page=1\u0026pageSize=4","price":{"cents":0,"currency_iso":"USD"},"isbn":null}],"rating":"4","textbook_reviews_count":25,"reviews":[{"id":555,"first_name":"Lewton","last_name":"Jones","position":"Graduate Student/PSU/Music Teacher/Community Ed","institution_name":"PCC","comprehensiveness_rating":3,"comprehensiveness_review":"The book by Catherine Jones is condensed and takes on many aspects of music theory even the physics of sound.Her comment regarding its peripheral states; \"The course is about a better understanding of where the basics come from and will lead to a better and faster comprehension of more complex ideas.\" She accomplishes this with chapters that focuses on notation, definitions, basic physics, notes and scales, harmony and form, transposing and a good glossary of terms at the end of the book. The book reads like a thesis with graphs that appear like a lecture series. Its possible that that for some it could appear obscure with assumed musical jargon. In an academic way the book is comprehensive, it however leaves out emotional intelligence and the intuitive common sense of music. It has a good historical section.","accuracy_rating":4,"accuracy_review":"The information is accurate especially regarding modes and their history and the diagrams they pertain to. It is accurate but the narrative is connected to concepts without enough proofs. The Pythagorean history was substantial but not complete.","relevance_rating":4,"relevance_review":"The book is a really a summation of older texts and information. I would suggest that students take Music History or read \"How Music Works\" by John Powell as a guide to this jargon. He was in fact a physicist, and discusses music with out a firewall of IQ separation.\r\nI would add his book to this book if I taught this class in order to break down the array of a timeline of passed down Italian terms.\r\nIn terms as the book's authenticity regarding musical facts it will be relevant for several years.","clarity_rating":4,"clarity_review":"As I stated it is very condensed. It would confuse a beginner if the lecture was not clear. It defines its musical terms very well and is well researched but truncated when it comes to what is being explained. Many of the topics are books by themselves. I thought the spacial presence of the illustrations and graphs were very clear and helpful to any level.","consistency_rating":5,"consistency_review":"The book is consistent in its shared historical information much like a dictionary. The chapters are all strong. I can tell that the book is written by one person. It displays solid organization of concepts and truths, but it is not an easy to read narrative.","modularity_rating":4,"modularity_review":"The modularity is the staple elements of this book. It is very objective almost to a fault. It is not enabling as much as dictatorial. \"Jones States in the introduction; \"The final section of this course does include a few challenges that are generally not considered \"beginner level musicianship.\"","organization_rating":5,"organization_review":"The book is strong in regarding to organization.","interface_rating":5,"interface_review":"All the interface is professional.","grammatical_rating":3,"grammatical_review":"Not a great flow in the narrative. It could be informative to some and confusing to others. Too condensed for me. For no reason/\\.","cultural_rating":4,"cultural_review":"A western view of music and appealing to the Scientific rather than organic.","overall_rating":8,"overall_review":"Strong.","created_at":"2016-08-21T19:00:00.000-05:00","updated_at":"2016-08-21T19:00:00.000-05:00"},{"id":829,"first_name":"Christopher","last_name":"Van Hof","position":"Assistant Professor of Music","institution_name":"Colorado State Univeristy","comprehensiveness_rating":3,"comprehensiveness_review":"While the fundamentals of how music is read, written, and functions are indeed covered clearly, there is no mention whatsoever of the common Practice Period, which is the source of modern basic music theory. Not presenting that historical context is a distinct shortcoming in this text. In a way, the text seems to make an attempt to be *too* comprehensive by covering topics that could (should?) have been dispensed with in a separate book. What is presented is accurate, but really the scope to this reviewer is far too broad to be useful in a semester-long introduction class. ","accuracy_rating":5,"accuracy_review":"The book presents accurate information. I have personal problems with some of the definitions of articulations (e.g. what the text labels as \"legato\" I refer to as \"tenuto,\" or, how the first mention of a dorian scale is in reference to jazz, as opposed to the Greek modes). But, in general, the information here is good.","relevance_rating":5,"relevance_review":"I sincerely appreciate the author's consistent reference to popular music forms, harmony, and instruments. many theory texts gloss over that aspect, but it often an important part of how a student becomes interested in how music works. Using these references is culturally relevant, and will stand a pretty long test of time.","clarity_rating":4,"clarity_review":"Overall, the information is presented clearly. The tone is occasionally too conversational for my taste (the use of conjunctions abound, there are informal turns of phrase). While some terminology may require additional digging for the reader or explaining from a professor, the syntax and prose is accessible to a competent advanced high school/early college reader.","consistency_rating":5,"consistency_review":"Each chapter is laid out clearly and in a similar fashion. ","modularity_rating":5,"modularity_review":"This is, I think, the books greatest strength. While I would not choose to use exclusively this text for a beginning theory class, I would eagerly excerpt it for either that kind of class or even for a general education music appreciation class. ","organization_rating":5,"organization_review":"Related to question 5, i appreciate the book's flow.","interface_rating":3,"interface_review":"The biggest issue here is the need to cut-and-paste links from the PDF in order to listen to/see the examples provided. This caused quite a lot of navigation problems, and needed the use of a very large number of browser tabs. A single website with clearly organized links to click related to each chapter would have helped a great deal.","grammatical_rating":3,"grammatical_review":"Too informal for an academic text.","cultural_rating":5,"cultural_review":"Again, the use of popular music as well as art music references makes this text more culturally relevant than others.","overall_rating":9,"overall_review":"There is good content in this book, but i would not use it as the sole basis for an intro music theory class. As an excerpt-able document, it could be a strong addition to either a brick-and-mortar theory or music appreciation class, or for an online class of the same content. The cut-and-paste requirement for the examples was a major nuisance.","created_at":"2016-12-05T18:00:00.000-06:00","updated_at":"2016-12-05T18:00:00.000-06:00"},{"id":856,"first_name":"Shane","last_name":"Anderson","position":"Associate Professor of Music","institution_name":"Nicholls State University","comprehensiveness_rating":4,"comprehensiveness_review":"The text covers all basic introductory material of Music Theory.  From the Introduction, it is clear that the author intends this text to be an introduction to Music Theory and not a comprehensive text for advanced concepts.  I would like to have seen more depth and detailed exercises to practice the concepts, such as key signatures, scales, intervals, etc.","accuracy_rating":5,"accuracy_review":"The content is error-free.","relevance_rating":5,"relevance_review":"Music theory content is unchanging and does not need updating.  The \"Challenges\" chapter at the end is a nice addition to include some contemporary concepts and non-western music.  ","clarity_rating":5,"clarity_review":"The text is very clear and easily understandable.  ","consistency_rating":5,"consistency_review":"The overall layout of the material is clear and well-planned.  ","modularity_rating":5,"modularity_review":"The author has divided the concepts into easily accessible modules.  ","organization_rating":4,"organization_review":"The text generally introduces concepts in a well-organized manner.  I would like to have seen Diatonic chords in major and minor introduced earlier in the text, with more practice examples concerning how to recognize and write them.  ","interface_rating":5,"interface_review":"The text has no interface issues.","grammatical_rating":5,"grammatical_review":"There are no grammatical errors.","cultural_rating":5,"cultural_review":"The text includes examples of both Western and non-Western music.","overall_rating":10,"overall_review":"This is an excellent text for beginning Music Theory.  I would like to see more practice examples for basic concepts such as intervals, triads, scales and diatonic triads/seventh chords.  ","created_at":"2016-12-05T18:00:00.000-06:00","updated_at":"2016-12-05T18:00:00.000-06:00"},{"id":923,"first_name":"John","last_name":"Irrera","position":"Instructor of Music","institution_name":"Virginia Tech","comprehensiveness_rating":3,"comprehensiveness_review":"This book is meant to be an introduction to music theory, presenting to the learner the basics of how music is composed, performed, and interpreted. This book accomplishes this task, as it explores rhythm, pitch, notation, form, analysis, with a helpful glossary at the back of the book.  However, it deals with subjects that I find are not necessary for the beginner when it comes to trying to understanding music theory, such as the entire section upon the physics of sound and harmonics.  ","accuracy_rating":4,"accuracy_review":"The information in the book is accurate. The way some terms are used in the book I question, however, such as the use of \"downbeat\" to refer to all of the beats in a measure, as outlined in the time signature discussion, as opposed to just the first beat of a measure, but in general the information as presented is correct. ","relevance_rating":5,"relevance_review":"The content is up to date, and makes a special effort to try to have examples from more popular musical artists and genres.  This aids in making the material more relatable for individuals that don't listen to musical in the Western Classical tradition.   ","clarity_rating":3,"clarity_review":"The text is easy to understand and straightforward.  Sometimes I found the terminology used occurred a bit earlier in the text than was needed to help explain a point.  For instance when discussing rhythm and time signature, the author chose to discuss tempo in terms of the Italian terminology, such as allegro, which had yet to be explained, instead of simply using the number of beats per minute method.   By adding the Italian terminology, fairly early in the book, and not yet having explained what these terms mean, it created another layer of complexity, that was not needed when trying to discuss note duration and rhythms.","consistency_rating":5,"consistency_review":"The book is consistently organized and formatted clearly for the reader. ","modularity_rating":5,"modularity_review":"This text is readily divisible into smaller sections, making it a great asset for excerpting. A wonderful aid for use in many different course settings.","organization_rating":2,"organization_review":"This I found to be the weakest part of the book, as it was organized in a manner that often took a certain amount of knowledge, on the part of the reader, for granted, especially after it states that it is specifically designed for the beginner.  I think some things were not explained in the correct order, to allow for greatest understanding by the reader.  For instance, when discussing note names the author discusses enharmonic keys and scales, when the concept of what a scale, major/minor, or even a key signature had yet to be explained.      ","interface_rating":4,"interface_review":"The interface works well.  It is best to not view as a PDF, but instead via \"ePub\" as this allows for the links to work, allowing for one to quickly jump around to different sections of the book to find examples.  \n\nI could have used a bit more examples to explain concepts, and also would have benefited to have an example/figure right after its description. This book often lists many different concepts in a block of text, and then has all the examples on the next page.  \n\nOverall, it accomplishes its goal and is user friendly. ","grammatical_rating":5,"grammatical_review":"I found no grammatical errors.  ","cultural_rating":5,"cultural_review":"The use of art music and, also popular music, as examples, make this book more inclusive than others.  ","overall_rating":8,"overall_review":"A fine text, but would require significant lecture time, and supplemental examples, to ensure that the material was firmly understood by the student and that they were able to apply this knowledge to actual musical practice.  ","created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":969,"first_name":"Jeffery Kyle","last_name":"Hutchins","position":"Artist/Teacher","institution_name":"Virginia Tech","comprehensiveness_rating":5,"comprehensiveness_review":"I found this text to be very comprehensive in scope of teaching basic music theory. I found a great deal of emphasis was put on naming notes, scales, and rhythms, which is perfect for a introductory text. The other sections, such as Harmony and Form were very surface level, allowing the reader to familiarize them self with the topic and not get too bogged down in the details. I would say this text is best suited for an adult students brand new to reading music. ","accuracy_rating":5,"accuracy_review":"I found the content to be very accurate and clearly articulated. The examples were easy to read and easily understood.  ","relevance_rating":5,"relevance_review":"This book is mostly a summary of basic musical concepts, and to that end I suspect will remain relevant for some time. I think it would be necessary for a student to look into additional material for any sort of historical context or a further understanding of form and harmony. ","clarity_rating":5,"clarity_review":"I feel that the terminology is defined very well in the text and the material provided is quite clear in meaning. The format and layout of the text is very plain and clear to read. ","consistency_rating":5,"consistency_review":"The language used in this text, the formatting, and the work examples are very consistent throughout the text. The material in each chapter is organized well and presented clearly. The examples and images provided are engraved very well.","modularity_rating":4,"modularity_review":"I think this book would absolutely be modular. Were I to teach out of this text, I could definitely see myself picking some material to use while supplementing or omitting some other sections. I think one could very easily use these sections to fit their particular needs.","organization_rating":5,"organization_review":"As mentioned early, I think this book is very well put together. Each chapter is organized in a similar and well articulated fashion, and is sequenced well to cover the basic music theory material. ","interface_rating":3,"interface_review":"There are definitely no distractions from this text. I think the layout and formatting are consistent, but very plainly done. It would have been nice to see some (even minimal) graphic design done to this book. As such, it reads more like a pedagogical dissertation. Even though I find the material accurate and structured well, this book is quite dull to look at graphically. ","grammatical_rating":5,"grammatical_review":"There are no grammatical errors.","cultural_rating":5,"cultural_review":"The text includes examples of Western and non-Western music. It is not insensitive or offensive. ","overall_rating":9,"overall_review":null,"created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":970,"first_name":"Matthew","last_name":"Andrews","position":"Graduate Student","institution_name":"Portland State University School of Music","comprehensiveness_rating":4,"comprehensiveness_review":"Quite comprehensive for its stated purpose of covering \"only the bare essentials of music theory.\" I would not use this textbook in a course intended for music majors, but it would make an excellent textbook for a non-major \"introduction to rudiments of music\" type course. The book spends a lot of time on notation and other *very* basic musical concepts, without going into very much of what I would consider serious first-year music theory.\n\nI loved the chapter on \"The Physical Basis\" of music. This perspective is missing from many classic books on music theory, and I would use this chapter by itself even in an advanced undergraduate theory course. I also very much enjoyed the sections on tuning and tuning systems, another subject which is usually glossed over.","accuracy_rating":5,"accuracy_review":"No complaints in this regard. The author's approach to terminology is broad enough (e.g. giving several terms for the same types of cadence) that any errors or limitations inherent in a single term are covered by the use of alternates.\n\nI was satisfied with the brief mention of raga theory, a subject about which I know more than a little. It's easy to mischaracterize raga, and the author did a better job than most.\n\nThe section on tuning was well researched and clearly written, although I doubt anyone who reads it will be intrigued enough to investigate Partch's or Harrison's writings on the subject.","relevance_rating":4,"relevance_review":"The content is up-to-date, but in terms of relevance it is geared more toward pop or jazz musicians than classical musicians. That said, musicians who are totally new to the basics of music theory will find plenty of material they can apply to their existing understanding and practice.","clarity_rating":4,"clarity_review":"All jargon is well-contextualized, both in-text and with links. Organization and prose are clear enough, although the written passages could all use another round of editing for empty/hedge verbiage (lots of \"probably\" and the like).","consistency_rating":5,"consistency_review":"Absolutely consistent. The author's broad approach eschews ironclad terminology for a more diffuse approach, which supports a certain robustness. On occasions when the author does make an unequivocal decision (e.g. regarding the numbering of harmonic overtones), she explains the alternatives and gives her reasons for choosing one framework over others.","modularity_rating":5,"modularity_review":"Very customizable. Each chapter is self-sufficient, especially in an electronic format; asides and explanations can be skipped or investigated with a click.\n\nI would happily use just the chapters on acoustics and tuning. Total newcomers could use the first two chapters as a primer on self-study in notation as preparation before beginning a term (this is something I might assign for summer or winter break reading).","organization_rating":4,"organization_review":"Considered as a linear book, too much time is spent early on in explaining notation and other rudimentary concerns before arriving at the meat of music theory as such. The e-book format somewhat obviates this problem. The chapters themselves are well organized.","interface_rating":3,"interface_review":"The musical examples - both written and recorded - are too few and too disparate. It would be best to create a companion site to host all of it.","grammatical_rating":4,"grammatical_review":"No grammatical issues (but see above re: prose style).","cultural_rating":5,"cultural_review":"The book is explicitly written with practitioners of the Western tradition in mind. Other traditions are mentioned, if only passingly. The important thing is that the author takes care to emphasize when a topic under discussion is a Western-normative practice and not a universal rule. This is an improvement over many other theory texts.","overall_rating":9,"overall_review":"The book could use a lot of editing; there are huge blocks of text that don't need to be so long or so wordy. A book of this nature should either have a lot more exercises or a whole separate workbook, and there should be vastly more musical examples drawn from the real world.\n\nThere is practically nothing in the way of music school level theory - no figured bass, almost no roman numeral analysis, very little discussion of cadences, harmonic rhythm, and all the other things that make theory so interesting to students of the Western art music tradition. It may only be my bias: I learned first-year theory from Piston.\n\nHowever, this textbook could be great in an introductory or survey course intended for non-majors. A rock guitarist, jazz pianist, or pop singer who wants to learn the bare minimum of musical knowledge to improve their understanding of popular music and ability to communicate with other musicians will find this book comprehensive and very useful.","created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":1012,"first_name":"Miriam","last_name":"Webber","position":"Assistant Professor","institution_name":"Bemidji State University","comprehensiveness_rating":5,"comprehensiveness_review":"This book covers a variety of topics needed for a basic understanding of music theory. Topic include notation fundamentals, acoustics, scales, forms, cadences and even transposition, modulation and an introduction to ear training.","accuracy_rating":4,"accuracy_review":"Well-informed, this book attempts to cover a wide knowledge base for music theory, with more complex terms being introduced in less detail that would typically occur in an advanced text.","relevance_rating":5,"relevance_review":"The text appears up-to-date, with regular responses to surveys, etc. recorded within the book.","clarity_rating":5,"clarity_review":"Very clear writing. Although a bit conversational as other authors have pointed out, I believe the audience for this text would appreciate the tone.","consistency_rating":5,"consistency_review":"Seems fairly consistent.","modularity_rating":5,"modularity_review":"Modularity clear and easy to navigate.","organization_rating":4,"organization_review":"Well organized for the most part, although some finer points seemed less logical. For example, a discussion of the harmonic series appears both the \"Notes and Scales\" and \"The Physical Basis\" chapters.","interface_rating":4,"interface_review":"Interface is strong. Multiple colors are used for examples, but the choice of colors seems a bit arbitrary.","grammatical_rating":5,"grammatical_review":"No grammatical errors that I found.","cultural_rating":5,"cultural_review":"The book attempts to appeal to a varied audience, and makes use of popular and more classical, and occasional non-Western styles.","overall_rating":9,"overall_review":null,"created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":1132,"first_name":"Maristella","last_name":"Feustle","position":"Music Special Collections Librarian","institution_name":"University of North Texas","comprehensiveness_rating":3,"comprehensiveness_review":"The text is imbalanced in proportion. I don't believe it necessary to have 63 pages on notation (Section 1), the longest section in the book. Perhaps there is also a distinction to be made in scope under the umbrella \"music theory,\" between mechanics (notation and key signatures), and analysis. In any case, the time spent on notation is disproportionate given the length of the other sections of the book.\n\nThere is no glossary; terms are only referenced in the index. There certainly should be a consolidated, systematic glossary, especially given how much jumping around is already built into the book (e.g., early sections referring to later sections for definitions). It would be much easier to flip to the back of the book. For that matter, definitions are sometimes inconsistent in usage and rendering (upbeat and up-beat), or neglected/left for later (relative minor is discussed without definition in Part 1).","accuracy_rating":1,"accuracy_review":"The book contains serious errors and oversimplifications. For example, the assertion about jazz eighth notes on p. 54 is false. The faster the tempo, the straighter the eighths get, with no concerted effort to accent the upbeat. (For the record, I have master's degrees in jazz guitar and music theory.) I also take issue with the use of the guitar as an example of a need for accommodations to dumb down music (pages 28, 242, 258). Chord symbols ought not to imply a crutch for the less musically literate, and capos have a nobler use than merely avoiding accidentals. \n\nThe discussion of time signatures as being like fractions on p. 35 is misleading and unhelpful.\n\nFor another example, on page 54, the literal translations of DC and DS are wrong. \"Da/dal\" means \"from/from the.\" \"Al\" means \"to the.\"","relevance_rating":3,"relevance_review":"That depends. The current plethora of problems with the book gives it a shelf life of zero. Much of the subject matter is quite timeless; revised versions would leave room for update/expansion in discussions of contemporary and international music.","clarity_rating":1,"clarity_review":"I regret to put so fine a point on it, but the problems of style and usage in the book are such that it would not make it through the door of a conventional publisher. The text is riddled with filler words and disruptive prepositional clauses and insertions (See, for example, the introduction), such that much of it could be condensed and presented much more straightforwardly.  The text's attempts to be informal and conversational do not help clarity, but again introduce unnecessary verbiage (e.g., on page 42, \"A piece that is using pickup measures...\"). The frequent use of contractions and beginning sentences with \"So\" seem stylistically inappropriate. Further problems with clarity arise in cases like page 36, figure 1.51, which reads \"If the time signature is three eight, a measure may be filled with any combination of notes and rests that adds up to three eight.\" [Did the author mean three eighth notes?]","consistency_rating":4,"consistency_review":"There are inconsistencies such as those already mentioned with terminology. As also mentioned earlier, the proportions of the sections needs to be evened out.  Stylistically, it is consistent, other issues notwithstanding.","modularity_rating":3,"modularity_review":"Sure, the text is modular, but in its present state, modularity works against it. I believe there is a balance to be struck between modularity and linearity of presentation -- the development of topics should build on what comes before. This text may be too modular, to the point of disjunction. For example, relative minor is mentioned in part 1, but the main treatment of it does not appear until part 4. On page 38, compound meter is introduced without definition in that section. Similarly, intervals are discussed without definition or introduction early in the book, but treated in earnest in part 5. The discussion of enharmonics should at least make a nod toward issues of temperament, brass, and fretless stringed instruments much sooner. Also, it may not be necessary to reinvent the wheel in terms of organization: Many conventional theory texts model an effective progression of concepts.","organization_rating":1,"organization_review":"As already noted, the text's modularity is in some cases counterproductive, thwarting a linear progression of ideas that build upon one another. Within smaller sections of the text, there are also instances where a discussion could be consolidated, such as the disjointed discussion of accents on pages 57 and 59. The discussion of enharmonics on pages 21 and 22 seems redundant with that of page 17.  It seems like the text was not edited to combine, rearrange, expand, and contract what was originally entered into the word processor.","interface_rating":1,"interface_review":"The choice of font is not easy on the eyes, at least in the current PDF presentation. It should be a consistent black, rather than the varying shades of black to gray the PDF currently renders. Inconsistencies in the font (and the use of too many fonts in examples) detract from the presentation of the text. \n\nThe text also links to a multitude of file formats of questionable audio quality (midi, mp3, swf). It would help at least to pick a format and use it consistently.","grammatical_rating":3,"grammatical_review":"As already noted, the text contains numerous problems of style and usage, partly in an attempt to be informal/conversational. The larger problems are stylistic and typographical.","cultural_rating":3,"cultural_review":"I've already noted the apparent bias toward the guitar as the dummy of the stringed instrument family; the other item that jumped out at me was the implication of a single, monolithic African-American tradition on page 48. I would also strongly discourage the word \"jazzy,\" which causes actual jazz musicians such as myself to cringe inwardly. The discussion of ragas and international music is not wrong, but seems general, perfunctory, and does not add much value in terms of detail.","overall_rating":5,"overall_review":"This text urgently needs to be proofread, edited, re-organized, and rigorously held to a style manual for matters like the placement of punctuation inside quotation marks, the use of \"p.\" rather than \"pg,\" and overall writing style. Again, I regret to put too fine a point on things, but the text as it stands now is not a credit to the noble goal of the open textbook initiative.","created_at":"2017-04-11T19:00:00.000-05:00","updated_at":"2017-04-11T19:00:00.000-05:00"},{"id":1164,"first_name":"Stephen","last_name":"Martorella","position":"Adjunct Instructor","institution_name":"Rhode Island College","comprehensiveness_rating":4,"comprehensiveness_review":"The text covers the basics of music theory as laid out in the table of contents in four of six sections with some additional peripheral material in the other two sections. While some subjects are well covered, including the most important basics of music theory, many other more advanced concepts are “introduced” but given only cursory treatment. This makes an instructor an essential element in terms of how to present the material, how much of it to present, in what order to present it, and what perhaps is better left to another course. The introduction explains the rationale to the book and suggests the many ways it could be used. The table of contents is very well organized presenting topics and sub-headings that function as keywords. The index was less useful as it was a bit confusing, in some cases referring generally to sections but not necessarily specific to the item being looked up. Terms were generally given a specific page, but some were missing. A glossary would have been helpful.","accuracy_rating":5,"accuracy_review":"Content is accurate, error-free and unbiased.","relevance_rating":5,"relevance_review":"Content is up-to-date, but not in a way that will quickly make the text obsolete within a short period of time. The text is written and/or arranged in such a way that necessary updates will be relatively easy and straightforward to implement.","clarity_rating":3,"clarity_review":"Sometimes the text is clear, straight forward and easily accessible, unfolding complex ideas in a clear step-by-step manner that aids in overall comprehension. At other times, however, the text is wordy and confusing, introducing terms that are not always explained, and often requiring the reader to jump about to receive those explanations. Some of the more basic yet difficult to grasp ideas, as for example the basics of rhythm such as downbeat and upbeat, are more easily shown by example, perhaps a video link, in the event the book is being used in a class where musical demonstration might not be available by the instructor.","consistency_rating":3,"consistency_review":"The text is not consistent in terms of terminology and framework, some chapters are very advanced but incomplete, while others are clear and lucid. The first module on notation seemed the most complete, being comprehensive, clear and well laid out in terms of organization and unfolding of the topic.","modularity_rating":5,"modularity_review":"This is the strongest suit of the book, being well sectioned and in such a way that modules can be arranged and re-arranged with sub-headings also referenced numerically, i.e. 3.1, 3.2 etc. Since many sections introduce ideas that are explained in later chapters and/or subdivisions, instructors may chose to re-arrange that material accordingly. Similarly, one might not want to break up introducing the basics with “The Physical Basis of Sound” a well-laid out but far more technical and scientific chapter (3) which comes between Notation - Basic Music Definitions (chapters 1 and 2) and chapter 4 which introduces intervals and scales along with such concepts as half and whole steps, octave, intervals, major and minor, harmonic series and the circle of fifths. It would do well for the instructor to read the Introduction which gives the rationale of the book, its organization, and how it’s various modules can be adopted to fit “different needs, levels, and skill strengths”.","organization_rating":3,"organization_review":"The topics in the text are often, but not always, presented in a logical and clear fashion. It is sometimes necessary to jump about to get a more comprehensive understanding of a topic. Some very advanced concepts are introduced in an incomplete manner and then dropped, perhaps better to be left for another course. Other ideas seem to interrupt rather than complement what is being presented. To be fair, the author states up front that people have different needs and are at different levels, and what might suit one might not do as well for another. That is the beauty of the modular organization, that it can be refitted in so many ways, but it will require that insight from an instructor, so this is not a book to be recommended for those who wish to be self-taught.","interface_rating":4,"interface_review":"There are many music examples given in the text which display what is going on, and there are often links to sound or score samples of music that demonstrate the various concepts under discussion. Not all of the links worked, but that is something that can be addressed as the work undergoes review and revision.","grammatical_rating":5,"grammatical_review":"The text contains no grammatical errors.","cultural_rating":5,"cultural_review":"While the theory of music is culturally neutral, the examples that underscore draw from an inclusive of a variety of races, ethnicities, and backgrounds, and styles, and from popular, rock and jazz as well as classical musics. This is sensitive not only to cultures but also to different historical periods, as for example chapter 6 “Challenges” which contains sub-sections on different tuning systems and one on modes and ragas.","overall_rating":8,"overall_review":"This is such an enormous venture to undertake that I can only express deepest admiration and congratulations for the fine work that has been presented thus far, acknowledging that this book has the potential to reach a very wide audience of potential converts to the wonderment of the musical arts through an understanding of the structures and ideas that form the basis of musical creation, musical performance, musical listening, and musical enjoyment. Kudos and much thanks.","created_at":"2017-04-11T19:00:00.000-05:00","updated_at":"2017-04-11T19:00:00.000-05:00"},{"id":1438,"first_name":"Claire","last_name":"Boge","position":"Associate Professor and Coordinator of Undergraduate Music Theory","institution_name":"MIami University (Oxford Ohio)","comprehensiveness_rating":4,"comprehensiveness_review":"The book covers material corresponding to what most call Basic Musicianship and Fundamentals of Music and Music Notation, as well as more general terminology that would apply to Music Appreciation. It also adds material introducing the basic concepts of the Physics of Music and how it works in various instruments. Despite showing modules on Form, Cadence, and Beginning Harmonic Analysis, the author makes it clear that many of these concepts are more advanced and recommends additional sources be used. The book could use a module covering figured bass -- and although there is a cross reference to other published software on this topic (ArsNova), that software requires purchase or a site license and is not accessible through the open source text.","accuracy_rating":4,"accuracy_review":"The content is accurate but some of it needs to be updated. See below.","relevance_rating":4,"relevance_review":"The text is written in a way that updates should be easy to implement, and the author is very conscientious to tell students in the preface that whenever multiple terms exist, they will be given. The current content is accurate but some of it needs new supplementary data: 1) Octave designations should also refer to include Acoustical Society names as well as Traditional names, and given the book's implied target audience, MIDI-standard might also be a good idea; and 2) Outside references should be maintained to make sure that the most recent editions are cited (such as Grout [Palisca/Burkholder] History of Western Music).","clarity_rating":4,"clarity_review":"The text is clearly written. I particularly like that the author sometimes interrupts the \"facts\" by asking questions which take the reader to the next explanation. This begins to subconsciously set a theoretical mindset of looking for deeper explanations. I especially recommend that everyone read the Introduction before going into any of the modules! It is one of the best parts of the book, and not only sets the stage for what the book does, but also how it fits within the larger context of explanations.","consistency_rating":4,"consistency_review":"The book is clear, with terminology consistent throughout. But, different modules seem to be written for different levels of students. The early chapters are presented very basically and are extremely thorough -- some even contain external lesson plans clearly written for beginning classroom teachers following national standards. Later chapters, such as those on acoustics and terminology, seem to be addressed to a college audience. This extends to methodology as well. Earlier content is more algorithmic in nature (teaching treble clef as EveryGoodBoyDoesFine instead of G-clef with the alphabet surrounding the G-line); later material is more linguistic (definitions of different textures and presentation of interval inversion, for example). It is not offensive, but it does make for some awkwardness if one jumps around in the modular sequence.","modularity_rating":5,"modularity_review":"Modularity is one of the best aspects of this publication. Sections are clear; subheadings are frequent, examples are peppered throughout, and everything is graphically pleasing. It would be easy to use some modules and not others and maintain consistency.","organization_rating":4,"organization_review":"The book generally follows an established pedagogical flow frequent in many similar presentations. The only interruption is with the Physics materials. It does make sense to introduce the scientific explanations when they are pertinent, but it would also be helpful to collect them all in one place. For thorough review readers, compile Module 3 with 4.6 for a complete unit.","interface_rating":3,"interface_review":"I found the book difficult to navigate on a Mac and iOS. I did not test materials on a Windows interface. I looked at all three options: PDF, e-pub, and Open Stx CNX. CNX is by far the easiest to navigate with the cleanest links. All versions require that one leave the text and download the audio examples, play the examples, and then return to the text. Many examples would not play. When I would look up the direct weblink in footnotes, I would often encounter \"error 404\". It would be difficult for a less patient person to keep trying in different formats. I was initially confused by the fact that Examples, Exercises, and Text all have numbers but that the numbers don't necessarily align. Text unit 4.5.3.3 also contains Example 4.8 and Exercise 4.14. For a while, I couldn't find anything and their placement made no sense while jumping from module to module and checking out answers. Once I figured it out, it was okay but remains counterintuitive.","grammatical_rating":5,"grammatical_review":"Grammar is accurate and clear. It is mostly uncomplicated.","cultural_rating":4,"cultural_review":"The book primarily is focused on materials relevant to popular, jazz, and classical musicians. Lead sheet and Roman numerals are both covered, but there is a clear tilt towards the skills and knowledge needed for gigging musicians. There is some inclusion of other cultures and nontraditional scales, moreso than in most introductory books of this nature. Modes and Ragas are covered, as well as octatonic and some older scales such as Hungarian major. With the exception of using \"Every Good Boy Does Fine\", the prose is ungendered and the explanation that underlies \"western\" and \"world\" terminology is clearly presented and its bias is acknowledged.","overall_rating":8,"overall_review":"This book is most appropriate for use by amateurs who wish to know some details about the construction of musical elements. It would be useful as a textbook in a non-AP secondary school level music theory class. It could also be a good supplement for students taking a Music Appreciation type of Gen-Ed course. It could possibly supplement a World Music Gen-Ed course. It is not appropriate for adoption by music majors at the university level for anything past a first-semester or remedial Music Fundamentals course. It could, however, be a good resource for summer study by music students prior to their first university theory course. The author has clearly spent a great deal of time and effort on this resource, and I hope she continues her devotion to the task.  Disclaimer: I am a coauthor of a different Music Fundamentals textbook; nonetheless, I have reviewed this resource objectively and dispassionately and made every attempt at balanced scholarly evaluation in my comments. This is a valuable resource for everyone concerned about the cost of materials to consider.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1494,"first_name":"Joshua","last_name":"Harris","position":"Assistant Professor of Music","institution_name":"Sweet Briar College","comprehensiveness_rating":4,"comprehensiveness_review":"The title and introduction's stated objective (\"to explore basic music theory so thoroughly that the interested student will then be able to easily pick up whatever further theory is wanted\") are vague enough that the question of comprehensiveness becomes difficult. There is in the book a comprehensive discussion of musical mechanics and notation, in some cases more than a \"basic\" course would require (specifically discussions of orchestration, acoustics, and temperament). However, these tangential topics are far from comprehensive themselves. Also, it is difficult to place this in a college music theory curriculum; it's too advanced at times to fit the rudiments or fundamental (i.e., preparatory) course, but it lacks any substantial discussion of counterpoint, voice-leading, modulation, or chromatic harmony, which are common to the typical four- or five-semester theory course, usually covered by a single text. As an introductory survey of music-theoretical concepts, however, I would call this very comprehensive.","accuracy_rating":5,"accuracy_review":"The book is accurate for the most part, if imprecise at times. The discussion of time signatures, for example, is misleading but ultimately harmless (the old top number/bottom number rule about what note gets the beat, etc., doesn't apply to compound meters). Da capo and Dal segno are also translated incorrectly as \"to\" the head and sign, although the gist remains correct (i.e., one does, in fact, go back \"to the head,\" etc.).","relevance_rating":4,"relevance_review":"The basic mechanics of music and music notation are unlikely to change soon, but some broken links here--apparently intended to take the reader to online discussions about certain ideas--suggest that it might already be out of date. There is some indication on another website that updates are being made, or were intended to be made, by the author, but it isn't clear what the timeline for these updates is. The only date seems to be the original publication date of 2013.","clarity_rating":3,"clarity_review":"The conversational style of the prose undermines the book's clarity. The technical terminology is adequately explained, although sometimes it is not well-defined at the time it is introduced. However, a hyperlink is always provided to a more complete definition.","consistency_rating":5,"consistency_review":"The book is internally consistent. This is reinforced by hyperlinks throughout the epub version.","modularity_rating":5,"modularity_review":"Generally, the book is modular enough to be useful. I can envision a teacher being able to easily realign the subunits without presenting disruption to the reader. However, the layout (of the epub version, especially) often detaches subheadings from text, causing some mild confusion.","organization_rating":3,"organization_review":"It seems like modularity has won out over logical flow of ideas. Enharmonic intervals and chords are included in the discussion of enharmonic pitches, for example, well before the concept of chords is introduced. I like the idea of links, but they might be overdone. The structure of the text relies on students' ability to make good use of the links to follow threads of complementary and reinforcing ideas, but beginning students won't know what fits together, and they could get lost. Also, there are intrusive notes from the author regarding an online survey, which is now closed, throughout the text.","interface_rating":3,"interface_review":"The layout (epub version) feels cluttered. I would appreciate more space between headings and text, as well as above and below musical examples. Musical examples were very amateurish, using an unusual music font that was difficult to read. There were also frequent collisions of musical symbols (especially double flats) and some superfluous symbols (for example, it's distracting and irrelevant to use an 8/4 time signature when discussing intervals).","grammatical_rating":5,"grammatical_review":"The text contains no grammatical errors, though inconsistencies in style and fonts are distracting and imprecise.","cultural_rating":4,"cultural_review":"The text does a good job including discussion of (or at least mentioning) music from a variety of cultures.","overall_rating":8,"overall_review":"At the risk of criticizing the book for what it isn't instead of what it is, I would just say that for this reviewer, an introductory text that had less prose and more focused text, such as lists with key terms, definitions, etc., to accompany the already useful examples, would be more helpful.","created_at":"2017-08-15T19:00:00.000-05:00","updated_at":"2017-08-15T19:00:00.000-05:00"},{"id":1679,"first_name":"Sean","last_name":"Doyle","position":"Professorial Lecturer","institution_name":"American University","comprehensiveness_rating":4,"comprehensiveness_review":"Overall, the text is a comprehensive approach to the fundamentals of music theory, with particular focus on the standards and conventions of music notation.  There is a detailed index but no glossary.  The addition of a glossary could be helpful, especially with regard to terminology that is often mixed-up or easily confused by students beginning to read music - \"meter\" vs. \"time signature\", for example.  This is described in a note in the body of the text, but appearing in a glossary would make for a quicker, more straightforward delineation between the two concepts.  ","accuracy_rating":4,"accuracy_review":"The content, in general, is accurate and unbiased. Some of the notational symbols are a bit of out the ordinary - the double-flat, for instance - is graphically not quite what one would see in printed music (the flat signs \"smushed\" together or overlapping).  This may be a result of the unique notation program being used to render the musical examples. The inclusion of a more systematized approach to counting rhythms (rather than 1-\u0026amp;, 2\u0026amp;) would not only be more helpful but certainly appropriate to the learning abilities of the student for whom this text is intended. ","relevance_rating":5,"relevance_review":"Content is relevant and will not be obsolete, other than perhaps occasional references to specific technologies. ","clarity_rating":4,"clarity_review":"The tone of the text is straightforward and accessible.  Concepts are expressed simply and directly.  Longer sections/bodies of text (especially in later chapters pertaining to form) could be clarified by including more musical examples. ","consistency_rating":5,"consistency_review":"The text maintains a conscious, consistent use of terminology. ","modularity_rating":5,"modularity_review":"This is perhaps this text's greatest strength - the sectionalization and numbering of each concept.  There is occasional self-reference, but entirely to the benefit of the reader in developing upon concepts and ideas.  The text is very easily navigable and assigning discrete units to correspond with distinct sections of an assignment or course outline would be very easy for any instructor to manage.","organization_rating":4,"organization_review":"Overall, the organization of the topics in this text is good.  Perhaps the early, detailed introduction to acoustics (Ch. 3) would be better suited with the later discussion of those concepts within the context of hearing (ear-training), would form a more cohesive organization of that concept.","interface_rating":5,"interface_review":"The interface of the text seems clear and easy to navigate. It took me a while to realized the linked content in footnotes was occasionally supplemental material and not just online access to the print material of the text - this could be made more explicit in the front matter of the book.","grammatical_rating":4,"grammatical_review":"The grammar is accurate.  Occasionally the tone of the text suggests a certain uncertainty (using colloquial terms like \"pretty much\", \"tends to\", etc.)","cultural_rating":4,"cultural_review":"Although there are not many examples of notated musical works cited in the text (for reasons of copyright, presumably), there are mentions of musical examples from a diverse variety of cultural backgrounds.   ","overall_rating":9,"overall_review":null,"created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1882,"first_name":"Scott","last_name":"Ethier","position":"Adjunct Lecturer","institution_name":"LaGuardia Community College, CUNY","comprehensiveness_rating":3,"comprehensiveness_review":"In some ways, this book is very comprehensive – maybe too comprehensive (do we really need 4000 words on tuning systems in an introductory text?).   But it does cover all of the topics you could expect to get through in an introductory theory class.\n\nIn other ways, it’s missing some vital components.  So much of introductory music theory is about mastering skills like reading music and building scales and chords.  There are some exercises in this book, but there is no attempt at bridging the gap between the concepts being discussed and their practical application.\n","accuracy_rating":5,"accuracy_review":"I found to book to be accurate throughout.","relevance_rating":4,"relevance_review":"The core content of the book (such as notation, scales, and chords) is well-traveled ground. 80% of the material is identical to what a music student would have learned a century ago, and unless the priorities of music theory pedagogy change radically, it will be relevant for the foreseeable future.\n\nWhat feels out of date to some degree is the nature of the project – a closed-source, PDF/HTML-based textbook.  We live in an era where someone in a video will take you by the hand and show you how to voice an C7b9 chord, the best way to finger a Bach cello suite, or how to create the nastiest bass drop in your dubstep remix.  There’s no way a single authored textbook could compete with resources that vast and accessible.\n\nPerhaps the answer is a text that is open source, allowing many users to edit and contribute to the text?\n","clarity_rating":2,"clarity_review":"This book is clear enough if you’ve already mastered the subject and just need a reference.\nIf you don’t have a background in music theory, this book will be a dry and potentially confusing read.\n\nIt’s difficult to write clear and engaging prose about music theory.  The best music theory writing emerges organically from a question or observation about a piece of music.  Music must be at the center of any effective music theory discussion.  This book takes the opposite approach, introducing many topics abstractly without any reference to an actual piece of music.\n\nTake for example its discussion of the triad:\n\n--------------------\n5.1 Triads\n\nHarmony (Section 2.5) in Western music (Section 2.8) is based on triads. Triads are simple three note\nchords (Chords) built of thirds (pg 137).\n\n[Fig 5.1 is here in the original]\n\nThe chords in Figure 5.1 are written in root position, which is the most basic way to write a triad.\nIn root position, the root, which is the note that names the chord, is the lowest note. The third\nof the chord is written a third (Figure 4.26) higher than the root, and the fifth of the chord is\nwritten a fifth (Figure 4.26) higher than the root (which is also a third higher than the third of the\nchord).  So the simplest way to write a triad is as a stack of thirds, in root position.\n\n--------------------\n\nThis is all technically correct, but it’s not very helpful to the student who knows nothing about triads.  And it’s dull.  Learning how to build and play triads should be one of the great “aha” moments for a student in music theory.  They’re so simple, yet so powerful and versatile.  When you understand the triad, a whole world of harmony opens up to you.  \n\nA student may be able to decode (with some difficulty) the book’s instructions for building a triad, but they’ll have no sense of why the triad matters (here’s a place where examples of actual music could be helpful).\n\nWe generally don’t expect that an introductory music theory text will be a compelling book.   But we really should (and this is a criticism I’d level against many commercially produced textbooks too).  Some of our students are artists.  Some of our students are civilians who are starting a potentially life- long engagement with the arts.  If teaching music theory is important, we must get in the habit of writing our textbooks with clarity and passion.\n","consistency_rating":5,"consistency_review":"The ideas and terminology seemed consistent from section to section.","modularity_rating":5,"modularity_review":"It is as modular as an Intro to Theory text could be (although it’s not clear to me why modularity would be desirable in this case).  When the book references material from other sections, it clearly points students in the direction of that material. ","organization_rating":4,"organization_review":"The organization of the topics made sense.  The chapter on acoustics, while informative, seemed to disrupt the flow of the rest of the book a bit (although one could skip that chapter without any problem).","interface_rating":1,"interface_review":"The book’s interface is a real problem on several levels. \n\nThe book’s layout (at least the PDF version) is reminiscent of a journal article.  The text is formatted in a clear but small font and densely packed with very little whitespace (we’re working in a virtual medium – please use all the whitespace you need!).   Diagrams and musical examples are referenced (such as “Fig. 4.2.1”) rather that incorporated directly in the layout of the text.  There are copious footnotes and headings are numbered four levels deep (“6.2.2.1 Pythagorean Intonation”).\n\nAll of this works to make entry-level music theory look as inviting as the instructions on your tax return.\nThere are plenty of references to supplementary material, but those references are buried in footnotes that contain inactive web links (meaning you can’t just click on them, you need to copy the link and paste it in your web browser).  And many of the links are broken.\n\nThe diagrams are unappealing and poorly laid out, making it difficult to understand the concepts they are trying to communicate (for example, the circle of fifths chart in Fig. 4.44).  The book is set mostly in black and white, but every once in a while parts of the text in figures will be arbitrarily printed in red or blue (see Figure 1.74). \n\nThe most troubling element is that the musical examples themselves look amateurish.  Music notation software capable of creating professional-looking music layouts has been widely accessible for decades.\nSome of the problems I have are quibbles (like the out-of –proportion bass clef in Fig. 1.1), but some are inexcusable (like the incorrect stemming of the bass clef line in Fig. 1.10), and some are just bizarre (like Fig. 4.9 where an un-metered musical example is given the time signature 8/4).   But in an introductory theory class where learning to clearly and correctly notate music is a priority, sloppy musical examples are inexcusable.\n\nDesign may seem like a trivial thing to criticize in a textbook, poor layout and design can be a major impediment to effectively communicating a book’s ideas.\n","grammatical_rating":5,"grammatical_review":"I didn’t find any problems with the grammar of this book.","cultural_rating":2,"cultural_review":"There is very little actual music in this text, and as a result the book has almost entirely removed music theory from its cultural context.   It equally ignores the actual music of most eras and cultures. There’s no Mozart, no Bach, no Gershwin, and no Stevie Wonder. \n\nIt does deal with some theory topics outside of the realm of classical music, such as the blues scale.  But there isn’t a single lick by Robert Johnson or Thelonious Monk  to be found.\n\nIn the places the book does use actual music, the choices lean in the public-domain folk direction (for instance, transposition is introduced via the sea-shanty “The Saucy Sailor”).\n\nI realize the nature of this project might limit it to public domain music, but that still includes a vast amount of repertoire.  Also, there is some room under fair use for some use of copyrighted material (and maybe the Open Library Textbook project could guide authors on how to use that right to its fullest extent).\n","overall_rating":7,"overall_review":"I’ve been critical of this text, but I’d like to acknowledge the enormous amount of work that Catherine Schmidt-Jones has put in to creating this book.   Her task was not only to write a theory text from scratch, but also to make the case that an open textbook could be a viable alternative to commercially produced textbooks.  This is a necessary and important first step.  I’m grateful that she took it and I’m rooting for its ultimate success.","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":2182,"first_name":"Jason","last_name":"Heald","position":"Associate Professor","institution_name":"Umpqua Community College","comprehensiveness_rating":5,"comprehensiveness_review":"This textbook is very comprehensive in the range of subjects it covers. In an effort to \"cover all the bases\", some of the most crucial skills necessary for understanding music theory receive relatively superficial treatment, while topics with less immediate application are covered in great detail. For example, one might question whether a student with no musical background could successfully learn to read music notation given the brief explanations and limited exercises presented in the opening chapter, and one might also be skeptical of the usefulness of such a detailed explanation of the physics of sound to the beginning musician. That said, the topics covered in the textbook represents a broad base of knowledge.","accuracy_rating":4,"accuracy_review":"The book is generally quite accurate with occasional lapses. For example, on page 198, labeling a V7/vi as a III7 and a V7/IV as a I7 is incorrect, and is likely to cause confusion for the student when they study secondary dominants. It would be best if all musical examples could be explained accurately with the information presented in the textbook.","relevance_rating":5,"relevance_review":"It is not likely that the subject matter will become out-dated, so this textbook should remain relevant for a long period of time. Supplementing the text with new information should be easy to incorporate.","clarity_rating":5,"clarity_review":"The book is clear and well-written. Again, for the non-musician, the compressed presentation of some topics, e.g., notation, might be difficult to understand and quite daunting.","consistency_rating":5,"consistency_review":"The book seems consistent in its use of language and accurate in its terminology.","modularity_rating":5,"modularity_review":"One of the strengths of this book might be its modularity. Chapters are relatively self-contained and could be used to supplement other textbooks or course materials.","organization_rating":3,"organization_review":"The organization of this textbook is somewhat baffling and, perhaps, its weakest attribute. For instance, it is perplexing that the concept of key signatures is introduced in the first 20 pages, yet intervals and the circle of fifths are not discussed until the second half of the book. if the topics were to be taught in the order presented in the book, instructors might find this book very difficult to use.","interface_rating":5,"interface_review":"The textbook has rather primitive-looking graphics and notational examples. But it doesn't detract from the overall effectiveness of the textbook.","grammatical_rating":5,"grammatical_review":"The text appears to have no grammatical errors.","cultural_rating":5,"cultural_review":"The book is grounded in Western European tradition, but makes some effort to be culturally inclusive. Its language is in no way culturally insensitive.","overall_rating":9,"overall_review":"This textbook is very intriguing and well-written. However, I would find it difficult to use as a primary textbook for either music majors or non-majors. It lacks the necessary depth in subjects like figured bass and harmonic analysis for music majors, and it covers too much ground for a music appreciation or music fundamentals classes. However, it might be an excellent supplemental textbook for all three of the prior courses and a host of other music classes.","created_at":"2018-06-19T19:00:00.000-05:00","updated_at":"2018-06-19T19:00:00.000-05:00"},{"id":2188,"first_name":"Keith","last_name":"Bradshaw","position":"Associate Dean, College of Performing and Visual Arts","institution_name":"Southern Utah University","comprehensiveness_rating":4,"comprehensiveness_review":"The text is fairly comprehensive, a bit too comprehensive for a music fundamentals class.  Sections of the book go a little too much in depth for a beginning music theory student with no experience.  The index is useful and thorough.","accuracy_rating":5,"accuracy_review":"The materials presented are accurate and presented well, though the sequence of materials is perhaps different than other similar texts.  Explanations are sometimes too in depth and others too shallow.","relevance_rating":5,"relevance_review":"The text is current and is not likely to lose its relevance.  The elements of music are fairly constant, though teaching styles may vary.  Updates should be simple to make.","clarity_rating":4,"clarity_review":"The writing is accessible and reads well.  At times, the explanations are too lengthy for a beginning fundamentals text and cover elements that are for more advanced study.","consistency_rating":5,"consistency_review":"Consistency is appropriate for the subject.  Terms and explanations are constant throughout the text.","modularity_rating":5,"modularity_review":"The text is easily divisible into smaller sections.  Instructors should be able to tailor the content to fit their desired teaching style and delivery method.","organization_rating":3,"organization_review":"The flow can be a bit awkward at times, mentioning terms and concepts before an explanation has been provided.  The text seems to wander as it covers a bit too much material for a fundamentals course.","interface_rating":5,"interface_review":"I found no interface problems with the text.","grammatical_rating":5,"grammatical_review":"The language of the text is appropriate and grammar is correct.","cultural_rating":5,"cultural_review":"The text discusses western music and is not meant to be all-inclusive culturally.  I discern nothing offensive in the text.","overall_rating":9,"overall_review":"Though the text may be a bit too comprehensive, it can be a valuable resource for OER users.","created_at":"2018-06-19T19:00:00.000-05:00","updated_at":"2018-06-19T19:00:00.000-05:00"},{"id":2255,"first_name":"Jacob","last_name":"Lee","position":"Adjunct Professor","institution_name":"Southern Utah University","comprehensiveness_rating":5,"comprehensiveness_review":"For a book on basic music theory, this textbook is quite (if not excessively) comprehensive, covering much of what should or could be covered in a Theory Fundamentals or Remedial Theory course.","accuracy_rating":4,"accuracy_review":"The text approaches music theory from a physical (sound waves, overtones, and other physical science) and world perspective (attempting to integrate aspects of jazz and non-western music with typical western music theory). The content appears to be mostly error-free with a few exceptions that I found:\n\n- Minor grammatical issues: nothing too serious. My favorite example, though was on pp. 28: \"If a note does not have head...\". \n- Theoretical disagreements that might be addressed: pp. 37: in Figure 1.53 the text says \"how many downbeats in a measure\". For consistency, the author could use what they wrote in Figure 1.55: \"Beginning of beat\". The argument that there are 4 downbeats in a 4/4 measure is misleading - there should be one downbeat per measure, the other beats being \"weaker\". Perhaps the author could say: \"How many beats in a measure\". Some small mention of hypermeter might do well here.","relevance_rating":5,"relevance_review":"By involving non-Western music, jazz, and popular music alongside Western classical music, the text provides a resource that is relevant in modern society at large. Updates undoubtedly will need to occur as time goes on, but any relevant music theory book will have to do so.","clarity_rating":2,"clarity_review":"Although the text often provides succinct definitions for musical terms, it does tend to be somewhat on the verbose side. With music being a somewhat difficult subject to capture verbally, I would have appreciated more visual and audio examples.\n\nThe formatting of the text could be improved so that it is more clear what is to be gained by reading the text (ie more use of bold and/or italic text; summary sections at the beginning or end of chapters; short definitions of vocabulary in the margins).","consistency_rating":4,"consistency_review":"The text's framework and terminology is mostly consistent (see \"accuracy\" section for an example where the book is somewhat inconsistent).","modularity_rating":4,"modularity_review":"The text, although at times quite wordy, are divided into units that could easily be addressed (perhaps at times with some pre-assigned reading) within a typical class period.","organization_rating":2,"organization_review":"The flow of this text is where I take the most issue. Beginning with the chapter on notation requires the reader to look ahead from nearly every section in the chapter to fully understand each concept. Some examples: the section on sharps/flats (1.1.3) is addressed well before the section on half steps/whole steps (4.2); Enharmonic intervals and chords (1.1.5.3) is addressed before chords and intervals (4.5).\n\nI understand with the larger organization of the text why these topics are not put close together, however, I would advise shifting chapters or sections around to avoid constantly flipping ahead in the book. It might be nice to move the chapter on definitions or the chapter on physical science to the beginning. In any case, the sections on tone and rhythm should occur before the sections on notation.","interface_rating":2,"interface_review":"Several of the hyperlinks are ineffective. On the positive side, the images are all free of distortion.","grammatical_rating":4,"grammatical_review":"There are a few grammatical errors (see \"Accuracy\"). They are mostly minor issues that would not greatly distract from the subject at hand.","cultural_rating":5,"cultural_review":"This is a huge bonus for this text. It makes a point to cover aspects of music involving jazz and popular music topics such as chord symbols, upper extensions, and swing, as well as world music topics such as exotic scales and ragas. Although based in Western theory, the text involves plenty of non-Western musical approaches.","overall_rating":7,"overall_review":"This text would be ideal for a theory fundamentals or remedial theory course - especially if there is minimal teacher interaction available. Although at times the text diverges to topics arguably more advanced than basic (ie altered chords), with guided reading the student could fill gaps in their musical knowledge that would better prepare them for a collegiate music education. \n\nOne additional suggestion would be to have even more exercises available at the end of each section.","created_at":"2018-06-19T19:00:00.000-05:00","updated_at":"2018-06-19T19:00:00.000-05:00"},{"id":2393,"first_name":"Sarah","last_name":"Muehlbauer","position":"Doctoral Student/Teaching Assistant","institution_name":"James Madison University","comprehensiveness_rating":2,"comprehensiveness_review":"I thought that this textbook covered too much for a music appreciation/intro to music theory non-music major course if the students had little to no background whatsoever in music reading, but far too little for any music major music theory sequence. For a music major, it would not be able to be used beyond the first semester of the music theory sequence and much of the first 90 pages would likely be skipped by music majors who already know how to read music, and typically schools adopt a textbook set that covers 3-5 semesters of music theory in the music major theory sequence. The textbook spends so much time on notation (60 pages) plus “definitions” (another 30+ pages), so 90+ pages is spent on introductory material, which would really only be helpful for someone who is just now learning to read music, so I cannot really see this effectively being used. A music major fundamentals course (prior to Theory I) would not need quite that much on notation, but too detailed for a non-music major music appreciation course. \r\n\r\nThis book goes on to spend a significant amount of time on tuning, harmonic series and acoustics, which would most likely be overwhelming to a non-music major. These topics are not always even included in standard music theory textbooks for music majors, or if they are, it does not have much time spent on it. Those topics are generally pretty confusing to freshmen/sophomores, even for music majors and I would not call them “basic” music theory, unless just introducing them in a few paragraphs, but this book spends half/full chapters/long sections on those topics. \r\n\r\nFor a music major theory sequence, it is missing a ton of expected topics (voice leading, part writing, secondary/applied chords, modal mixture, phrase model tonic-predominant-dominant progression, figured bass, non-chord tones, far too little on Roman numbers/analysis, modulation only gets a paragraph, sequences, an introduction to 20th century theoretical analysis and other topics, etc.), so it would not be usable for that. This book takes 136 pages in until it even gets to talking about intervals! \r\n\r\nThe book, however, does include a lot of definitions throughout the text, but at times can be overwhelming with just pages and pages of definitions without examples—just text, like a research paper. \r\n\r\nThe text includes a decently well detailed index at the end but no glossary.\r\n\r\nIt has links to an online website with more information, which is a good idea.","accuracy_rating":3,"accuracy_review":"Overall, for the topics it chooses to present (although it lacks many topics or spends too much/too little time on many), it is mostly accurate as far as I could tell, but did find a handful of errors in my look-through of the book. My guess is there is more if you read it word for word. While I’m sure I missed some, here are the errors I found: \r\n•\tDouble flat symbol is inaccurate- the two flats are on top of each other, rather than right beside each other (pg. 18)\r\n•\tEnharmonic scale example is technically “accurate,” but very poor in truly explaining it—uses E-flat major and D-sharp major scale as its example of enharmonic scales—do we really ever use D-sharp major, a scale with F-double sharp? Why not use a “real” example, such as G-flat and F-sharp major as an enharmonic scale? That would be much less confusing to someone reading this for the first time (pg. 24)\r\n•\tThe meter/beats section (with duple simple, duple triple, etc. meters) ignores divisions of the beat—should have a chart for this, which is much clearer in other theory texts I’ve seen (pg. 37).\r\n•\tThe suggested list of pieces to listen to for texture examples is not bad, and somewhat useful, but not the best examples for a student first learning about this—this could be easily improved (pg. 82).\r\n•\tOctaves- labels them as C1, C2, etc. on a piano which is correct, but then says, “many musicians use Helmholtz notation” system of “CC, C, c, c1, cii,…” (pg. 119-120) and is not a basic understanding of this\r\n•\tScale degrees are simply listed as numbers under the scale (“1, 2, 3,…”) instead of with the little carrot-type symbol above them to indicate that they are a scale degree and not just a number (pg. 190)\r\n•\tChord labeling (pg. 198)—ignores mentioning secondary dominants, and chose poor examples for Roman numeral chord analysis in a traditional textbook sense)","relevance_rating":5,"relevance_review":"I don’t see relevance as a huge issue with a music theory textbook presenting “basic” or standard concepts. These don’t really change. If it was a textbook on 21st century or more modern music, that may be more of an issue.","clarity_rating":4,"clarity_review":"The textbook is generally pretty clear in its explanations, although a bit wordy at times. It has long paragraphs of text sometimes without having any examples or anything to break up the textual information. It does explain all terminology/vocabulary words and has all of them bolded, which I found helpful. It seemed very definitions-based.\r\n","consistency_rating":4,"consistency_review":"While there are other issues with this textbook, it is very consistent in its formatting. Terms are bolded, examples contain red and blue color highlighter, and sections are organized with headings. I found the “section citations” useful to go back if you need to, which I would say is incredibly helpful to a student rather than flipping through fretting when you forget something and going “now where was that information on inverting intervals again?” (i.e.: within the text for a particular topic when it references a formerly discussed topic, it puts “Section 1.2.3” in parentheses if you need to go back and review that information; it has basically in-text citations of topics rather than having to look at the index for a previously discussed topic).\r\n\r\nAlthough the formatting is consistent with colors and all, I found it to be literally very “black and white,” and it could use some color or graphics to spice it up and keep a student interested.","modularity_rating":2,"modularity_review":"The text is divided into a copious amount of sections within a chapter. That said, I think it would benefit from a greater number of chapters and lower number of divisions within each chapter. There are only 6 chapters within 270+ pages, which creates lengthy chapters. They are divided into very small sections, but the large number of divisions within a long chapter creates confusion when you have headings like 1.1, then 1.1.1, 1.1.1.1, 1.2, 1.3.1.2, 1.5.2.3, etc. (you get the idea)—too many decimal points for these mini-sections. ","organization_rating":2,"organization_review":"Besides comprehensiveness or usefulness in a music major theory vs. non-major course, organization is the biggest drawback with this textbook.\r\n\r\n60 pages on music notation….and another 30 pages on “definitions.” Harmony, form, cadences, and analysis together only comprise about 40 pages, and notes, scales, half/whole steps, and intervals together only get about 40 pages. I don’t understand this division of pages, unless you’re intending it for someone who does not read music, but then (as mentioned in “Comprehensiveness”) it would be too detailed in the latter sections on tuning, acoustics, and harmonic series for someone just learning to read music in the same semester. Acoustics is put before chords and scales, which I don’t think is needed first for a beginner. It will likely confuse them.\r\n\r\nThe book is more than half way through before it mentions key signatures and circle of 5ths. Acoustics and harmonic series are discussed before intervals and key signatures in a “basic” book. It has very long chapters (40-70 pages) with a copious number of subheadings rather than shorter chapters and less confusing subheadings (see “Modularity” comments). More of this supposedly “basic” book is devoted to acoustics, tuning, temperament, and harmonic series than to chords, intervals, harmony, and form. Form only gets about 6 pages. Scales are all mushed together, including pentatonic, 12 tone, whole tone, etc. with the more basic major and minor scales. The book is 175 pages in before harmony and triads are discussed (in other standard theory texts, I’ve seen this be about 30-80 pages in, for comparison). Transposition isn’t discussed until the very end, and the first suggestion is to “avoid it” if possible (pg. 242), yet transposition is mentioned in passing (pg. 157) before it is discussed later. Modulation only gets 2 paragraphs. Roman numerals are not thoroughly explained to do harmonic analysis if you did not already know this. Counterpoint only gets a short paragraph. Cadences are only very basically explained.\r\n\r\nEar Training is at the end and is not a thorough enough explanation to begin to learn that.\r\n\r\nSome of this was mentioned in “Comprehensiveness,” but, in regarding use for a music major: the book’s organization lacks information on voice leading, part writing, figured bass, non-chord tones, chromatic chords/altered/applied chords (secondary dominants \u0026 secondary leading tones), modal mixture, phrase model (tonic-predominant-dominant phrase analysis), sequences, or an introduction to 20th century theoretical analysis.","interface_rating":3,"interface_review":"I did not find errors or distortion of images/charts. My main issue with its presentation was the section headings and all the decimal points (under “Modularity”). I did not find the book’s text to be crammed in and was decently well spaced out on the page to read. However, I would appreciate greater variety of examples to keep the reader from getting bored. It does not have much other than examples with the picture of a keyboard or staff lines. I would also like to see something other than black text with red/blue text on examples to read, which are the prevailing colors and seems very much like a research paper to read since it has no color backgrounds or anything else to look at (very little else, maybe 2-3 pages had something else).  Other pictures, graphics, charts, colors, text backgrounds, etc. would be useful to aid in understanding and keep a student more interested in reading.","grammatical_rating":4,"grammatical_review":"I found it to be relatively free of errors. I have found wording/grammatical errors in expensive printed textbooks before, so I could forgive a few minor errors if the text is otherwise readable. This text seemed pretty good in that regard, other than some minor issues regarding word order or lacking spaces between some words, but you can understand it without significant problems. Some of the text/long paragraphs could be cut down, however. ","cultural_rating":5,"cultural_review":"I found no issues with this. (Similar to “relevance,” I don’t think cultural issues are a big issue in music theory textbooks, unless it had inaccurate examples for ethnic music/techniques.)","overall_rating":7,"overall_review":"I found “Understanding Basic Music Theory” by Catherine Schmidt-Jones to be an average textbook. It does average or above in regard to accuracy of content, relevance, clarity, consistency, grammar, and cultural issues, but I found moderate problems with interface and modularity and discovered significant problems to be in regard to comprehensiveness/intended audience and organization. My review and opinions are based on what I know of standard music theory textbooks, which come from my own undergraduate theory courses, graduate level work in the pedagogy of music theory, and my own teaching as a DMA student.\r\n\r\nI liked the worksheets at the ends of chapters to give the student a “trial run” on the topics, but again would prefer a greater number of chapters that are shorter compared to fewer chapters that are super long, and then insert mini worksheets at the ends of each chapter, or within a chapter.\r\n\r\nAt this point, I still see a value in purchasing a traditional textbook, if I am comparing this with many of the well-known, standard theory textbooks that I have looked at before.\r\n","created_at":"2018-11-17T17:25:30.000-06:00","updated_at":"2018-11-17T17:25:30.000-06:00"},{"id":2510,"first_name":"Christopher","last_name":"Cook","position":"Lecturer in Music","institution_name":"Oakland City University","comprehensiveness_rating":3,"comprehensiveness_review":"This book does include an index of terms, which can be quite helpful. It doesn't quite cover as much as is normally covered in a single text for music theory instruction in many college courses. Some topics are discussed well enough, while others leave or gloss over standard sections. In other cases, the author chooses topics either adjacent to or nearly unrelated to standard music theory texts. i.e. music physics\r\n\r\nThe notation section, as others have reviewed, is considerably longer than any other theory text I have read. Indeed, I thought everyone was overstating the issue a bit until I checked it for myself. Far too long, with portions that could have been incorporated into other chapters in the book with ease. ","accuracy_rating":5,"accuracy_review":"The book is quite accurate. The information provided seems well researched and factual. ","relevance_rating":5,"relevance_review":"Considering the topic, most of the elements in a music theory text will remain relevant for a long period of time. Some texts include examples of music that are very current, but do not become irrelevant for those current examples. This book does a fine job of showing information that seems well researched with recent studies and long-established theory techniques. ","clarity_rating":4,"clarity_review":"I found the majority of the text very easy to understand, with exceptions during the physics chapter where a few of the sections were a bit unclear. Considering the content of this text and that it is intended as an introductory source for beginning students, I believe complete clarity should be the goal. ","consistency_rating":5,"consistency_review":"The terms and concepts presented in this text are consistent throughout. ","modularity_rating":3,"modularity_review":"While sections of this text could be subdivided for use in coursework, substantial page lengths on the very first chapter, along with the nearly as lengthy second chapter, cause this to rate lower. Those first two chapters are so long I know my students would despair any reading assignment solely on the basis of length. ","organization_rating":3,"organization_review":"As stated earlier, the definitions and terms presented in Chapter 2 could easily have been and should perhaps have been pieced out to different chapters covering those topics. I do not see a purpose why they should all be grouped together. Additionally, the break between learning about notation to then wait for two more chapters to learn about Notes and Scales seems illogical in the extreme. ","interface_rating":5,"interface_review":"No noticeable defects in the interface. Navigation would benefit from links to jump to chapters, but otherwise no issues. ","grammatical_rating":5,"grammatical_review":"I did not notice any grammatical errors. ","cultural_rating":4,"cultural_review":"The text is not culturally insensitive in any way, but does lack inclusion of non-Western music techniques. Considering some of the side topics presented in the text, inclusion of non-Western music would not be unfeasible to include. ","overall_rating":8,"overall_review":null,"created_at":"2019-01-10T13:51:40.000-06:00","updated_at":"2019-01-10T13:51:40.000-06:00"},{"id":3018,"first_name":"Juliana","last_name":"Han","position":"Assistant Professor","institution_name":"Augustana College","comprehensiveness_rating":3,"comprehensiveness_review":"This book is intended to cover the \"bare essentials\" of music theory, such as those covered in a fundamentals or prerequisite course at a high school or college level. The index includes the necessary topics at that level. However, the text emphasizes definitions and explanations, rather than exercises and examples, which makes it an insufficient text for the beginner learner. ","accuracy_rating":3,"accuracy_review":"The content is carefully written. However, in an attempt to be conversational and accessible, the author writes in oversimplifications that border on the inaccurate or misleading. Examples of this can be found in chapter 3.8 (Classifying Music), which defines entire eras of music or fields of musicological study (e.g., Western, non-Western, world music, classical music) with unwarranted certitude. I would not recommend anyone utilize this chapter. ","relevance_rating":5,"relevance_review":"Because it covers the most basic concepts, there is no issue with content becoming obsolete. ","clarity_rating":5,"clarity_review":"The book's strength is its conversational, accessible writing style. It is also clearly organized, and terms are highlighted and defined. In the online version of the text, hyperlinked terms make finding definitions easy. ","consistency_rating":5,"consistency_review":"The book is internally consistent in terms of terminology and framework. ","modularity_rating":5,"modularity_review":"Because of the clear division and subdivision of topics in the book's index, it is easy to identify modules relevant to a particular topic. ","organization_rating":4,"organization_review":"The book is organized clearly into topics and subtopics. The exception is Chapter 3 (Definitions), which only has one subheading each for such substantial topics as harmony and counterpoint. Even given that this is a basic text, more space could have been devoted to these topics, at the expense of others (e.g., tuning systems) that are not as useful for the beginning musician. ","interface_rating":5,"interface_review":"The online interface, hosted on the OpenStax CNX network, works fine. ","grammatical_rating":5,"grammatical_review":"The book is carefully edited. ","cultural_rating":2,"cultural_review":"In attempting to be basic and brief, the book does a disservice to the topic of music in non-Western cultures. For instance, the author states in Chapter 3.8 (Classifying Music): \"The only easy-to-find items in [the non-Western classical] category are Indian Classical music, for example the performances of Ravi Shankar.\" This statement is unnecessarily definitive and narrow; the author could instead suggest recommendations and further reading in a less opinionated way. Another statement that generalizes to the point of misrepresentation is this statement: \"If you live in a Western culture, it can be difficult to find recordings of non-Western folk music, since most Western listeners do not have a taste for it.\" Perhaps omitting this topic altogether would strengthen the credibility of this book, since it is often covered in history or other survey courses. ","overall_rating":8,"overall_review":"The author should be commended in attempting to create a very readable, organized, and accessible text to introduce new musicians to the most important topics. However, while some content may be useful as background reading at the most basic level, the book does not lend itself to use within a course. The language used is too general to be used in an academic setting, and the lack of exercises, exhibits, and musical examples leave the reader with little path to true comprehension or mastery of music theory skills. Perhaps the largest reason this book is unsuitable for use in a course is that its focus is misaligned to most music theory sequences. The book spends significant space on topics in the scientific basis of music, such as tuning systems, the physical basis of sound, and mathematical derivations. While these topics may be germane to the author's personal interests and training, they are not very important in the early stages of study for applied musicians such as those the author lists on the very first page of her book: \"[a] trumpet player interested in jazz, a vocalist interested in early music, a pianist interested in classical composition, and a guitarist interested in world music .\" Surely, a deeper look at harmony and counterpoint would be more useful. Overall, this text may be most useful simply as a glossary for definitions of musical terms. ","created_at":"2019-06-26T10:16:51.000-05:00","updated_at":"2019-06-26T10:16:51.000-05:00"},{"id":3818,"first_name":"Craig","last_name":"LiaBraaten","position":"Music Department","institution_name":"Mesabi Range College","comprehensiveness_rating":4,"comprehensiveness_review":"The text is \"too complete\" for a beginner level study of music theory.  Much of the text can be deleted with no ill effect, for example Chapter 3 pp.95-116 and Chapter 6 pp. 218-258.","accuracy_rating":3,"accuracy_review":"There are numerous errors and omissions, and other reviewers have correctly noticed a bias versus guitar players, where the author uses condescending tone on several occasions. Errors include listing the types of musical texture out of order: in order of complexity it should read 1. monophony 2. heterophony 3. homophony 4. polyphony.  In addition, the definition of non-western music fails to recognize non-European styles in the western hemisphere. On p. 144 the statement \"always classify the interval as it is written; the composer had a reason for writing it that way\" is bad advice; rather this passage should read something like: \"always use correct spelling for intervals, scales and triads.\"","relevance_rating":3,"relevance_review":"All throughout the text, more current musical examples than art music of the 18th and 19th centuries should be cited to inspire and captivate the young reader. One other example, the content would be more relevant and interesting to beginner-level college students if the author emphasized references to topics such as \"The Nashville System\" and its impact on studio and recording musicians when discussing Roman Numerals.","clarity_rating":3,"clarity_review":"The writing style is verbose - which frankly is not at all appealing to college-age students whose available time (due to work study and other commitments) is at a premium. The book should be edited and condensed by deleting and re-wording the superfluous language.","consistency_rating":2,"consistency_review":"The text is consistently inconsistent. What is lacking is a glossary to tie the book together. The author made attempts at this (pp. 71-72, 83-86, 201-202, 209), but what is needed is to have an alphabetical listing (with cross-references) that includes every necessary term in the whole book.","modularity_rating":3,"modularity_review":"The author has divided the chapters into sections, but the overall effect is too many words. Again lengthy explanations are unnecessary. Get to the point. Repeat the point. Move on.","organization_rating":3,"organization_review":"The text should be re-organized into focused chapters of shorter length, each of which cover the single subject more concisely. A minimalist approach to writing style and a logical succession of chapter titles would help, instead of so many cross-references which usually take the reader hopping throughout the book. Sidebars with definitions can cut down this busywork.","interface_rating":4,"interface_review":"Navigation problems include the references every chapter to citations in other chapters, which has the student leap frogging unnecessarily. Smart use of sidebars can minimize this interruption. The author does not need to \"tie everything together\".","grammatical_rating":4,"grammatical_review":"The author's use of colloquial writing is an annoyance. The author is attempting a friendly discourse but it contradicts the lengthy verbose writing style everywhere else. While not technically grammatically in error, the end result is incongruent, wasting valuable time for any student (who may be working two jobs to help pay for their college textbooks).","cultural_rating":4,"cultural_review":"When using foreign words and providing a pronunciation, make sure it is correct.  For example: mezzo is not pronounced with a \"t\", but rather \"MED-zo\", using the thick Italian T which sounds to the American ear more like a D. Similarly fortissimo is not pronounced TISS as is suggested, but \"for-TEE-see-moh\". This may well offend any serious student of Latin or Italian.","overall_rating":7,"overall_review":"Page 7 the author mentions Bass and Treble clef, but nowhere mentions F-clef or G-clef. Pages 13-14 are a good start; author needs to elaborate. Page 23 regarding the term \"enharmonic\" the author missed the opportunity to discuss CORRECT SPELLING with regard to intervals and scales (and later on, with triads). Page 29 author states: \"may connect the notes that are all in the same beat\" instead of teaching the student the correct approach is to \"beam the beats\". Page 42 missed the chance to discuss \"anacrusis\". Page 51 missed the definition of \"rubato\" as \"steal time\". Page 59 missed clear definitions of Legato (notes long and connected), Staccato (notes short and separated), and in between Portato (notes long but separated). Page 79 the quotation from the \"Chorale\" symphony contains an error at the end of line 3; the \"E\" is syncopated and tied to the next measure in the double bass solo. Page 128 missed the chance to teach that major scales are built from two identical TETRACHORDS separated by a half step. Page 153 the Circle of 5ths Ascends to the Right and Descends to the Left (it is an error to call the flat keys the \"circle of 4ths\"). Page 156 missed the chance to teach the Greek word \"chromos\" - meaning \"all colors\" - as the basis for \"Chromatic Scale\". Page 157 did not discuss \"anhematonic pentatonic scale\" - by definition, a five-note scale that has NO half-steps. P. 179 missed the opportunity to teach that, in a major and minor triad, it's the BOTTOM 3rd that names the triad. Fun reading. Best wishes.","created_at":"2020-05-18T19:02:17.000-05:00","updated_at":"2020-05-18T19:02:17.000-05:00"},{"id":4009,"first_name":"Matthew","last_name":"Svoboda","position":"Music Instructor (Music Theory, Keyboard Skills, Choir)","institution_name":"Lane Community College","comprehensiveness_rating":3,"comprehensiveness_review":"This music theory concepts taught are roughly equivalent to those covered in Fall term of the three-term Music Theory course I teach at Lane Community College (LCC).  I couldn't use this book for that course because it doesn't go into enough depth on subjects such as part writing, counterpoint, resolving chordal dissonances, etc., which I need to cover in the sequenced course I teach.  That being said, I do think this would be a fine resource for a Music Fundamentals course. Also, there is some excellent information in chapter 7 on Ear Training, Tuning Systems, Modes and Ragas, and Transposition which far exceeds what is found in the textbook I currently use.   This information is very valuable and I could see referring my students to it in the future.","accuracy_rating":3,"accuracy_review":"Overall, I found the book to be accurate.  However, I found the some information on intervals, sharps and flats, pentatonic scales, phrases, and the circle of fifths to be less than clear.  Also, some of the musical examples presented for understanding meter were largely jazz-centric and not simple or straightforward enough for beginners or were classified incorrectly.  I think this section could be improved by finding more straightforward listening examples that are more varied (not so often jazz centric.)","relevance_rating":3,"relevance_review":"Generally speaking, the book's content is not obsolete.  It seems that any improvements/updates could be done easily.  One update that I think would be helpful would be to go beyond approaching interval identification by counting half steps so that students could learn to identify intervals without merely counting in this way.","clarity_rating":5,"clarity_review":"The prose is clear and accessible.  It does not rely heavily on overly \"academic prose\" and, for the most part, explains concepts clearly and sequentially.","consistency_rating":5,"consistency_review":"I found the book to be internally consistent in terms of terminology and framework","modularity_rating":5,"modularity_review":"The book is organized well and could be taught in smaller sections or modules.","organization_rating":5,"organization_review":"The book is organized well and it is easy to navigate through various topics.  I appreciate the searchable index, which I found very helpful.","interface_rating":3,"interface_review":"I appreciated the links to musical examples, theory problems/solutions, and outside resources.  Occasionally, some of the links presented in the book no longer opened as intended.   These could be fixed in an update.","grammatical_rating":5,"grammatical_review":"I did not find any grammatical errors in the book.","cultural_rating":4,"cultural_review":"This book makes the point that a lot of the traditional music theory texts and terminology in use are Western/Euro centric.  It does a nice job of introducing this point of critical thinking to students.  While the Western/Euro centric approach is it's main focus, the the book does reference some other kinds of music/music traditions from around the world.","overall_rating":8,"overall_review":"I appreciate this book and plan to use some of its contents in the future, particularly the material from Chapter 7: Ear Training, Tuning Systems, Modes and Ragas, and Transposition.","created_at":"2020-06-18T21:40:51.000-05:00","updated_at":"2020-06-18T21:40:51.000-05:00"},{"id":4227,"first_name":"Robert","last_name":"Wells","position":"Assistant Professor of Music Theory; Director of Keyboard Studies","institution_name":"University of Mary Washington","comprehensiveness_rating":4,"comprehensiveness_review":"Given that this book is intended to be a fundamentals text (rather than a textbook for the entire music major theory sequence), it is fairly comprehensive. For the mathematically-based theory fundamentals course I teach, which is targeted to non-music majors, this is the perfect text, as it devotes equal attention to fundamentals and quantitative concerns such as tuning systems, interval ratios, and acoustics. Other topics that took this book well beyond the typical fundamentals text were introductory material about reading musical scores (repeat signs, dynamics, tempo markings, etc.), which are of great practical help if you plan to look at musical scores with your class; scales other than major and minor, such as whole-tone, pentatonic, modal, and jazz scales; and non-Western traditions, such as Hindustani music and Balinese gamelan. Additionally, there are links scattered throughout that go beyond the basic content (e.g., pages on tablature, transposing instruments, conducting, etc.). I also appreciated that the author does a good job of addressing common student questions such as, “What stem do I use for chords or groups of notes under the same beam?” or “Why would a composer choose 2/2 over 2/4?” For me, the biggest content omission is that there is no discussion of figured bass. This causes a bit of awkwardness in the chapter on harmonic analysis. For instance, in the analysis exercises in the Cadence section, inverted chords in the solution are labeled with root-position Roman numerals (i.e., no inversion figures). Additionally, if you are looking for part-writing training or post-tonal techniques, you will need to look elsewhere, as these topics are beyond the scope of this text.","accuracy_rating":4,"accuracy_review":"Most of the content is accurate, as far as I could tell. The most significant errors I found were in the section on chord additions/extensions. For instance, the author writes that labeling an added note as “sus” in a lead sheet symbol means it “replaces the chord tone immediately below it,” which is not true in the case of sus2. Moreover, in one of the charts, she labels a Cadd9 chord as “Csus9”. (To be fair, she does fix this label in the chart that follows.) Her explanation of Csus4 vs. C11 is also somewhat lacking, as she does not clarify that the latter has a chordal seventh while the former does not. Finally, in the section on Roman numerals, the author labels all chords very literally using Roman numerals where, in some cases, there should be labels in terms of applied chords/secondary dominants. Aside from these minor quibbles, I had few complaints, and I was impressed with all the physics and acoustics material, which was generally well handled. The bibliographic information scattered throughout also shows that the author has referenced a wide variety of scholarly musical sources in writing this text.","relevance_rating":3,"relevance_review":"In many ways, this book is very relevant to the needs of today’s musicians, as it is designed to serve as a starting point for musicians with widely ranging goals, from education to composition to performance. For instance, the author includes numerous activities with a music education bent, such as an activity to teach fractions to elementary-schoolers using musical rhythm, musical meter activities relevant to a wide variety of age groups (I used some of these for my college students), and an activity for children on the shape of a melody. There are also discussions of hands-on applications of music theory, such as methods for learning to improvise on one’s instrument and transposing music for a singer. My main complaints regarding relevance and longevity involve some outdated pedagogy and musical examples. In particular, I was bothered by the fact that this text exclusively teaches intervals using the half-step-counting method, which is now widely considered a sort of “last resort” for learning intervals. Inclusion of the white-note and scale methods for interval ID/construction would make this book much more in line with current pedagogy. Additionally, I was disappointed by the sparse musical examples, which are essential for helping students connect with the material. In many chapters, there are only one or two examples drawn from actual music, and when these appear, they are often somewhat dated (for instance, how many 21st-century students will be inspired by selections such as “And the Band Played On” or “The Girl I Left Behind”?). Perhaps this was due to copyright concerns, but it was an issue, nonetheless. On the plus side, the fact that this is an open music theory textbook gives it built-in longevity, as many of these complaints could be addressed in the future.","clarity_rating":4,"clarity_review":"Overall, the text is very clear, and I have never received complaints from students about having to read the textbook.  Sometimes there is a bit too much information, though, especially for beginners, as the author provides a lot of tangential material that may be overkill for a first fundamentals course.  The weakest point, in terms of clarity, is probably scales/key signatures section, as key signatures are introduced way before scales/keys have been introduced.  Major scales are then introduced several chapters later in terms of whole/half steps, but their relation to key signatures is treated cursorily.  Relative minors are then introduced with respect to key signatures, which is confusing since we haven’t fully discussed key signatures yet.  Moreover, there is an example of relative major/minor keys that references Eb being a “minor third higher than C,” but intervals haven’t been introduced at this point in the text.  In the harmonic analysis section, there is no explanation of Roman numerals for seventh chords; the author simply begins using them. Finally, while there are good strategies for finding the key of a piece, there is no demonstration of harmonic analysis, which would have clarified the abstract suggestions. These points perhaps sound more critical than I intend, for by and large, the book is clearly and lucidly written.","consistency_rating":4,"consistency_review":"The book seems to be mostly consistent, although the order of topics was sometimes illogical (see Organization/Structure/Flow below). When teaching with this book, I found myself having to jump around and assign readings out of order. However, the hyperlinks between different sections of the book are very helpful in preserving consistency between different parts of the text. The most concerning inconsistency was between the online and PDF/EPUB editions of the book, as chapter numbering and even some of the written material differs slightly. Thus, I had to be very explicit about which edition I was referring to when assigning readings.","modularity_rating":5,"modularity_review":"The modularity factor is strong. In teaching using this text, I found it very easy to jump around between pitch/scale/harmony topics, rhythm/meter topics, and acoustics material. For instance, I was able to cover the first half of the rhythm/meter chapter early in the course, and came back to the latter, more advanced half of the chapter later in the course after introducing triads.","organization_rating":3,"organization_review":"Overall, a well-organized text, besides the aforementioned differences in organization between editions. However, topics are sometimes presented in a strange order. For instance, key signatures and the notion of major keys are introduced very early, before a scale has even been defined, as discussed above. While introducing the intuitive notion of key signatures this early was fine (i.e., a symbol that tells you which notes to play sharped or flatted throughout a piece), learning to identify the “key” was too abstract this early on (how can students understand what a key is if they don’t know what a scale is?). Relative minor keys are then introduced, making things even more abstract. Similarly, the notion of enharmonic keys/scales is introduced before the scale chapter. It also bothered me that enharmonic chords/intervals are introduced before students have any conception of what a chord/interval is. A careful instructor can get around these issues by simply skipping the confusing material and coming back to it later, but this does create some extra work for an instructor who wants to use this book.","interface_rating":3,"interface_review":"The online interface seemed to be the most user-friendly. The EPUB file worked well on my iPad, but had different chapter numbering from the online version (as previously noted). Many students liked the PDF version, as it could be used offline on just about any device, but hyperlinks in the PDF aren’t active. I ended up copying important links into our LMS when listing each day’s reading assignments, in case people were using the PDF/print version. I loved the links in the online and EPUB editions, which made the text very interactive. However, the audio for some examples included loud hissing or was very quiet, and some examples you have to directly download to hear. There were also broken links scattered throughout the text. I will say that the built-in exercises were helpful, but I ended up supplementing these with my own homework exercises.","grammatical_rating":5,"grammatical_review":"I did not notice any grammatical errors, although there did seem to be a discrepancy between editions regarding “staffs” vs. “staves” in the first chapter.","cultural_rating":4,"cultural_review":"The text references a wide variety of styles, including Western classical music, Indian classical music, Medieval music, popular music, and jazz. Hindustani music and Balinese gamelan music are discussed in some depth, which creates a more global perspective than most theory books exhibit. Additional musical examples, especially from the last few decades, could make the text even more culturally relevant, as most of the material is presented using out-of-context scales, chords, etc.","overall_rating":8,"overall_review":"While not perfect, this textbook works very well as a completely free music theory text (and let’s face it—fundamentals texts can be very expensive).  I would highly recommend it for a music theory for non-music majors course, as students won’t have to buy an expensive book they’ll never use again.  Instructors should just be aware that the most effective use of this book is probably not in order, chapter by chapter, and the instructor will have to plan carefully before the semester begins to determine appropriate topics to include, omit, and reorder. Despite the book’s shortcomings, it is extremely valuable as one of the few open textbooks in music theory.","created_at":"2020-07-04T13:57:19.000-05:00","updated_at":"2020-07-04T13:57:19.000-05:00"},{"id":5027,"first_name":"Salil","last_name":"Sachdev","position":"Professor","institution_name":"Bridgewater State University","comprehensiveness_rating":5,"comprehensiveness_review":"A good concise introduction to music fundamentals. The textbook contains chapters on various aspects of music, not all of which may be necessary for a basic music theory course. However, instructors have much to pick and choose from and adapt the material to their specific requirements. As well, the text serves as a springboard for learning beyond the introductory level.","accuracy_rating":5,"accuracy_review":"Very good.","relevance_rating":5,"relevance_review":"Very good.","clarity_rating":5,"clarity_review":"Very good.","consistency_rating":5,"consistency_review":"Very good.","modularity_rating":5,"modularity_review":"Very good.","organization_rating":5,"organization_review":"Very good.","interface_rating":5,"interface_review":"Very good.","grammatical_rating":5,"grammatical_review":"Very good.","cultural_rating":5,"cultural_review":"The text is primarily on Western music theory.","overall_rating":10,"overall_review":null,"created_at":"2021-06-02T11:27:47.000-05:00","updated_at":"2021-06-02T11:27:47.000-05:00"},{"id":33529,"first_name":"Derek","last_name":"Shapiro","position":"Assistant Professor/Director of Bands","institution_name":"Virginia Tech","comprehensiveness_rating":5,"comprehensiveness_review":"The text covers all areas of what one would consider basic music theory and is geared truly for the beginner who has had experience in reading music on some level, but desires more comprehensive descriptions of the \"why\". I especially liked the idea of the \"Challenges\" section at the end of the text which touched on some commonly found problems amateurs may find when dealing with music.","accuracy_rating":5,"accuracy_review":"I did not find any inaccurate material.","relevance_rating":5,"relevance_review":"The book does exactly as it postures itself to do, gives a fundamental explanation of the many aspects of basic music theory. It is slanted towards a western-classical music influence, which may find itself out of date in a few years time, depending on how musicological trends continue.","clarity_rating":4,"clarity_review":"If I had any negative comment it would be the way things are laid out. The use of color is helpful but the presentation tends to be on the cluttered side. Admittedly, this is often the most difficult thing about a theory book as the layout needs doesn't conform to the way word processing software organizes content. Good use of both general and specific/real-world musical examples.","consistency_rating":5,"consistency_review":"The book is consistent in style and layout. Once you understand the how the text is formatted it stays the same.","modularity_rating":5,"modularity_review":"Well-laid out with a very clear table of contents.","organization_rating":5,"organization_review":"Anyone acquainted with a music theory text will understand how and why this book is laid out the way it is. This sticks to that formula which is progressive and scaffolds from the simple to the more complex.","interface_rating":4,"interface_review":"As I mentioned earlier, the layout is a little cluttered but it is more a victim of the way software works rather then the concept.","grammatical_rating":5,"grammatical_review":"Did not find any errors.","cultural_rating":4,"cultural_review":"Perfectly acceptable in terms of western music theory and the way it has been taught, but may find itself lacking as musicology trends to be more inclusive of cultures outside the western-classical tradition.","overall_rating":9,"overall_review":"This is great resource for students looking for a text to help them refresh or broaden their skills.","created_at":"2021-12-13T13:05:00.000-06:00","updated_at":"2021-12-13T13:05:00.000-06:00"},{"id":33611,"first_name":"Rika","last_name":"Uchida","position":"Associate Professor of Piano and Theory","institution_name":"Drake University","comprehensiveness_rating":4,"comprehensiveness_review":"The text covers various concepts in music theory, some of which are fundamental, and others are advanced and complex, such as form.  Although it is written in user-friendly manner, I would like to have musical examples for most topics.  For example, it would be difficult to introduce Rondo form without musical examples; verbal definition of form is simply insufficient, and students do not attain practical knowledge without reference to the music.  In short, adding more musical examples and exercises would be beneficial.","accuracy_rating":3,"accuracy_review":"As other reviewers noted, there are numerous errors in musical examples.  Notation and terminologies should be authentic, clear, and accurate.","relevance_rating":4,"relevance_review":"The text includes concepts that are not often found in most introductory music theory textbooks, such as sound wave, and standing waves in different instruments in Chapter 3 (Physical basics).  It can be a useful online resource for those who are seeking for information or definition of particular topics.","clarity_rating":4,"clarity_review":"The text is written in user-friendly manner and easy to follow. As stated above, definition of concepts with reference to more musical examples would be practical.","consistency_rating":3,"consistency_review":"Some chapters cover concepts at advanced level (e.g., form) with oversimplification. Narrowing down to topics that are at basic level and presenting them comprehensively would make it more consistent.","modularity_rating":4,"modularity_review":"Divisions and subdivisions are well organized for most part.  I would categorize harmony and form in separate chapters (chapter 5), as this chapter seems incomplete.","organization_rating":4,"organization_review":"The text is well organized in most part, but topics can be organized in a better order.   For example, definition (Chapter 2) can be placed as a glossary at the end of the text, and it can be in alphabetical order.","interface_rating":5,"interface_review":"The online interface is easy to navigate.  The PDF version worked well for iPad and MacBook.","grammatical_rating":4,"grammatical_review":"The text is written in user-friendly manner; however, some of the definitions are oversimplified and vaguely written.","cultural_rating":4,"cultural_review":"The text covers music of diverse variety of styles and cultural backgrounds. Including standard repertoire as musical examples would be beneficial for some topics (e.g., form).","overall_rating":8,"overall_review":"Balance among verbal definitions, musical examples and exercises could be improved.  I would like to have more musical examples, and definition of concepts to be presented with reference to musical examples rather than verbal explanation.  Implementation of more exercises would be helpful to use in music courses.  I don't see application of Chapter 6.1, ear training in any music courses. Perhaps the author expects instructors to use another textbook for ear training, but the verbal description on this topic seems irrelevant and incomplete.","created_at":"2021-12-30T17:09:01.000-06:00","updated_at":"2021-12-30T17:09:01.000-06:00"}],"url":"https://staging.open.umn.edu/opentextbooks/textbooks/understanding-basic-music-theory-2013","updated_at":"2025-12-15T02:31:27.000-06:00"},{"id":283,"title":"Music and the Child","edition_statement":null,"volume":null,"copyright_year":2016,"isbn10":null,"isbn13":null,"license":"Attribution-NonCommercial-ShareAlike","language":"eng","accessibility_statement":null,"accessibility_features":["unknown"],"description":"Children are inherently musical. They respond to music and learn through music. Music expresses children's identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children's natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I'm working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts? This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children's lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.","contributors":[{"id":3760,"contribution":"Author","primary":true,"corporate":false,"title":null,"first_name":"Natalie","middle_name":null,"last_name":"Sarrazin","location":"College at Brockport, SUNY","background_text":"Natalie Sarrazin, PhD, is Associate Professor of Music at the College at Brockport, SUNY. She holds a PhD in ethnomusicology from the University of Maryland, College Park and a master’s degree from Peabody Conservatory at Johns Hopkins University in music education. Natalie is the author of books and articles on both Hindi film music and music education. She teaches in the Department of Theatre and Music Studies and Arts for Children programs at the College at Brockport, and is a co-director of the Hunter Institute on Young Children."}],"subjects":[{"id":29,"name":"Arts","parent_subject_id":6,"call_number":"N85","visible_textbooks_count":56,"url":"https://staging.open.umn.edu/opentextbooks/subjects/arts"},{"id":6,"name":"Humanities","parent_subject_id":null,"call_number":null,"visible_textbooks_count":418,"url":"https://staging.open.umn.edu/opentextbooks/subjects/humanities"},{"id":89,"name":"Music","parent_subject_id":6,"call_number":"M1-5000","visible_textbooks_count":18,"url":"https://staging.open.umn.edu/opentextbooks/subjects/music"}],"publishers":[{"id":172,"url":"https://milneopentextbooks.org/","year":null,"created_at":"2018-09-07T12:22:37.000-05:00","updated_at":"2024-04-15T13:39:29.000-05:00","name":"Open SUNY"}],"formats":[{"id":326,"type":"eBook","url":"https://milneopentextbooks.org/download/music-and-the-child-2/?tmstv=1672257817","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":327,"type":"PDF","url":"https://milneopentextbooks.org/download/music-and-the-child/?tmstv=1672257817","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":328,"type":"Online","url":"https://milnepublishing.geneseo.edu/music-and-the-child/","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":2128,"type":"Hardcopy","url":"https://www.amazon.com/dp/1942341709","price":{"cents":0,"currency_iso":"USD"},"isbn":null}],"rating":"4.5","textbook_reviews_count":12,"reviews":[{"id":622,"first_name":"Lewton","last_name":"Jones","position":"Music Teacher B.S. Arts/English","institution_name":"PCC","comprehensiveness_rating":4,"comprehensiveness_review":"Natalie Sarrazin sums up her twelve chapters of the many facets of the book with the statement~\"Children's creativity is the heart of this book and is the most important factors to consider when creating pedagogical material\"\nIn each chapter she does box diagrams with two sides and multiple songs to address. She also has a definition of terms- and documents her sources after every chapter rather than at the end of the book.\nEach chapter is a condensed version of what could be a book in itself. She summarizes numerous methods and scientific and cultural. linguistic and historical idioms as good as one could with these topics.","accuracy_rating":4,"accuracy_review":"It is accurate and already documented information for the most part. She is promoting a holistic approach interweaving old and new theories with social, and the physical activity of music. I am not sure with her comment about Mozart only stimulating the IQ for fifteen minutes. I think comments like that need more documentation. Also the evolution of a child's awareness smacked of sociology rather than holistic possibility. In academia all her proofs are backed up by her choice of authors. She writes~\"If you can walk you can dance\"  \"If you can talk you can sing\" She uses the term of the mother tongue aka natural environment. Like many texts, it might not be totally true but it is accurate.","relevance_rating":4,"relevance_review":"The longevity of western music theory and historical timelines of change and and discovery are strong in this book. It can be a reference for curious readers and parents of young children. The ethnology and brain information will keep the book relevant for a while.As the globe shrinks and science keeps toppling old beliefs these are good topics. The use of holistic is a bit old school jargon and hints at Jung and Doctor Spock regarding a sky's the limit of possibilities ie. to conjure a musical connection to a computer ridden mindscape of micro minions.","clarity_rating":5,"clarity_review":"The book is good for one chapter at a time and class discussion primarily because the mix of musical terms and child philosophy\nin  an altruistic methodical and highly organized fashion. She defines her purpose very well with statements like~\"In short, scientists say that nothing we do as humans uses more parts of our brain or is more complex as plating an instrument.\"\nShe is very clear in her purpose with another statement~\"Children's linguistic development is related to their musical development.\" Her documentation regarding these clarion calls is more than adequate.","consistency_rating":4,"consistency_review":"The book is consistent in its structure regarding its context. It is not a ground breaking book but rather leans on things like the original person already knows what music is and is shaped by the rules and visuals they are introduced to. The theme of the child as our focus seems to turn into a recipe for contrasts in theories such as Dalcroze, Zoltan, Kodo'ly. Orff and Suzuki and like she is consistant in her summation of theses theories resting on what seems to be her preference Eurhthmics. She is consistent to the human child as being dancing with the sound be it scientifically proved or culturally proven.","modularity_rating":4,"modularity_review":"The book is perfect for singular group discussions. Each chapter has a narrative, examples of forms and a dictionary of terms.. It is a good group text book. I would advise a prep book on certain subjects like the history music, audiology, speech therapy, music therapy and cognitive brain science. It is very condensed chapter to chapter with a barrage of information regarding the chapter's heading. As a novel it would fail.","organization_rating":4,"organization_review":"Extremely well organized almost to a fault. The real gems are the assertions by the author about creativity and music outside the western lexicon such as the great section on Indian and Japanese scales and and phonetic annotations. The structure is very logical but I think the theme is scattered by including too many directions. Maybe three small books on the more grand topics could have worked better.","interface_rating":4,"interface_review":"The book could have been larger in its pages because of the vast amounts of clarification of ideas that followed the narratives. \nThere is no interface problems except for a better or larger print in the publishing.","grammatical_rating":5,"grammatical_review":"The book is solid regarding language and research.","cultural_rating":5,"cultural_review":"The book is progressive and spends the last chapter on ethnicity and the linguistic implications of being from other cultures and hearing and seeing different phenomena yet having a common denominator called music to integrates us..","overall_rating":9,"overall_review":"The author is very well read and gives a great peripheral scan of how children use music to include all facets of life making for a better world with smart empathetic people growing towards adulthood.","created_at":"2016-08-21T19:00:00.000-05:00","updated_at":"2016-08-21T19:00:00.000-05:00"},{"id":790,"first_name":"Molly","last_name":"Weaver","position":"Professor of Music (Music Education)","institution_name":"West Virginia University","comprehensiveness_rating":5,"comprehensiveness_review":"In describing her work, author Sarrazin states “This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children’s lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.” Although this may seem like an ambitious goal for a single book, my review of Music and the Child confirms that it does indeed explore connections and applications, and guide instructors, childcare workers, students, and others to work with children through music. As a single volume it is very comprehensive. The 13 chapters comprise considerable breadth, and each individual chapter has depth appropriate for readers whose discipline may not be music education.","accuracy_rating":4,"accuracy_review":"Book content is accurate and unbiased. The various chapters are supported with citations of eminent scholars in the arts, music education, developmental psychology, ethnomusicology, and other fields. The text does contain some misspellings, and some lists of resources and references are not fully alphabetized.","relevance_rating":5,"relevance_review":"Book content is relevant. Much of it will remain so over time, especially regarding music fundamentals, approaches to music education, the child’s singing voice, song repertoire, classroom management, the roles of music in early childhood and lower elementary stages, and musical play. Necessary updates to content such as assessment, lesson planning strategies, music and the brain, musical cultures, creativity, inclusion, arts integration, multiculturalism, and diversity should not be problematic. ","clarity_rating":5,"clarity_review":"Text clarity is excellent. The prose is accessible by a range of readers, in particular by those whose discipline may not be music education. Each chapter begins with a Chapter Summary that functions as a concise overview of chapter content and organization. Technical terms have appropriate context, and throughout each chapter there is strong emphasis on vocabulary relevant to the topic(s) of that chapter. Moreover, nearly all chapters end with a Vocabulary section comprising a list of key terms and their definitions.","consistency_rating":5,"consistency_review":"Text consistency is excellent. The theoretical framework is that children are inherently musical, and that those of us who work with children through music must continuously search for ways to tap into their natural enthusiasm for listening/moving/singing/playing in the interest of facilitating their physical, social, emotional, cognitive, linguistic, and musical development. This is first articulated in Chapter 1, “Perspectives and Approaches,” and is systematically addressed in subsequent chapters. The terminology is consistent throughout. Each chapter emphasizes relevant vocabulary, and nearly all chapters feature a list of key vocabulary terms and their definitions.","modularity_rating":5,"modularity_review":"Book modularity is excellent. Each chapter can stand as an independent work on its topic(s). Throughout each chapter there are activities that engage readers beyond chapter content as well as links to supplemental readings and videos. Each chapter ends with a list of resources to consult for greater depth, and a copious list of references to the literature. Individual chapters could be reordered within a course without compromising readers. Particular activities within each chapter could be reordered or omitted, again without compromising readers.","organization_rating":2,"organization_review":"Two areas of book organization/structure/flow can be improved: chapter titles and chapter order. \n\nSeveral chapter titles could be edited as follows to better represent the actual content and order within each chapter:\n\nFrom \n1. Perspectives and Approaches \nto \n1. Arts and Educational Approaches and Perspectives\n\nFrom \n3. Assessment and Learning Goals \nto \n3. Discipline-Based Assessment and Professional Self-Assessment\n\nFrom\n4. Approaches to Music Education\nto\n4. Pedagogical Approaches in Music Education\n\nFrom \n5. Children Singing and Children’s Songs \nto \n5. Teaching Children to Sing: Methods and Materials\n\nFrom \n6. Creative Activity and Lesson Planning \nto \n6. Creative Approaches to Successful Music Lesson Planning\n\nFrom \n9. Music and the Older Child \nto \n9. Music in Middle Childhood: Methods and Repertoire\n\nFrom \n10. Children’s Musical Play: Musicality and Creativity \nto \n10. Children’s Creativity: Musical Play and Improvisation\n\nFrom \n12. Music Integration \nto \n12. Music Integration in the School Curriculum: Concepts and Strategies\n\nFrom \n13. Musical Multiculturalism and Diversity \nto \n13. Culturally Diverse Music Teaching: Rationale and Applications\n\nAs well, chapter order could be revised as follows to improve book organization/structure/flow:\n\n1. Arts and Educational Approaches and Perspectives\n2. Music: Fundamentals and Educational Roots in the U.S.\n4. Pedagogical Approaches in Music Education\n6. Creative Approaches to Successful Music Lesson Planning\n5. Teaching Children to Sing: Methods and Materials\n3. Discipline-Based Assessment and Professional Self-Assessment\n7. Music and the Brain\n8. Music in Early Childhood Development\n9. Music in Middle Childhood: Methods and Repertoire\n10. Children’s Creativity: Musical Play and Improvisation\n11. Music and Inclusion\n13. Culturally Diverse Music Teaching: Rationale and Applications\n12. Music Integration in the School Curriculum: Concepts and Strategies\n","interface_rating":5,"interface_review":"Book interface is excellent; there are no navigation, distortion, or display issues. ","grammatical_rating":5,"grammatical_review":"Text grammar is excellent.","cultural_rating":5,"cultural_review":"The cultural relevance of the book is strong owing in large measure to content in several chapters, including Chapter 4 (pedagogical approaches from Germany, Hungary, Italy, Switzerland, United States), Chapter 6 (classroom instruments from Western and world cultures), Chapter 9 (the section American Children’s Games and Game Songs), Chapter 10 (the section The Singing-Game: Children’s Musical Creativity in Play), Chapter 11 (addresses several types of musical inclusion), and Chapter 13 (entitled “Musical Multiculturalism and Diversity”). Also, the song repertoire throughout the book represents diverse cultures.","overall_rating":9,"overall_review":"I recommend this book as an excellent resource for early childhood and elementary education specialists who teach music as part of their curricula.","created_at":"2016-12-05T18:00:00.000-06:00","updated_at":"2016-12-05T18:00:00.000-06:00"},{"id":1223,"first_name":"Ann Marie","last_name":"Stanley","position":"Associate Professor","institution_name":"Louisiana State University","comprehensiveness_rating":5,"comprehensiveness_review":"Sarrazin wrote, “This book is intended to aid those who have little or no background in music, in order to increase their comfort in integrating music into the curriculum.”  I have taught many of these students in various “Music for the Classroom Teacher”-type courses and I can agree that the musical background of many pre-service and practicing elementary school classroom teachers is quite limited. I have used several texts through the years and I can honestly say that Sarrazin hits the perfect balance here between “need-to-know” and “too much overwhelming information.” Her strength is in summarizing and codifying dense topics. The breadth of topics across the chapters is quite inclusive. Yet Sarrazin (thankfully) omitted much of the arcane how-to instruction that makes up a large part of competing texts: how to tune an autoharp, how to select between a flutophone and a recorder, how to teach solfege, etc. I would use this book in the future just because of this feature.","accuracy_rating":3,"accuracy_review":"While I liked many of the links to external material, I had some concern about the quality and longevity or stability of others. Some are very worthwhile: for example the link to the Kennedy Center for arts integration information, the link to another open text book for auditory science material and research. Some are really questionable: for example the Global Alliance for Transforming Education doesn’t exist any longer apparently, and the theory site for explaining texture takes one to a cached “wayback” site that doesn’t work well. In addition, care should be taken to examine the political overtones and subtext of other sites, as even the non-profit ones may have an educational reform agenda that may be seen by some as problematic. Not everyone in the profession is on board with the 21st century skill movement and its extensive list of corporate board members, nor the core standards, etc. Professors should check the links in each chapter before assigning the readings.","relevance_rating":5,"relevance_review":"Other than the point above about the links that may not be as appropriate or functional as they could be, the book is highly relevant to its intended population. The classroom teacher who wants to learn more about music education will have many of her questions answered, and the book is quite usable.","clarity_rating":5,"clarity_review":"The book is clear and concise. None of the chapters seemed overly long or padded. I liked the vocabulary words emphasized for each chapter as well as the glossary. The text boxes (“Try this” etc.) are a nice off-set to the larger amount of more scholarly text. For me this book reads really well.","consistency_rating":5,"consistency_review":"This is a strength in the way she consistently chose multiple non-Western-classical music examples to illustrate musical concepts, and linked these to interesting videos (Qu’uran singing, Tuvan Throat singing, etc) In the text itself, she really pulled out some terrific children’s tunes from other cultures: (ex. several Indian counting games which were new to me and which I will try immediately with my own class). I found this broad and multicultural approach refreshing and contemporary.","modularity_rating":5,"modularity_review":"Each chapter can be used on its own. I would imagine several chapters (such as the music cognition section) could easily bolster required reading in a class for music education majors. \nChapter 7 is particularly nicely done, in the way Sarrazin is able to summarize complex research. She also treads ethically around area of the question, “does music make kids smarter?” and points out the innate reasons to make music, not just the supposed extrinsic benefits. The arts integration chapter should be required reading for every elementary classroom teacher!!","organization_rating":4,"organization_review":"I read comments from another reviewer about changing the sequence of the chapters, and I concur. The order and the titles of the chapters could be edited for clarity.  Chapter divisions are fine, though.","interface_rating":4,"interface_review":"Excellent, easy to read. I read it online using my laptop and had no issues. I wish that clicking on a link would open up a new window so I could click back and forth between the link and the text without having to use “back” button. Perhaps that’s how I have my browser set, rather than the interface; I'm not sure.","grammatical_rating":5,"grammatical_review":"No problems.","cultural_rating":4,"cultural_review":"See my points under “Consistency” above, for high praise. However,  the learning disabilities/Special needs music education section seems a bit dated already (e.g. the behaviorist positive and negative reinforcement for management techniques for students who experience Autism) and the tone is unnecessarily “label-oriented.” The categorization of student needs with specific techniques is good but seems a bit arbitrary. (Students with higher learning potential = offer advanced ability ensembles/acceleration? Not that practically helpful for the classroom teacher.) This section will need to be accompanies by a more nuanced classroom discussion facilitated by a knowledgeable instructor.","overall_rating":9,"overall_review":"I recommend this text and I believe I will use it in the future.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1228,"first_name":"Mei-ling","last_name":"Lee","position":"Instructor","institution_name":"Lane Community College","comprehensiveness_rating":4,"comprehensiveness_review":"This text book “Music and the Child”, written by Natalie Sarrazin, is well organized in its content. It covers a wide range of topics on teaching music for younger children. The whole book consists 13 chapters, and each chapter has its own clear subject, but also related to each other. Many music examples and charts are provided throughout the book. It is easy to read.\n\nI found it is very useful that the sections of Vocabulary, Resources, and References are placed at the end of each chapter. This make it much easier to explore more information. Through out the book, there are hands on activities listed in the book. They are very helpful and fun to do.\n\nThis book is a great resources for music educator. Most contents are related to younger child, but I also found there are many materials, suggestion can be used for order kids, even young adults.","accuracy_rating":5,"accuracy_review":"The content of the book seems accurate, according to my knowledge.","relevance_rating":4,"relevance_review":"New music is written every day, every hour and every minutes. But there are some basic concept and ideas about music teaching will stay the same over years. This book covers a lot of ideas of how to make the music fun in younger children’s learning process. They can be very useful for a long period of time. However, it would be nice to see more current music repertoire.","clarity_rating":5,"clarity_review":"The text is written in very accessible prose. At the end of each chapter, the Terminology section is very helpful to make all the concept to be understood easily.","consistency_rating":5,"consistency_review":"The written style and structure of each chapter in this book are very consistent.","modularity_rating":5,"modularity_review":"This book has 13 chapters. Each chapter can be used as a stand along module. Each chapter is focus on one stand along subject related to music teaching in early childhood. \n\nAlso, having the information of references at the end of each chapter also make each chapter to be it’s own module easily.","organization_rating":5,"organization_review":"The structure of the book is very well organized. The print is clear. All the charts and pictures are large enough to be seen clearly.","interface_rating":5,"interface_review":"I see no problem of the interface issue. the whole book is very easy to navigate. The diagram and charts are printed large enough for easy navigation.","grammatical_rating":5,"grammatical_review":"As non-native English speaker, I found this book is very east to read. I see no errors on the books grammar. Personally, I really like the writing style of the book. All the information can be digest easily and the ideas are delivered clearly.","cultural_rating":4,"cultural_review":"This book is mainly written for music educators to use in US. All of the music examples are based on Western culture. It will be very nice if some of the music examples can drawn from other culture / country.","overall_rating":9,"overall_review":"No","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1464,"first_name":"Tinamarie","last_name":"Ivey","position":"Faculty","institution_name":"Linn Benton Community College","comprehensiveness_rating":5,"comprehensiveness_review":"This book is a good resource and guild for anyone choosing to work with children whether in an academic environment or other setting. And though it focuses on how to teach music, It also offers the reader the advantage of knowing more about how to apply music (without being a 'music major')  to an academic lesson in order to enrich a child's cognitive abilities while building on a 'process' rather than a 'product' objective.  Though each chapter builds onto the next, a reader is not required to read from cover to cover in order to utilize the information and to have direct application in an educational setting.  The author has consolidated a remarkable amount of information and direct application opportunities yet it is not overwhelming to the reader, very organized and concise.","accuracy_rating":5,"accuracy_review":"Every author has some opinion upon the subject matter they write and therefore cannot be completely 'unbiased'.  That being said, any perceptions made by the author are well supported by citations and offer the reader an opportunity to reflect upon the thoughts shared by the author.  That being said, I took exception to the section that indicates that a teacher should discourage a student from singing in their chest but rather ask them to sing in their head.  There is little evidence that this technique is helpful to insure good singing in the future though I understand why the author has come to this conclusion.  The text has minor misspellings but does not deflect from the content.","relevance_rating":5,"relevance_review":"The topics explored, activities offered, and sited materials is more relevant than ever and will continue to be so as western schools battle the ever present decline in students' love of learning.    It is especially helpful that the author lists the '21st Century Skills' which identifies particular areas of focus which are essential for  future learning as identified by the Kennedy Center, The Partnership for 21st-Century Skills, 21st-Century Schools and the Global Alliance for Transforming Education.  This text helps a teacher know how to make learning fun, to allow students to become leaders, collaborators and corroborative learners.  The arts are often narrowly defined as part of an elitist community. This excludes the arts from a consideration of their multiple contributions to our daily lives and the role they play in discourse regarding social/cultural issues. The evidence of this is in the consistent funding cuts to local and national arts agencies and for arts education in elementary and secondary school settings. This disjuncture suggests that the common perception is that the arts are outside of the normal boundaries of daily living and problem solving and are instead reserved for extra-ordinary components of life related to special events associated with rites of passage as well as national and religious celebrations.  Because of this the text is enormously relevant without risk of becoming out of date anytime soon.","clarity_rating":5,"clarity_review":"The text is clear, easy to understand and accessible.  The technical terms and terminology are presented in a way that the reader is not required to be a music aficionado - clearly defined with direct application opportunities. I especially like that the author has included the key terms and definitions, as a vocabulary section, at the end of each chapter.   There is a warmth to her writing, a true love of the work and a thorough understanding of the importance of music in a child's life.","consistency_rating":5,"consistency_review":"The framework of the text is excellent, comprehensive and consistent terminology used throughout.  The author takes the reader on a journey through guided probes in how music connects all of us as human beings, with consistent opportunities for direct application.  Each chapter is similarly structured, making it easy to navigate each topic.","modularity_rating":5,"modularity_review":"The text offers the reader easy access to smaller categories of material by well defined sections.  The smaller sections are consistent along all the chapters, with blocks of text clearly identified with subheadings.  This text can be utilized as a companion text to courses such as Creative Drama for the Classroom/Teacher.","organization_rating":4,"organization_review":"The chapters could be organized a little differently and rather than list every chapter and where it should be placed I will add just this: The reader may be better served by having Chapter 11, 12, 13 offered earlier in the chapter order.   And consolidate the Lesson Plan development later in the reading.","interface_rating":5,"interface_review":"The text is of free of significant navigation issues, charts and examples are very easy to decipher.  The links for further reading and resources within the chapters are especially helpful to the reader.","grammatical_rating":5,"grammatical_review":"The text has minor grammatical errors mostly due to spaces between words.","cultural_rating":5,"cultural_review":"The author pays close attention to cultural sensitivity and awareness.  Many examples, philosophies, resources and materials are provided within the chapters.  These cultural samplings include teaching approaches and philosophies of Italy, Germany, Switzerland, Japan and Hungry.  I also appreciate that the author offers a chapter 'Music Inclusion', which touches on Gender, Therapy \u0026amp; Healing, Special Needs and her chapter: Musical Multiculturalism and Diversity.","overall_rating":10,"overall_review":"The author states, \"understand the role of music in children’s lives through play\", which is what first captured my interest in this text.  I believe children learn best through play, through physicalization and collaboration.  This text is a perfect fit in any early education training.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1994,"first_name":"Erin","last_name":"McKee","position":"Online Instructor","institution_name":"Concordia University Portland","comprehensiveness_rating":5,"comprehensiveness_review":"The text, Music and the Child,  is a comprehensive overview of understanding the developmental connections between music and children. The author Sarrazin states, “children are inherently musical.” Sarrazin guides the reader to understanding the importance of music education in the classroom setting, regardless if there is a formal music program present or not. The text covers an overview of musical concepts and vocabulary and easy to implement activities and lesson ideas. The author helps readers find joy in musical education and recognizing the many benefits of learning music. \n","accuracy_rating":5,"accuracy_review":"Sarrazin supports her text with citations and references to a variety of well-known musical scholars, and pedagogical approaches to education. There are some minor misspellings throughout, though it does not deter the reader from comprehending the text. ","relevance_rating":5,"relevance_review":"The text is up-to-date and relevant to educators today. Many concepts of the text will remain relevant overtime, such as the song repertoire, history of musical education, and musical concepts and vocabulary. Concepts such as assessment, approaches to lesson planning, multicultural learning, and lesson ideas could be updated without any concern. ","clarity_rating":5,"clarity_review":"The author presents the text in a way that is easy to understand. The text is primarily written for educators without extensive musical knowledge. The author concludes each chapter with helpful musical definitions and vocabulary terms, helping readers to understand more technical musical concepts. ","consistency_rating":4,"consistency_review":"The text is written in a easy to follow format. The chapters begin with a summary and end with resources, references, and vocabulary definitions. There are also embedded activities to try out to help with understanding or as readers learn about lesson ideas and activities.","modularity_rating":5,"modularity_review":"The 13 chapters are easy to navigate and do not overwhelm the reader. The chapters could be assigned at different points in the course, and rearranged in an order that would be applicable to different reading purposes. ","organization_rating":4,"organization_review":"The overall organization of the book is sequenced in a way that is clear and logical. As other reviewers noted, it may be more relevant to move the last few chapters up in the sequence, particularly the last chapter on multiculturalism and diversity,  and allow for the integration chapter to be at the end.  ","interface_rating":5,"interface_review":"The text is easy to read, free from any significant interface issues. The links embedded in this text are readily accessible, as well.  ","grammatical_rating":5,"grammatical_review":"The text is free from grammatical errors. ","cultural_rating":5,"cultural_review":"The text does a nice job highlighting the cultural relevance of music and music education. There are several references to pedagogical approaches from different cultures, and instruments and songs from diverse cultures. The author provides relevant resources and ideas to incorporate multicultural music lessons in classrooms. ","overall_rating":10,"overall_review":"I recommend this text to other readers. I would utilize this text in my music and movement course, for undergraduate students, studying to be early childhood educators. ","created_at":"2018-05-21T19:00:00.000-05:00","updated_at":"2018-05-21T19:00:00.000-05:00"},{"id":2239,"first_name":"Sarah","last_name":"Burns","position":"Visiting Assistant Professor of Music Education","institution_name":"Augustana College","comprehensiveness_rating":4,"comprehensiveness_review":"The text is fairly comprehensive as a textbook for a music methods textbook intended for elementary education majors.  Some content knowledge is assumed: for example, certain elements of the fundamentals of music are taught while some are merely mentioned (staff, clefs, etc.).  More information about instruments, specifically orchestral and band instruments, listening experiences, and classroom management would be helpful.","accuracy_rating":3,"accuracy_review":"Bias\n          “As an extension, the book also touches on some multicultural aspects of music, and considers the broad role of music and its importance to humanity, thus avoiding an insular and myopic Western Culture view of the musical child.” (p. 3)\n\nWhile it may reveal the personal attitude of the author, the last part of this statement (after the word “humanity”) could be removed and thus avoid bias.  The holistic, global content of the text contradicts this one phrase and renders it unnecessary.\n\nMany inaccuracies regarding musical/song examples were identified – missing time signatures (pp. 29, 30), uneven metrical phrasing (pp. 27-28, 93-94), chant with no lyrics (p.67), incorrect key signature (p. 70, 183), rhythmic lines with key signatures (p. 76), incorrect notes/rhythms (p. 95, 155, 160, 177), misplaced accents (p. 96), title does not match chant (p. 147), song phrases out of order (pp. 154, 155), unfinished songs (pp. 233, 234, 237, 269).  \n\nAttention to these and other musical issues would produce a well-varied song collection for the elementary education major.","relevance_rating":4,"relevance_review":"Though this text occasionally tangents into areas beyond the scope of a music methods text for elementary education majors, its content is relevant to the intended audience.  Chapter 11: Music and Inclusion may need to be revisited from time to time to stay current with gender issues and recommendations for students with special needs.  Some of the folk song content may need to be edited or replaced in light of today’s changing attitudes.","clarity_rating":5,"clarity_review":"This text is presented in a professional, conversational-style prose.  It is written as though the author is speaking to the reader with understanding of the reader’s experience and knowledge of the subject matter without appearing condescending.  Terms that may be considered jargon of the music field are promptly defined in the text as well as included in the chapter and end-of-text glossaries.","consistency_rating":5,"consistency_review":"The consistency of this text is satisfactory throughout.","modularity_rating":4,"modularity_review":"This text has clearly defined sections though it would be helpful to have the subsections for each chapter included in the table of contents and a topical index at the end of the text. This would facilitate identifying subsections more readily.","organization_rating":4,"organization_review":"This text has clearly defined sections though the placement of some sections is problematic. For example, in Chapter 6 the classroom instrument section seems out of place in a chapter on lesson planning and the classroom management section just seems like an add-on without a place of its own.","interface_rating":5,"interface_review":"This seems to be satisfactory.  It would be helpful to have links printed out for use with the printed form.","grammatical_rating":5,"grammatical_review":"Very few grammatical errors were observed.","cultural_rating":5,"cultural_review":"An entire chapter is devoted to Musical Multiculturalism and Diversity. This chapter offers a detailed to incorporating world music into the classroom with specific examples given from West Africa, India, and Japan. Song examples throughout the text represent a global collection of folk songs.","overall_rating":9,"overall_review":"This is a thoughtful, research-based text with the undergraduate student in mind.  The content is presented in a reader-friendly writing style that is easily understood.  In addition to a collection of over 100 children’s chants and songs, this text includes scripted lesson plans which gives guidance for incorporating music into the elementary curriculum.  As a result, the beginning teacher can achieve successful music making in the classroom.","created_at":"2018-06-19T19:00:00.000-05:00","updated_at":"2018-06-19T19:00:00.000-05:00"},{"id":4133,"first_name":"Jennifer","last_name":"Vernon","position":"Faculty, ECE Filed Supervisor","institution_name":"Portland Community College","comprehensiveness_rating":5,"comprehensiveness_review":"The author is clear in the content and gives context of the material through links to various Ted Talks, Youtube videos and articles to further dig deeper into the concepts discussed.","accuracy_rating":5,"accuracy_review":"This textbook is thorough in providing unbiased information while keeping in mind how music is our sense of identity that provides contextual culture and self worth.","relevance_rating":5,"relevance_review":"The activities provided throughout the textbook are relevant and provide the reader to take an active role in the information provided through hands on learning.","clarity_rating":5,"clarity_review":"I found the textbook was clear and concise without the use of jargon while providing fundamental definitions along the way.","consistency_rating":5,"consistency_review":"The textbook build upon itself through each chapter. Beginning with the fundamentals and continuing on chronologically with age and development.","modularity_rating":5,"modularity_review":"I found the author provided multiple ways for the reader to learn the material. The activities where in colored boxes to break up the reading and the videos proved more context for the content. There were multiples ways in which to learn the concepts.","organization_rating":5,"organization_review":"The organization was presented clearly and concisely as a reader to follow and engage in the content.","interface_rating":5,"interface_review":"I found the interface engaging and easy to navigate while all of the links were working and free of problems.","grammatical_rating":5,"grammatical_review":"I found this textbook free of grammatical errors, professionally written and well edited.","cultural_rating":5,"cultural_review":"I truly appreciated the inclusion of various conversations and topics of multiculturalism and diversity throughout the textbook as music is so intrinsic to our own identity.","overall_rating":10,"overall_review":"I am planning on using this textbook to support my students understanding music and the brain with a cultural understanding.","created_at":"2020-06-29T13:11:21.000-05:00","updated_at":"2020-06-29T13:11:21.000-05:00"},{"id":4282,"first_name":"Lisa","last_name":"Maynard","position":"Associate Professor of Music Education","institution_name":"James Madison University","comprehensiveness_rating":5,"comprehensiveness_review":"“Music and the Child” by Natalie Sarrazin provides a thoroughly comprehensive, well-written, researched and referenced, overview of Music Education history, practices, planning, procedures, and possibilities in relation to creating meaningful music learning experiences for children of all ages in pedagogically-appropriate ways.  The wealth of content is impressive, as is the thoughtfulness of planning that went into the inclusion of resource and vocabulary lists associated with each chapter. In addition, multiple links are included throughout the text of each chapter with the purpose of offering more in-depth study  of certain topics, as well as access to a large number of incredibly useful related resource links for each chapter. The musical examples and diverse repertoire included in the book are a huge resource in and of themselves. While targeted for classroom teachers teaching music classes, I think this book also would certainly be appropriate to use in an introductory class for Music Education majors as well.","accuracy_rating":5,"accuracy_review":"The content of this textbook is remarkably error free, especially given the large amount of material included in it. The influence of the author’s own background both as a music educator and ethnomusicologist are clearly seen in the selection of ethnically diverse musical examples.","relevance_rating":5,"relevance_review":"While the topics covered in this textbook span a wide time period, covering important historical developments and approaches in the field of Music Education (both around the world and in the United States), one of the author’s stated outcomes is to prepare teachers of music classes for successful 21st Century teaching. She certainly does this by providing such a wealth of  information and including the resources necessary to create positive learning experiences for all students in music classes. The layout of the text and instructions provided in relation to actions and movements associated with many of the songs included in the book make it accessible and practical.","clarity_rating":5,"clarity_review":"While Dr. Sarrazin’s textbook is both research and practice based, her writing style is easily accessible while not overlooking the relevance and importance of specific terminology that is clearly defined in each chapter’s vocabulary list.","consistency_rating":5,"consistency_review":"The overarching framework used for this textbook was consistent throughout, with each chapter following a similar format despite the change in topic. This added continuity for the reader. I found myself looking forward to reading the glossary of terminology at the end of each chapter, and also found it hard not to click on the links embedded throughout the chapters. I can imagine my student’s wanting to do the same thing in their thirst for further knowledge about the various topics included in the book’s content.","modularity_rating":5,"modularity_review":"While the order of the topics included in the various chapters are already laid out in a sequentially effective way, they could certainly be reordered according to the tastes of an instructor who is using the text for one of their classes. The subtopics within each of the larger topics could also lend themselves to discussion in smaller bytes for a class meeting multiple times a week. The inclusion of suggested class activities throughout each chapter provides additional embedded content and learning opportunities for meaningful student reflection, discussion, and collaboration.","organization_rating":5,"organization_review":"The information and resources included within each chapter are logically presented and well-ordered. While some topics are understandably covered in more detail than others, those offering introductory information in relation to a subtopic tend to offer links to more information for those wanting to learn more. The reference lists and index of songs included in the book are also hugely valuable and well-organized content.","interface_rating":5,"interface_review":"I found the links included in the textbook to be significantly free of navigation problems. While I did find a few links in the Resources list of Chapter 6 to no longer be working, I think this is not surprising given that they are outside links over which the author has no control. These could easily be updated in a future edition of the book. However, given that so many of the links worked without problem, this was a minor issue, and could be easily remedied with some internet searching by the reader.","grammatical_rating":5,"grammatical_review":"The written content of the text was free of grammatical errors. I did find one incorrect spelling of Shinichi Suzuki’s first name in a subheading but the correct spelling was used later on.","cultural_rating":5,"cultural_review":"The author has included a diverse collection of songs from a variety of countries in the text which is commendable. Dr. Sarrazin discusses and emphasizes in detail the importance of including culturally relevant repertoire into the context of music classrooms so that the music learned is reflective of those who are the student stakeholders in each classroom. Revision of some of the American historical song content – specifically in relation to war songs included in the text – could be a consideration for the next edition of the book.","overall_rating":10,"overall_review":"Dr. Sarrazin should be congratulated on the huge amount of scholarly work and expertise that went into envisioning, researching, and writing this excellent Open Library Textbook resource. A potential chapter to add for the next edition could be one that provides a brief overview of instrumental music in the schools. I also think it would be good to include some content about the El Sistema method to the chapter on various approaches (e.g. Kodaly, Suzuki, Gordon etc..) in a future edition. Overall, I found this book to be a well-written and informative text that I believe university students would find engaging, interesting, and practical.","created_at":"2020-07-31T15:28:35.000-05:00","updated_at":"2020-07-31T15:28:35.000-05:00"},{"id":4537,"first_name":"Melissa","last_name":"Ryan","position":"Assistant Professor of Music","institution_name":"DePauw University","comprehensiveness_rating":5,"comprehensiveness_review":"The text offers a research-based and practical approach to teaching children through music. The author provides an informed framework and rationale for music in education and for creating educational environments for children in which they can grow as humans. As a music educator, I appreciate the author's dedication to music in education as a vital aspect of a holistic approach to teaching young students. Sarrazin walks us through each chapter with clear and practical examples of how to accomplish this very thing.","accuracy_rating":5,"accuracy_review":"The text is accurate, well-researched, and more than sufficiently referenced.","relevance_rating":4,"relevance_review":"Most of the content is up-to-date. However, some of the links that the author provided for more detail are out of date and/or are no longer functioning web pages.  Additionally, some of the folk song choices and language used in the \"inclusion\" section may need to be reconsidered in light of shifts and changes in appropriate educational terminology and philosophy.","clarity_rating":5,"clarity_review":"The author uses clear and accessible language throughout the text. It is appropriate for the targeted audience of teachers and professionals with little or no formal musical training or education.","consistency_rating":5,"consistency_review":"The text is consistent throughout with no glaring or distracting discrepancies.","modularity_rating":5,"modularity_review":"The way the content is organized within each chapter certainly lends itself to stand-alone use of chapters or sections for any particular course needs.","organization_rating":5,"organization_review":"A university instructor could easily follow the text in the order it is written and use it as a guide to chronologically and pedagogically organize their course content.","interface_rating":5,"interface_review":"The interface was easily navigable and very reader-friendly.","grammatical_rating":5,"grammatical_review":"There were no distracting grammatical errors in the text.","cultural_rating":3,"cultural_review":"While there is an entire chapter dedicated to music multiculturalism and diversity, it seems the musical choices in the text miss the mark on this goal. The author mentions that 21st century, progressive educational goals are broader than a Western-centric view, but the majority of the musical examples illustrate a bias in that very vein. The inclusion of minstrel songs (\"O Susannah\") also indicates a reevaluation is needed in order to reflect more current philosophies toward these historically problematic tunes. Multiculturalism and cultural relevance in education is much more than tacking on a chapter at the end of a text.","overall_rating":9,"overall_review":null,"created_at":"2021-01-07T15:52:32.000-06:00","updated_at":"2021-01-07T15:52:32.000-06:00"},{"id":33777,"first_name":"Sara","last_name":"Beck","position":"Assistant Professor of Psychological Science","institution_name":"Randolph College","comprehensiveness_rating":3,"comprehensiveness_review":"See complete review below.","accuracy_rating":4,"accuracy_review":"See complete review below.","relevance_rating":4,"relevance_review":"See complete review below.","clarity_rating":4,"clarity_review":"See complete review below.","consistency_rating":4,"consistency_review":"See complete review below.","modularity_rating":4,"modularity_review":"See complete review below.","organization_rating":4,"organization_review":"See complete review below.","interface_rating":5,"interface_review":"See complete review below.","grammatical_rating":4,"grammatical_review":"See complete review below.","cultural_rating":5,"cultural_review":"See complete review below.","overall_rating":8,"overall_review":"I really enjoyed this book, and I think it provides an excellent introduction to the field of music education, as well as use of music in the elementary and preschool classroom to support learning more broadly. As a music psychologist who does research in the area of children's musical engagement, I was expecting more of a social sciences approach, and what I found was largely centered on practical classroom advice for teachers of preschool and school-age children. That said, I found the book extremely interesting, relevant, and easy to follow. In particular, Chapter 4 on approaches to music education was concise and would be useful for my psychology of music class as an introduction to how modern children are enculturated to music in the classroom. Additionally, Chapter 5 (entitled Children Singing and Children's Songs), provided a good introduction to musical milestones and also improvisation in the context of children's musical play. These are topics which are of interest within developmental psychology as well as musical education. \r\n\r\nAs a teacher of college students, I was intrigued by Chapter 6 in its coverage of arts integration, which was conceptually familiar to me, but not familiar as a pedagogical term. Overall, the ethnomusicological and pedagogical approach of the book offers many benefits to the teacher of music education and also offers some content to teachers of developmental music psychology, children's music perception, and the science of children's play (inclusive of musical play).  A major strength of the book is the practical suggestions throughout for lesson plans centered on music situated to achieve multiple musical and non-musical goals.  These are likely to be most useful to the reader who is already competent at reading and teaching music, however, despite a brief section that introduces note-reading and musical notation literacy to the novice. \r\n\r\nFrom my perspective, the major shortcoming of the book is the fact that in-text citations were used only intermittently. There were many claims made without accompanying in-text citations, particularly around music therapy and use of music for children with special needs. In general, Chapter 7 (on music and the brain) and Chapter 11 (on music and inclusion) needed to be more thoroughly referenced throughout since they largely rely on empirical research findings which are easy to overstate. A curious reader will want to know exactly where to go to find more detail on these findings, and it is not easy to map each claim onto the end-of-chapter references.\r\n\r\nI found this book to be consistent and informative, and I hope to use a chapter or two in classes moving forward. As a stand-alone book, I believe it would be best suited for a class in the field of music education or elementary teacher education.","created_at":"2022-04-06T14:58:35.000-05:00","updated_at":"2022-04-06T14:58:35.000-05:00"},{"id":34086,"first_name":"Sharon","last_name":"Watkins","position":"Adjunct Music Education Instructor","institution_name":"Newberry College","comprehensiveness_rating":4,"comprehensiveness_review":"This is quite a thorough text, especially since the author states it is intended for general education majors studying how to include music. Each chapter ends with a comprehensive glossary, but there is no index. In ebook format words or phrases can be searched, but an index would be preferable, especially for the pdf or hard copy versions.","accuracy_rating":5,"accuracy_review":"The content is well-researched and appears to be accurate in all areas. The author’s studies in ethnomusicology have allowed her to offer a rich perspective on children’s unique musical backgrounds, especially in chapters 1 and 13. .","relevance_rating":4,"relevance_review":"The content is relevant and mainly up-to-date. Suggested discussion points/activities are included in each chapter to involve students. Special attention should be given to the hyperlinks. They  are a wonderful tool for immediate access to additional resources, but I found some of them to be broken. Also, references to government education programs such as \"Common Core\" can easily change over time. My state has repealed those standards. Overall, these are minor changes and should be easily implemented.","clarity_rating":5,"clarity_review":"The text is written clearly and concisely. All technical terms, if not understood  thoroughly by the reader, are included in the end-of-chapter glossaries.","consistency_rating":5,"consistency_review":"The text is internally consistent. Each chapter is similarly organized and builds upon a common theme in a logical and organized manner.","modularity_rating":5,"modularity_review":"The text is very clearly divided into thirteen chapters and each chapter is well organized by subheadings. This should easily accommodate student understanding if teachers prefer to reorganize class topics and reading assignments within the book.","organization_rating":5,"organization_review":"The topics in the text are presented logically, beginning with an overview of music education in America, how it has developed through history, and then some excellent practical songs, activities, and lesson planning advice. The last several chapters cover music education concerns for specific age levels, inclusion, music integration, and diversity.","interface_rating":4,"interface_review":"I downloaded and read this text as an ebook. Navigation was flawless and all visuals and charts were in excellent form. My only frustration was that hyperlinks took me away from the text, and I had to re-access it each time. For a more professional presentation, it would also be nice to see all YouTube hyperlinks coordinated through a site that offers ad-free addresses.","grammatical_rating":5,"grammatical_review":"There were just a very few typos, but no noticeable grammatical errors.","cultural_rating":5,"cultural_review":"This text is very inclusive and sensitive to the many differences students bring to the classroom. This is true not only as a text itself, but cultural sensitivity, diversity, and inclusivity are addressed as subject matter as well. (See chapters 1, 11, and 13.)","overall_rating":9,"overall_review":"I found this to be a very relevant, thorough, well-researched, and well-written textbook for teaching music at the elementary school level. In my opinion, it could be a valuable resource for both general elementary education students and music education students who are anticipating K-12 general and choral music certification.","created_at":"2022-10-24T17:29:57.000-05:00","updated_at":"2022-10-24T17:29:57.000-05:00"}],"url":"https://staging.open.umn.edu/opentextbooks/textbooks/music-and-the-child","updated_at":"2025-12-15T02:01:58.000-06:00"},{"id":344,"title":"Graphic Design and Print Production Fundamentals","edition_statement":null,"volume":null,"copyright_year":2015,"isbn10":null,"isbn13":null,"license":"Attribution","language":"eng","accessibility_statement":null,"accessibility_features":["unknown"],"description":"This textbook -- written by a group of select experts with a focus on different aspects of the design process, from creation to production -- addresses the many steps of creating and then producing physical, printed, or other imaged products that people interact with on a daily basis. It covers the concept that, while most modern graphic design is created on computers using design software, the ideas and concepts don't stay on the computer. The ideas need to be completed in the computer software, then progress to an imaging (traditionally referred to as printing) process. Keywords are highlighted throughout and summarized in a Glossary at the end of the book, and each chapter includes exercises and suggested readings.","contributors":[{"id":3816,"contribution":"Author","primary":true,"corporate":false,"title":null,"first_name":"Wayne","middle_name":null,"last_name":"Collins","location":"British Columbia Institute of Technology","background_text":"Wayne Collins completed his Bachelor of Arts in English Language Studies at the University of Regina while concurrently completing a traditional five-year trades apprenticeship in pre-press with the Graphic Arts Union. He moved to Vancouver in 1985 and worked at Zenith Graphics, first as a film stripper and camera operator, and later as a computer systems operator and manager. He moved to Creo in their formative years and helped champion their computer to plate systems across North America. Before starting the Graphic Communications Diploma Program at British Columbia Institute of Technology in 2006, Wayne managed the pre-press department at Hemlock Printers in Vancouver for 15 years."},{"id":3817,"contribution":"Author","primary":false,"corporate":false,"title":null,"first_name":"Alex","middle_name":null,"last_name":"Haas","location":"Emily Carr University","background_text":"Alex Haas is a multidisciplinary designer, illustrator, and artist. Her design practice encompasses art direction, typeface design, and image creation. She has a special fondness for book design. She has partnered with Canadian publishers, art galleries, artists, universities, furniture makers, filmmakers, First Nation educators and historians, musicians, the CBC and the National Film Board in her design projects. Alex studied illustration and art direction at the Alberta College of Art and Design, received her design degree in visual communication from Nova Scotia College of Art and Design University, and her Master’s in Applied Art, media stream, from Emily Carr University. She has taught various aspects of design at Emily Carr University, Simon Fraser University, and British Columbia Institute of Technology for the past 18 years."},{"id":3818,"contribution":"Author","primary":false,"corporate":false,"title":null,"first_name":"Ken","middle_name":null,"last_name":"Jeffery","location":"British Columbia Institute of Technology","background_text":"Ken Jeffery instructs in print technology and communication design for the Digital Arts Department at British Columbia Institute of Technology. He holds a Master’s of Arts in Learning and Technology from Royal Roads University, where he researched strategies for effectively implementing social media in the classroom. Prior to a move to the world of higher education, Ken spent over 18 years in the printed communications industry. Starting out composing hand-set type for letterpress, he moved quickly to adopt digital design and web2print workflows. As a business owner working on all aspects of business from sales and marketing to production and fulfillment, he brings hands-on experience to today’s modern classroom, and he is eager to share his experience with the next generation of visual communicators."},{"id":3819,"contribution":"Author","primary":false,"corporate":false,"title":null,"first_name":"Alan","middle_name":null,"last_name":"Martin","location":"British Columbia Institute of Technology","background_text":"Alan Martin has a Bachelor of Fine Arts in printmaking from the University of Victoria. He has been involved professionally in the graphic arts since 1977, first in traditional film assembly and then in electronic pre-press from its early days in the 1980s onward. For the past 11 years he has worked for Kodak, supporting their pre-press workflow products. Alan is currently product support manager for the InSite family of web-based review applications. He teaches several courses at British Columbia Institute of Technology, including Colour Management Systems."},{"id":3820,"contribution":"Author","primary":false,"corporate":false,"title":null,"first_name":"Roberto","middle_name":null,"last_name":"Medeiros","location":"Ricoh Canada","background_text":"Roberto Medeiros is a production print solution engineer with Ricoh Canada. His career in the copier and digital printing industry began in 1988 as a copier technician. In 2000, his role was transitioned to exclusively supporting colour and production print solutions. In 2012, Roberto joined the Graphic Communications Technology Program at British Columbia Institute of Technology as a part-time instructor teaching Advanced Digital Imaging. In 2015, he achieved his Idealliance Color Management Professional – Master certification."},{"id":3821,"contribution":"Author","primary":false,"corporate":false,"title":null,"first_name":"Steven","middle_name":null,"last_name":"Tomljanovic","location":"British Columbia Institute of Technology","background_text":"Steven Tomljanovic has been recognized as a leader in web2print and variable data with over 15 years of experience in IT and almost 10 years of experience in the print industry. He was a part of the first graduating class of the British Columbia Institute of Technology GTEC printing program. Upon graduation, Steven helped companies build their online business presence with great success. He has been honoured with PrintAction magazine’s PA35, awarded to the top 35 industry leaders under the age of 35 in Canada. Steven shares his passion by teaching e-commerce, web2print, and web marketing courses at British Columbia Institute of Technology in the GTEC and New Media \u0026 Design Programs within the School of Business. Steven currently works as the web2print specialist at MET Fine Printers, located in Vancouver BC."}],"subjects":[{"id":29,"name":"Arts","parent_subject_id":6,"call_number":"N85","visible_textbooks_count":56,"url":"https://staging.open.umn.edu/opentextbooks/subjects/arts"},{"id":3,"name":"Computer Science","parent_subject_id":null,"call_number":"QA76","visible_textbooks_count":137,"url":"https://staging.open.umn.edu/opentextbooks/subjects/computer-science-information-systems"},{"id":6,"name":"Humanities","parent_subject_id":null,"call_number":null,"visible_textbooks_count":418,"url":"https://staging.open.umn.edu/opentextbooks/subjects/humanities"},{"id":16,"name":"Journalism, Media Studies \u0026 Communications","parent_subject_id":null,"call_number":"P91.3","visible_textbooks_count":57,"url":"https://staging.open.umn.edu/opentextbooks/subjects/journalism-media-studies-communications"}],"publishers":[{"id":258,"url":"https://opentextbc.ca/","year":null,"created_at":"2018-09-07T12:22:38.000-05:00","updated_at":"2020-07-24T19:44:01.000-05:00","name":"BCcampus"}],"formats":[{"id":427,"type":"PDF","url":"https://opentextbc.ca/graphicdesign/","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":428,"type":"Online","url":"https://opentextbc.ca/graphicdesign/","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":1658,"type":"eBook","url":"https://opentextbc.ca/graphicdesign/","price":{"cents":0,"currency_iso":"USD"},"isbn":null}],"rating":"3.5","textbook_reviews_count":19,"reviews":[{"id":848,"first_name":"Melinda","last_name":"Benton","position":"Associate Professor","institution_name":"Umpqua Community College","comprehensiveness_rating":1,"comprehensiveness_review":"This book gives an introduction to some key principles in graphic design, in printing, and in design business management. It gives an introduction, not a comprehensive study of any of those three fields. Some sections are written to a beginning reader while others are written to readers with extensive background already in the subject.\n\n","accuracy_rating":3,"accuracy_review":"The graphic design information is accurate. The printing information appears to be accurate, but the text doesn't always mention which version of the software they are referring to. I gave the book a \"3\" for accuracy because of this concern. Since printing and design software can change substantially in subsequent versions, readers will need to know which software version is being discussed. ","relevance_rating":1,"relevance_review":"Some of the information in the book is out of order. For example, the project management information is presented with complex details in one chapter then the foundational information needed to understand those details is in a later chapter. A graphic design student would usually get the information on basic design principles, then some practice, then the really detailed info on project management. The same issue happens with vocabulary. A term is used repeatedly, then in later chapters the same term is bolded to show that it is in the glossary with a definition. Words that need definitions should be bolded the first time they are used since this text uses bolding to show words defined in a glossary. Better yet, the words should be defined in text. Also, some words like incunabula, bespoke, baseline grid, proofer, output device, output profile, color chart, natural base state, patch, option prompts, read head,  etc. are either not defined at all or not bolded to send students to the glossary. ","clarity_rating":1,"clarity_review":"Too many technical terms are left undefined, and the ones which have definitions in the glossary are not always bolded on first use (or at all). The text uses bolding of words to show that the words are in the glossary, but many readers would prefer that terms were defined at the chapter level either in text or at the beginning of the chapter. The graphic design chapter is written for a beginning student, but the printing chapters are written for advanced students. A few sentences are hard to read: \"“What happens when we project two of the three additive primaries on top of each other? This is the same as removing or subtracting one of the additive primaries from white light. Let’s start with red and green.” ","consistency_rating":2,"consistency_review":"The graphic design chapter is written for a beginning student, but the printing chapters are written for advanced students. This book would be helpful as supplemental reading for instructors, however.","modularity_rating":3,"modularity_review":"Yes. You will need the modules because the text will have to be separated for different classes. Few beginning graphic design classes will cover the advanced printing information from this text but they could use the graphic design information.","organization_rating":1,"organization_review":"Difficult vocabulary and technical terms are presented in one chapter then defined in later chapters or units. Color management information is presented in fine detail prior to readers being given the goal for color management. Sometimes foundational or background information is presented after the topic has been discussed for pages. However, in spite of the problems, I still learned a lot from chapter 5.","interface_rating":4,"interface_review":"The images and charts that the book has are wonderful. However, this is a graphic design and printing arts book, so readers and instructors will expect many more images than the book provides. The chapter on color, for instance, is in black and white.","grammatical_rating":5,"grammatical_review":"complrments  is misspelled in the text","cultural_rating":5,"cultural_review":"The text didn't really have any cultural references that were noticeable. ","overall_rating":5,"overall_review":null,"created_at":"2016-12-05T18:00:00.000-06:00","updated_at":"2016-12-05T18:00:00.000-06:00"},{"id":1576,"first_name":"Elizabeth","last_name":"Viall","position":"Assistant Professor","institution_name":"Colorado State University-Pueblo","comprehensiveness_rating":4,"comprehensiveness_review":"This textbook covers a wide variety of subjects within it's stated purpose. In some areas, it is comprehensive - color management systems - while in others somewhat more cursory - typefaces. The book does have a glossary at the end . There is no index. The chapters discussing color management seem very detailed.","accuracy_rating":4,"accuracy_review":"The book seems accurate and also provides sources, as well as \"further reading\" lists. Some of the directions for InDesign, PhotoShop, Illustrator may change as new iterations are released.","relevance_rating":4,"relevance_review":"The chapters on current color management may need updating as soon as the programs and/or technology changes. In some chapters, this may require quite a bit of replacement text.","clarity_rating":3,"clarity_review":"The color management section requires some technical knowledge. Some of these chapters would take a bit more background knowledge.","consistency_rating":4,"consistency_review":"The book is consistent from front to back.","modularity_rating":3,"modularity_review":"The earlier chapters have illustrations that provide reading \"breaks.\" Some of the more technical chapters could use this. For instance, pages 124-128 have a few subheads, but could use some visual breaks for readers.","organization_rating":5,"organization_review":"The book is organized in linear fashion, following the production time line. This makes sense for students.","interface_rating":4,"interface_review":"I viewed the book both as a pdf and from the html file. The pdf is well organized and easy to use. The html file is rather straight forward also, but any images are only displayed flush left (rather than next to each other), which doesn't give it a \"finished\" professional quality, but is easy to access.","grammatical_rating":4,"grammatical_review":"I found no errors in the text. The text does use first and second person frequently.","cultural_rating":3,"cultural_review":"This doesn't really apply to this text. It does discuss designers, but pictures only one. Examples used for various parts of the book were photos of cars.","overall_rating":8,"overall_review":"I found that this book's focus on color management in the printing process seems valuable to those more advanced students. This would not be appropriate for beginners. In the same vein, beginning students would need more information at the beginning of the book in terms of design fundamentals.","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1814,"first_name":"Eileen","last_name":"Walsh","position":"Learning Technologist","institution_name":"National University or Ireland, Galway","comprehensiveness_rating":3,"comprehensiveness_review":"This book has some great chapters on the process of concept development and design, that give a great introduction to the design process. The section on design seems to speak to beginners and gives them a good introduction to design and I feel that by the time you reach the section on Printing it gets a lot more technical and would speak to someone who is a bit more advanced in their design knowledge. ","accuracy_rating":4,"accuracy_review":"The information in this book relating to design, printing and the history of design are accurate. One thing that should be mentioned is that they do not mention what version of the software they are using. For example InDesign, Photoshop and Illustrator are mentioned multiple times. Without mentioning what version they are using (CC?) some confusion can happen when they are talking about specific functions within these design tools, as the functions or names of the processes being discussed could have changed, if you are using a newer version, or not be available, if you are using an older version. ","relevance_rating":4,"relevance_review":"The section on the history of design is one that will have longevity but I think as technology changes the ones on printing will need updating. As it currently stands the information is relevant although the information on the design process could be updated to the latest design thinking process and the terminology that goes along with it. The process mentioned in the book included the following steps: Define, Research, Develop Concepts and Implement Solutions and the new design thinking process covers more steps including: Empathise, Define, Generate Ideas / Brainstorm, Develop Solutions, Gather Feedback and Improve. The extra steps are included in the text but the new terminology is not used.  ","clarity_rating":3,"clarity_review":"There are a lot of technical terms within this book and only some of them are defined in the glossary. It would be more useful too if they were defined within context so you didn't have to keep flipping back to the glossary page as you may need to remind yourself what a certain word means. \n\nIt was a little bit difficult reading some of the more technical chapters, like the ones on printing, as they were filled with technical jargon and were written for a different skill level than the introductory chapters were. ","consistency_rating":3,"consistency_review":"The book seems to be split on the target audience who would be reading it. The first half gives a good introduction to the history of design and the design process for a beginner. The second half is more in depth and is very jargon heavy, and would be more suited to someone who is more advanced. In terms of using it as a teaching tool I think the first half would be a good resource to point your beginner students too and only utilise the second half for more advanced students or ones who have demonstrated a particular interest in the printing process. ","modularity_rating":5,"modularity_review":"The text is well divided and I can see how it could be split up or reorganised to suit a specific learning environment.","organization_rating":2,"organization_review":"Some work is needed on the overall structure / flow of the book. Because it is already split into blocks I think this could be easily done. Just some small edits could be done to correct these issues. Mainly the issue is that in some sections more advanced information is presented before some more basic definitions and information so that would need to be changed around. (eg the colour management section)","interface_rating":3,"interface_review":"I had a number of issues with the interface, firstly this is a book about design so there should be more visuals inserted into the text. There were also issues with the layout, for example if you look at page 91 and 92. The text on page 91 is indented and the text on 92 is further in. This formatting issue appears all over the book and for me it was a visual distraction moving in and out as you went between pages. \n\nAs it is a book on design I also thought that there could have been more design involved in the book itself. Chapter pages are just text on a white page and there is no design element involved. It would be nice to see the principals talked about in the book being included in its actual design. ","grammatical_rating":5,"grammatical_review":"On page 53 compliments is misspelled \nOn page 22 in this sentence: \"Defining goals allows you to home in on precisely what to communicate\" - Is the phrase hone in?","cultural_rating":5,"cultural_review":"Not Applicable","overall_rating":7,"overall_review":null,"created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":2050,"first_name":"Lisa","last_name":"Waananen Jones","position":"Clinical Assistant Professor of Communication","institution_name":"Washington State University","comprehensiveness_rating":4,"comprehensiveness_review":"The topics covered in this book are comprehensive, but vary in the level of detail and intended audience. It it more of a theoretical guide for the design process, and a technical guide for the printing process. The early chapters about graphic design history, process and elements provide a good introductory overview of topics that could each fill an entire book on their own for more advanced students. The later chapters abruptly turn to more technical and in-depth information about printing technologies, from the perspective of preparing completed files for printing. There is very little technical information associated with the design process, and there is no mention of some print considerations that often challenge beginners, such as margins and bleeds. A number of software programs are referenced (such as Adobe InDesign), but without any discussion of the strengths of different software programs and how to set up documents for different projects. ","accuracy_rating":4,"accuracy_review":"I did not observe any factual errors. There are a few topics where a specific workflow is presented as the best or standard way to do things, when there are other valid workflows (especially in other industries), and some of the historical information is so succinct that it oversimplifies cause and effect. There are very few mentions of web design and web publishing at all, and most of these overplay the idea that the web requires a wholly different approach.","relevance_rating":4,"relevance_review":"The historic information will remain relevant, and references to software or design standards are up to date with the latest versions. This should be relatively easy to update should any standards change in the future. The final chapter about web2print technologies feels somewhat dated since the ability to order products online (including printed design products) is well-established and not a novel way of conducting business. ","clarity_rating":4,"clarity_review":"A significant weakness in many of the chapters is the lack of visuals, which would greatly improve the clarity when describing visual principles and processes. The chapters with visuals have the best clarity for this reason. The writing styles vary between authors, as expected, but overall the writing is clear and understandable. There is often not enough context for jargon and technical terminology, and some of the analogies are more confusing than helpful — this seems like material that could work well in a lecture format, but is difficult to follow in the text. This is true of both the historic and technological information. It could be a good in-class exercise to have students split up the first chapter and find visuals and supplementary information for the many names and movements that are mentioned.","consistency_rating":4,"consistency_review":"There are no overt contradictions of ideas or terms, which is a strength considering the multiple authors. The perspectives are very different, however: The initial chapters are written from a creative perspective, and the later chapters are from a technical perspective. The overall structure of each chapter is consistent, with an overview followed by sub-chapters and concluding with review questions. However, there are differences with whether vocabulary terms are in bold type, whether block quotes are used, how material is cited in the text, etc.","modularity_rating":5,"modularity_review":"Modularity is a true strength of this book. The later chapters on print production have a more limited audience, but the early chapters on design history and process could be relevant for many courses, and are written at a mostly introductory level. Chapter 3, about design elements, would work especially well as a standalone chapter in a wide range of courses. Chapter 2 is also an excellent overview of graphic design as an iterative process, which would be useful in many courses of different levels.","organization_rating":3,"organization_review":"This book is fairly well-organized, but there are some inconsistencies with the chapter organization. For example, Chapter 3 defines typography terms that are used, without definitions, in Chapter 1. The idea of \"grid\" is discussed several times before it is formally defined in Chapter 3.4. The overview of printing methods in Chapter 6 makes the information in Chapters 4 and 5 much easier to understand. There is some redundant information, such as discussing variable data in Chapter 6 and again in Chapter 7. This is a benefit for modularity, though.","interface_rating":4,"interface_review":"The online interface is organized well and easy to navigate between chapters. The option to increase/decrease font size is a useful feature. There are some chapters without any visuals at all, which is a lost opportunity for a book about visual design.","grammatical_rating":4,"grammatical_review":"There are no distracting typos or grammatical errors. Minor errors that other reviewers have pointed out (such as \"complrments\" in Chapter 3.2) have not been corrected yet.","cultural_rating":4,"cultural_review":"The book is not insensitive and does not use many examples. The design history is presented from a European and North American perspective, so that could be an opportunity for broader inclusion, but it does not compare unfavorably to similar texts on this topic. Similarly, technical information puts an emphasis on North American standards, but that is appropriate given the expertise of the authors and the intended student audience. The fact that other standards exist in the world is mentioned.","overall_rating":8,"overall_review":"This book is primarily focused on a corporate/commercial design perspective, though this is not stated; small changes in vocabulary or examples could make it more applicable to news design, nonprofit and education design, etc. Adapting the first several chapters of this text for design thinking in different fields would be an excellent collaborative project for faculty in other disciplines.","created_at":"2018-05-21T19:00:00.000-05:00","updated_at":"2018-05-21T19:00:00.000-05:00"},{"id":2075,"first_name":"Colleen","last_name":"Reilly","position":"Professor","institution_name":"University of North Carolina Wilmington","comprehensiveness_rating":4,"comprehensiveness_review":"Approaching design as a problem-solving process is useful and relevant for a range of disciplines and knowledge levels. The coverage of visual elements, compositional principles, and organizational principles is very thorough and provides a productive framework for design projects. The information about color selection and production ranges from the introductory to the highly technical. While this content may not pertain to all readers, it adds depth and raises important concerns central to graphic design and may spur readers to ask important questions.","accuracy_rating":4,"accuracy_review":"While the text takes a different approach to the principles of design than my current text, the information provided seems accurate, thoughtful, and usable. Frankly some of the technical details about color science were outside my knowledge base; therefore, I cannot speak to their accuracy. The information about the history of design movements also seems accurate although additional examples and justifications for addressing the specific movements covered would be beneficial.","relevance_rating":4,"relevance_review":"The historical, design process, and design principles content addressed in the first three chapters will not degrade or lose relevance over time. The technical information about color science, graphic production, and web2print covered in chapters 4-7 could become less useful as digital technologies change and progress over time. ","clarity_rating":3,"clarity_review":"Chapters 2 and 3 that address design processes and principles are clear and well supported with specific examples and visuals. For example, the discussion of principles like similarity and continuation are supported by useful and illustrative graphics. The heavily technical chapters are less clear in that they assume more background knowledge and refer to equipment and terminologies, such as equipment like spectrophotometers, with which students may not be familiar. Providing additional explanations and even images of these items could benefit less knowledgeable readers. The section covering history could also benefit from examples and illustrations. For instance, this chapter could reference buildings, art, or other items created out of each design movement.","consistency_rating":5,"consistency_review":"Each chapter is structured in the same manner, allowing readers to learn how to process the content. The references are formatted consistently, and all images have captions although some could be more descriptive.","modularity_rating":4,"modularity_review":"The text is modular in nature. Each chapter is separated into sections of a reasonable length, making it possible to assign only some sections of specific chapters. I can envision teaching a document design course using this text, but I might assign chapter 3 prior to chapter 2. Each chapter works well independently and would allow this restructuring. Portions of the more technical chapters would be beneficial for my students. For instance, I might not use the earlier sections of chapter 4 but assign 4.11 as it relates to the applications that we are using in the course. ","organization_rating":4,"organization_review":"The information is organized appropriately within and across chapters. While I might teach the chapters in a different order, within the chapters, useful content is connected and ordered appropriately so that readers can gain the knowledge needed to grasp subsequent concepts. The lists of learning objectives, while useful in theory, are too long and overwhelming. The authors might be more selective or chunk the objectives, making them easier to process. ","interface_rating":3,"interface_review":"The text could benefit from many more visuals in some sections, such as the section about history. The interface provides adequate blank space, and the content is chunked effectively into sections, making it easy to skim. For a design text, the glossary is formatted in a disappointing manner. Presenting all terms in one long bulleted list makes the items very difficult to process. The items might be chunked by first letter as is typical in glossaries or indices. ","grammatical_rating":4,"grammatical_review":"As other reviews noted, I detected some editing errors in the text. Overall, the content is clearly written.","cultural_rating":3,"cultural_review":"The text has a notably Western orientation in relation to the history of design and the design principles addressed. Little effort is made to contextualize the information culturally and highlight the degree to which there are other perspectives in alternate design traditions and principles outside of Western traditions. The text also assumes access to high-level design and printing technologies. Additionally, readers who lack access to these technologies might find the book to be less useful.","overall_rating":8,"overall_review":"The summary at the end of each chapter provides a useful overview of the content. However, the exercises are more like discussion questions than exercises that ask readers to apply the content. The text could benefit from actual exercises and project suggestions that could aid readers to take action based upon the content covered.","created_at":"2018-05-21T19:00:00.000-05:00","updated_at":"2018-05-21T19:00:00.000-05:00"},{"id":2300,"first_name":"Sasa","last_name":"Miljevich","position":"Adjunct Instructor (Fine Art)","institution_name":"Portland Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The Text is comprehensive in coverage of key ideas and concepts related to graphic design. First Chapters give a solid introduction to history of graphic design and design process. Latter chapters are intended for more advanced students and are focused on printing process. While there is no index, the reader may refer to the chapter titles and the glossaries found at the end. The key terms and questions list at the beginning and end of each chapter was particularly helpful.","accuracy_rating":4,"accuracy_review":"The content is accurate and clear, with no evident errors. The study questions appear to be carefully stated and relate to each chapter. More information related to each art movement discussed in the book would be helpful, as well as information that pertains to software used for certain exercises.","relevance_rating":5,"relevance_review":"The most content is up-to-date and the text is written in a way to easily be updated. Chapters 4-7 will need to be updated in near future.","clarity_rating":4,"clarity_review":"The concepts were clear to me as a reader, but some of that could be because of prior knowledge of the subject. For a first-time reader, some ideas could be explained better, specifically second part of the book where technical terms are introduced. Students would need to refer to outside sources to fully comprehend the book.  More visuals would be helpful.","consistency_rating":4,"consistency_review":"The writing throughout is consistent and keeps a solid voice that does not confuse the reader. As stated before book seems to be divided into two parts, first part being intended for the beginning students and second part for more advanced.","modularity_rating":5,"modularity_review":"The book seems to be simply fragmented into small parts to provide foundational knowledge for beginning design students, as well as more advanced students.","organization_rating":4,"organization_review":"The information within each section is generally well presented and organized, however some chapters lack the connection needed for more comprehensive reading.","interface_rating":4,"interface_review":"There are no significant problems with interface. It is very easy to navigate thru chapters. One thing it would be beneficial is to introduce more graphics as well as references in form of video, links to websites, etc.","grammatical_rating":5,"grammatical_review":"The text contains no grammatical errors.","cultural_rating":3,"cultural_review":"The text references mostly European and North American art movements and artist.","overall_rating":8,"overall_review":null,"created_at":"2018-08-02T19:00:00.000-05:00","updated_at":"2018-08-02T19:00:00.000-05:00"},{"id":2503,"first_name":"Alma","last_name":"Hale","position":"Professor","institution_name":"Southwest Minnesota State University","comprehensiveness_rating":4,"comprehensiveness_review":"The book covers so much of the process that it's tough to cover any aspect with much detail. Some chapters are better than others, but this is a very broad range of topics to be covered thoroughly in less than 200 pages.","accuracy_rating":5,"accuracy_review":"Accuracy seems good.","relevance_rating":5,"relevance_review":"Relevant for today's printing tech.","clarity_rating":4,"clarity_review":"Some topics covered are so technical that it's easy to get lost.","consistency_rating":5,"consistency_review":"Terminology seems consistent even though there are several authors.","modularity_rating":5,"modularity_review":"Each chapter is divided into modules or subtopics.","organization_rating":5,"organization_review":"Follows a logical outline from history to production.","interface_rating":2,"interface_review":"It's not very visually engaging. It looks like it's a draft that hasn't yet been designed. There just needs to be more examples and more thought put into the layout.","grammatical_rating":5,"grammatical_review":"No significant grammar issues","cultural_rating":5,"cultural_review":"I didn't detect a problem here.","overall_rating":9,"overall_review":"It feels like this is a good draft, but it's not very visually engaging. Well written, but not well presented.","created_at":"2019-01-09T11:35:03.000-06:00","updated_at":"2019-01-09T11:35:03.000-06:00"},{"id":2630,"first_name":"Rick","last_name":"Lostutter","position":"Associate Professor of Art and Design","institution_name":"Hanover College","comprehensiveness_rating":5,"comprehensiveness_review":"I feel that the text covers the key topics in design from the standpoint of defining the basic principles and concepts. Visual examples are limited and require more concentration on the theories and instructional verbiage rather than illustrating the concepts as you progress through the text. This text seems to be weighted more heavily on the print production fundamentals than on the graphic design principles. Each chapter is necessary for the student to be introduced to the processes that are available in printing, but it seems to support information for someone studying to become a technical printer rather than a graphic designer.","accuracy_rating":4,"accuracy_review":"The accuracy of the information presented is at a high level. I cannot dispute any of the content, however the volume of content is rather limited, especially in the historical section of the text. So many more designers were crucial in the evolution of design and visual communication. As this text has dual responsibilities to the two areas of design (Graphic Design and Print Production), I understand that there is a limit to the volume of references, however, this text simplifies the origin of why and where this industry derives its need and purpose.","relevance_rating":4,"relevance_review":"The content is relevant to design as it is studied by all design students. The technological information is currently accurate, but because of the rate that technology is advancing, some of the later chapters will become less relevant, replaced by new options and innovation I the printing industry. Given the nature of the Creative Commons structure of publishing, I can see the opportunities for updating the text as advances become standard practices. It is never wasted time to have a historical reference to better understand how the industry has evolved throughout the development of this form of communication.","clarity_rating":4,"clarity_review":"The text is clear as a simplified introduction to design but becomes increasingly technical as the content progresses towards the printing and production sections of the book. Overall, this text is primarily targeted to a more advance course in technical printing. The glossary is most heavily weighted to the technical aspects of printing and production. This is not surprising given the greater volume of the text that is dedicated to those disciplines.","consistency_rating":3,"consistency_review":"The text is written to two levels of comprehension that is not consistent in its framework and vocabulary. You can clearly discern the different voices of the authors as their expertise is more relevant and technical in correlation to the nature of the roles that a designer and technician might focus their interests. The best example I can give is that this is a text for printers who can benefit by gaining background knowledge from the historical and conceptual elements of graphic design in order to better serve the printing industry as technicians and sales representatives. I would use the latter part of this book for advanced design students that will soon be entering the workforce and will need to interact with sales and marketing representatives sell printing services to designers and corporate institutions. This is valuable information, but by the time this content is relevant, the students have already studied the history and basics of design and the creative process.","modularity_rating":5,"modularity_review":"I agree that the modularity of this text allows for non-linear use and can support the assignment of different sections at the discretion and need of the instructor. Chapters 1-3 are necessary to be grouped together, but the best of the text is not reliant on a specific and numerical progression as it is presented.","organization_rating":4,"organization_review":"The organization of the chapters seem to be logical if you were to read them in a chronological order. The flow is a bit disrupted by the multiple voices of the individual authors. This is most illustrated by the division of chapters 1-3 and 4-7.","interface_rating":5,"interface_review":"Given the lack of complex elements and examples, the interface is very straight-forward and lends itself to easily navigating through each chapter and section. The user only has to master the table of contents menu in order to progress through the text.","grammatical_rating":5,"grammatical_review":"I found no grammatical errors in the text, however that area of review is not my greatest strength. If there had been glaring examples I probably would have noticed. No text is error free in my experience, but this one presents itself as a confident example of professional writing.","cultural_rating":3,"cultural_review":"I would say that this text is not culturally offensive or insensitive. I do not see examples, especially historical references, that represent anything other than a western (European) presentation of the history and the evolution of design and production. So much of the richness that we experience through the design world has been influenced by eastern philosophies and technical development and should be represented in a text that is predominantly about the printing industry and technologies.","overall_rating":8,"overall_review":"I am guessing that a lack of comprehensive visual examples is due to licensing issues, copyright conditions and access to open sources of imagery and reference materials. That creates a challenge when choosing a text about visual content and processes that are best understood when you can see the references. Given that this is a digital platform, students could more easily jump to a web search engine as they progress through the text, but this could become cumbersome and time consuming and ultimately could discourage a student from utilizing this as a viable option in learning the content.","created_at":"2019-03-06T18:35:52.000-06:00","updated_at":"2019-03-06T18:35:52.000-06:00"},{"id":2725,"first_name":"Patricia","last_name":"Childers","position":"adjunct professor","institution_name":"New York City College of Technology","comprehensiveness_rating":4,"comprehensiveness_review":"The book's contents detail what to expect in a logical order.  The first chapter, history provides a cursory Eurocentric overview of a 130 year period from 1860s Arts and Crafts Movement to 1980s Post Modern.  April Greiman is the only women mentioned.  The last chapter, web2web, details the services this technology provides with a forward-think approach to the printer/client relationship.","accuracy_rating":3,"accuracy_review":"The content is accurate and with a valuable resource section at the end of each chapter and an excellent glossary. The history chapter is lacking in any contemporary relevance.","relevance_rating":3,"relevance_review":"Most of the material is relevant. The book shines when it focuses on technical explanations, like color theory.\r\nHowever, the history chapter, 1860-1980, is obsolete and woefully undeveloped. As previously mentioned, there is only one woman graphic designer and no designers outside of Western Europe, North America borders. ","clarity_rating":4,"clarity_review":"The technical chapters are clearly written and informative. However, it is difficult to convey visual information without visuals. When visuals are provided, as in the section on Gestalt, standard diagrams used to represent the first six principles. However, the next five principles have indirect and vague examples of posters and images.","consistency_rating":4,"consistency_review":"The book starts weak but excels in the technical chapter. Chapter 4 and 5, pre-press and color management provide detailed explanations on the production process","modularity_rating":5,"modularity_review":"Excellent modularity with occasional call-outs.","organization_rating":5,"organization_review":"The material flows well from section to section. Links to footnotes would help. For example, (Lupton \u0026 Phillips, 2014, p. 13), page numbers appear but on title of the book.","interface_rating":1,"interface_review":"A pdf on design should be designed. The margins which vary from page to page are very distracting. Hard to read, small tightly leaded justified type is 130 characters wide. 45-90 characters per line are standard for legibility. Images float out of context as they are centered in the page.\r\n\r\n.    ","grammatical_rating":5,"grammatical_review":"Grammar appears fine.","cultural_rating":1,"cultural_review":"This is not at all inclusive, does not seem to include any examples of a variety of races, ethnicities, backgrounds, and genders.","overall_rating":7,"overall_review":"This book excels in its explanation of prepress and technical processes.","created_at":"2019-04-02T18:22:53.000-05:00","updated_at":"2019-04-02T18:22:53.000-05:00"},{"id":2746,"first_name":"Deborah","last_name":"Cibelli","position":"Professor","institution_name":"Nicholls State University","comprehensiveness_rating":4,"comprehensiveness_review":"Comprehensiveness:  The textbook information on design history, design elements, typography, and design principles, found in the first third of the book, contains useful knowledge for all designers.  It has introductory material relevant for foundation courses in design taken by all art majors, not just those working in graphic design.   Subsequent chapters become increasingly technical and cover what occurs from pre-press to post press. ","accuracy_rating":5,"accuracy_review":"The text has content that is accurate.","relevance_rating":5,"relevance_review":"The text refers to software used by professionals that will continue to meet industry standards. ","clarity_rating":4,"clarity_review":"The material is uniformly well written and clearly presented.","consistency_rating":5,"consistency_review":"The terminology is used consistently from chapter to chapter and concepts are applied across several areas of design practice.\r\n\r\n","modularity_rating":5,"modularity_review":"The chapters address the design process, design elements, design principles, and production processes and procedures.","organization_rating":5,"organization_review":"The content is clearly organized and the sections are thematically unified.  There are clear transitions and the flow of the textual passages should be accessible to student readers.   ","interface_rating":4,"interface_review":"The text provides a number of hypertext links for further reading.  The uniform resource locators may have to be updated after a year or two.   ","grammatical_rating":4,"grammatical_review":"There are few grammatical errors. However, “Pre-Raphealite [sic] Brotherhood” should be changed to Pre-Raphaelite Brotherhood.  The spelling of Rossetti should be corrected.  The design history section has some awkward phrasing.  One example is the use of term “avant-gardes” to refer to Cubism, Futurism, Constructivism, and Expressionism.","cultural_rating":5,"cultural_review":"The text provides general information about design elements, design principles, the design process, and products that meet industry standards for graphic design. ","overall_rating":9,"overall_review":"The treatment of design as a form of communication and the design process as a form of problem solving, make the introductory chapters in the book accessible to students, and should help them better understand the creative process. In subsequent chapters, the authors, all pre-press and digital print professionals go beyond the concerns of desktop publishing to provide information important for using four major imaging technologies:  the inkjet printer, the toner-based digital printer as well as lithographic and flexographic presses. The technical advice they provide for resolving common problems when using different output devices for advanced study and professional application, makes this work a useful reference tool.","created_at":"2019-04-08T12:38:16.000-05:00","updated_at":"2019-04-08T12:38:16.000-05:00"},{"id":2962,"first_name":"Sarah","last_name":"Zimmer","position":"Lecturer, Department of Humanities and Communication","institution_name":"Trine University","comprehensiveness_rating":4,"comprehensiveness_review":"The first half of this textbook is a comprehensive overview of basic design history, introduces visual elements and design principles, typography, layouts, and addresses research and concept generation. This section can be used for both beginning graphic design students and non-graphic design students alike.   The second half of the book is far more technical and geared towards more advanced students that will be working within the industry. There is glossary of terms at the end of the text and links throughout of examples referenced. There could be more images used, especially in the history section. The history section could strengthen the link between past and present by adding a contemporary section. It could also include a non-western histories and examples.    ","accuracy_rating":4,"accuracy_review":"This text gives an accurate and concise overview of many topics. The history section stops short and does not go beyond Post Modernism. ","relevance_rating":4,"relevance_review":"The authors are using up-to-date terms, printing methods, and software. This will always be changing, but can be updated in the future. The history section needs to be updated to include references to contemporary trends. ","clarity_rating":4,"clarity_review":"Some chapters are more digestible than others. Chapter 2 on design process and chapter 3 on design elements, principles, and compositional organization do a fantastic job of walking you through both verbal and visual examples. The second half of the book is very technical and might overwhelm some students. ","consistency_rating":4,"consistency_review":"The first half of the book is clearly geared towards beginning graphic design students, while the second half focuses on the relationship of the designer and the printing industry. The second half would be ideal for more advanced students. ","modularity_rating":5,"modularity_review":"The chapters are arranged in a way that they can be used as supplementary readings or in a nonlinear fashion. ","organization_rating":4,"organization_review":"Topics are presented in an appropriate order beginning with design history, process, and visual aesthetics (visual elements, principles of design, composition). The second half of the book focuses on the logistics of production and evaluation of content, looking at color management, substrates, and printing processes.","interface_rating":3,"interface_review":"This text comes in a variety of formats. I have looked at the PDF. Navigation seems to be fine, but this is a textbook on visual communication and it contains very few images or external links to examples. I can visualize the patterns produced by Morris, or punk era posters, but our students can't. If they don't see it or have a link to it, they won't connect with it and the historical summaries lose weight.     ","grammatical_rating":5,"grammatical_review":"I have not encountered any grammatical errors. ","cultural_rating":3,"cultural_review":"This text gives an overview of Western graphic design movements, but does not mention or address any other histories or traditions. ","overall_rating":8,"overall_review":null,"created_at":"2019-05-31T10:17:06.000-05:00","updated_at":"2019-05-31T10:17:06.000-05:00"},{"id":3601,"first_name":"Adam","last_name":"Strantz","position":"Assistant Professor of Emerging Technology in Business and Design","institution_name":"Miami University","comprehensiveness_rating":3,"comprehensiveness_review":"Overall the textbook covers a variety of important topics related to graphic design including history, process, and basic principles. This is followed by a few chapters on print specifically that focus on technologies, software, and the printing process itself. The initial sections on graphic design cover details like history and basic principles quickly, but I could see using this textbook as a great blueprint for introducing those concepts to students and inviting them to investigate further. Sub-sections like typography and color get further details, although are again fairly brief introductions to the concepts. The print fundamentals sections are very technical and walk readers through the steps more substantially, although their relevance to a particular course is more narrow. Overall I felt the textbook was comprehensive in the topics mentioned regarding graphic design fundamentals, but topics were mostly covered in brief. ","accuracy_rating":4,"accuracy_review":"Overall content presented in the textbook is accurate, especially on the graphic design side of things. I am less knowledgeable about the print fundamentals side, but all the content is supported by references and a variety of technical illustrations. ","relevance_rating":4,"relevance_review":"I love that the textbook started with a quick run through the history of graphic design. That section, alongside the graphic design process and principles, provides a solid fundamental understanding of the field. I’m not as familiar with the print publishing side of the textbook, but I do wonder if the technical details may fall out of relevance much in the same way a graphic design book with specific tools/software tutorials can become outdated. If those sections could be updated due to the CC nature of the book then I could see the strength of publishing via this model. ","clarity_rating":4,"clarity_review":"Visual examples are used throughout, but sparingly. Sections are well-organized and clear, making it easy for a student to follow along, but I could definitely see the instructor wanting to add additional visual examples to supplement and help explain the topics. The textbook kind of skips to the technical printing material in the second half, which is a bit at odds with the introductory nature of the first half. The technical details of printing, including the software and devices needed, would definitely need to be a part of the course to find those sections relevant. ","consistency_rating":3,"consistency_review":"Framework and organization of chapters is consistent throughout the textbook. The writing in the textbook, however, differs significantly from author-to-author. You can tell it was written by 5 different authors as the chapters have a different tone and focus from the first half to the second. ","modularity_rating":5,"modularity_review":"The textbook is easily modular by following the split between authors. The first 3 chapters serve as a graphic design introduction and could be supplemented by various additions of the latter chapters depending on their relevance to the course. By themselves, though, the first 3 chapters would only serve as a very brief introduction to graphic design. ","organization_rating":5,"organization_review":"Overall the organization of the textbook is well done with chapters split by author and grouped together in a logical order moving from graphic design fundamentals to more specific applications of print/graphic design. Each chapter opens with an introduction and provides learning objectives for the chapter. Clear headings and sub-headings allow the reader to quickly navigate the chapter or skim for relevant information. Each chapter then closes with a summary, questions for discussion prompts, references, and further suggested readings. The organization/structure of the book itself is a bit stratified, but the organization of each chapter is very cohesive and provides an excellent guide for those instructors hoping to discuss the reading with students in-class. I also liked that the references and suggested readings were a good mix of academic and more popular sources. ","interface_rating":5,"interface_review":"Menus and links are easy to find and navigate to move through the book. Pictures and technical illustrations are included at sufficient size to see the details needed. I appreciate that the textbook has an introductory statement/section on accessibility features of the document. ","grammatical_rating":5,"grammatical_review":"I did not find any grammatical errors in the textbook. ","cultural_rating":3,"cultural_review":"The textbook is not culturally insensitive or offensive in its presentation of design. On the other hand, the design history presented is very Euro-centric and discussions of intercultural design and cultural awareness are not included. ","overall_rating":8,"overall_review":"Overall, I found the textbook to be a good introduction to graphic design basics with some supplemental chapters focusing on print technologies. The organization of the textbook is clear and includes good introductions, summaries, questions, references, and additional readings that help guide students through the text. The textbook is a bit lacking in visuals, so I would recommend an instructor using the text to supplement the readings with additional visual examples (or have students find such examples as part of using the text). ","created_at":"2020-02-28T19:19:41.000-06:00","updated_at":"2020-02-28T19:19:41.000-06:00"},{"id":4052,"first_name":"Jerrie","last_name":"Hildebrand","position":"Adjunct Faculty/Graphic Design \u0026 Integrated Media","institution_name":"North Shore Community College","comprehensiveness_rating":3,"comprehensiveness_review":"There are areas missing that designers must know. Things like copyright, permissions, trademarks, and the legal issues of being a designer. This is especially important in regards to so much imagery on the web these days.","accuracy_rating":3,"accuracy_review":"In the history section is would be good to share about design before the industrial revolution and how things like the new printing methods, inks, paper and so on impacted the changes in the design industry. There are things in some of the sections that make the book seem disjointed. Such as put all information about Color under a heading about Color. It seems to be all over the place. For students in introductory design classes this book would have too much technical information and some early students would be over whelmed.","relevance_rating":3,"relevance_review":"This does not seem like an easy straight forward book. It is missing the following....bindery methods, green design methods, branding considerations. planning workflow, the various kinds of imagery (good photography, reflective art, vector art, etc.), measuring type, leading, scanning, repurposing print for web, story boarding, thumbnails, mocks, comps, book maps, and a few things about what jobs are available in the industry if one learns all of this.","clarity_rating":2,"clarity_review":"There is almost too much jargon and no glossary.","consistency_rating":2,"consistency_review":"There is consistently a lack of imagery for an industry that is very visual. For English as a Second language the writing style would possibly be difficult.","modularity_rating":3,"modularity_review":"It does offer smaller sections to for breaking out and if for instance I was teaching about color I would need to breakout several sections and jump around.","organization_rating":2,"organization_review":"There is little logical flow in my opinion.","interface_rating":3,"interface_review":"To use  the instructor would need to have back up imagery.","grammatical_rating":2,"grammatical_review":"it does not seem to. What is hard is the text is weighty for art and design students who what to see things visually.","cultural_rating":3,"cultural_review":"The quote at the beginning of the Dada movement could be misinterpreted if not read over and over given the current climate of our world.","overall_rating":5,"overall_review":"As a seasoned designer of 40 years I understand the book and it would be too much for most of my first year design students. It is missing too much information and I would need to add too much extra for students to read. It needs simplification.","created_at":"2020-06-23T14:57:16.000-05:00","updated_at":"2020-06-23T14:57:16.000-05:00"},{"id":4173,"first_name":"Melanie","last_name":"Mowinski","position":"Professor of Art","institution_name":"Massachusetts College of Liberal Arts","comprehensiveness_rating":4,"comprehensiveness_review":"To represent graphic design comprehensively would require countless books, but for an entry-level book or as a book to review design concepts while really focusing on print production fundamentals, this book provides an adequate introduction. It is NOT a book about history or the specifics of the elements and principles of design. There are chapters devoted to those topics as summaries. Instead this book really digs into to print production fundamentals--an area that needs to be taught but is often left for the last minute. This book would help minimize that and make it easier for an instructor to teach color management, how to create files for print and web publication, and other techniques related to pre-press.","accuracy_rating":4,"accuracy_review":"The authors express some bias by the historical choices made in the Design History section. In choosing the various movements to highlight, they are making choices that give a generic sense of the arc of design history in the 20th century. There are no images to support these choices, although they are easily found online. It would be great to have a list of designers from each era in an appendix, and a list that would try to represent the diverse field of designers in the world. \r\n\r\nWith Print Production--really the heart of the book, it appears to be accurate. At least enough that I would dive in and use it in one of my design classes. Having a resource that defines color management to the degree that this book does is a welcome resource. It is something that I have always struggled to understand. I love having definitions and examples to support learning outcomes not only for myself, but for the students of mine that might use this book.","relevance_rating":4,"relevance_review":"Print production has shifted immensely over the past 10-20 years, and will undoubtedly do so again. Our role as teachers of design is to give our students the skills to know how to look for the best and newest information, knowing that elements will definitely change. This book does that. I would be inclined to use this book for chapters 4-7. Every design book will have an introductory section, this one lacks images, but they are easily found to support the content provided.","clarity_rating":4,"clarity_review":"I have no idea how someone who is not familiar with design would read this book. There is a ton of jargon and technical terminology! But I am familiar with design, and see this book as a tool for teaching students that jargon and technical terminology. The authors do a good job at giving the big vocabulary and providing the necessary evidence to support and define it. It would just be great if there was more visual support of the written content.","consistency_rating":4,"consistency_review":"Given that this book was contributed to by six people, the consistency in writing and ideas is clear and flows from one chapter to another using consistent terminology and framework.","modularity_rating":5,"modularity_review":"Yes. Totally easily to divide into smaller reading sections. The table of contents links nicely to the various chapters in the book in an effect and supportive way.","organization_rating":5,"organization_review":"Most design books begin with an historical overview, a presentation/summary of the elements and principles of art and design, and a nod to the design process. This book does that and then dives into print production. The flow of print production moves through the steps that one would take as a designer when prepping a file to reproduce through print or web media.","interface_rating":3,"interface_review":"Seems fine, with what is included. I would love more images. There are some chapters that have relatively few--and I'm sure that is because of permissions and licensing. Regardless, it would be great to have more visuals to support the text heavy content.","grammatical_rating":5,"grammatical_review":"Seems fine.","cultural_rating":3,"cultural_review":"Design is a really tough field. This book isn't really about a cultural representation, yet, in the introductory design history section the selections focus on milestones by white men. Unfortunately, this is the case with pretty much all design media. Women and BiPOC are often left out of design history. One has to dig and research deeply to find representation, and even then, it's really hard. The fact that it appears that only men have contributed to this book also underlines this.","overall_rating":8,"overall_review":"I'm grateful to the authors for the work they have put into this book as well as that it even exists. Finding quality resources online for design is really challenging. I often have to piece things together to create what I want my students to learn. This brings together some of the concepts that I previously had to link together using various resources. I look forward to using it in one of my classes.","created_at":"2020-06-30T12:03:34.000-05:00","updated_at":"2020-06-30T12:03:34.000-05:00"},{"id":4401,"first_name":"Elisabeth","last_name":"Kvernen","position":"Assistant Professor, School of Media Arts \u0026 Design","institution_name":"James Madison University","comprehensiveness_rating":3,"comprehensiveness_review":"I approached this text as a possible option for my introduction to print production class in an undergraduate BA program focused on creative advertising. I found that the content varies widely in technical level - from very introductory topics like design principles and elements to incredibly complex print production concepts like how to calculate the difference between lab colors using Delta E. Some of the later chapters cover content far beyond what I would expect my undergraduate students to know. \r\n\r\nIt’s clear that each author is an expert in their respective field, but I’m not sure all the topics fit together as one cohesive textbook aimed at undergraduate students. If the book was geared towards students learning to be print production specialists (own their own print shop, for example), then much of the content feels more relevant (except for the first three chapters, which may not be as relevant since they deal with design history, process, and design elements/principles). \r\n\r\nChapter 1: Design History presents a very Euro-centric version of history. As the design industry is grappling with its overly colonized/Western-focused approach to design history, there is a lot of room to grow in this area. If this textbook is chosen, it should ideally be paired with readings that supply additional historical context from non-privileged perspectives.  \r\n\r\nThe glossary and table of contents is well-crafted and useful, particularly in the online version. One thing to note is that this textbook uses Canadian/British spelling.","accuracy_rating":4,"accuracy_review":"I didn’t have any issues with content accuracy. See note above about Euro-centric design history in chapter 1.","relevance_rating":3,"relevance_review":"Most of the content in this book is still up to date. Overall, the content could be greatly improved with the addition of supporting imagery. I know that obtaining rights for images is a challenge for open textbooks, but even some commissioned/author-generated graphics would have greatly enhanced understanding of many of the concepts in this book. When this book shines, it is in areas where the text is supported by graphics.","clarity_rating":3,"clarity_review":"Overall the text was clearly written, though there was a clear difference between the tone used by various authors. The addition of a glossary helps clear up the definitions of technical terminology. \r\n\r\nThere were several places in the book (particularly in the print production section, chapter 4-7), that discussed terms without first defining them. It felt like this text may have been intended for an audience that was already familiar with what terms like, “substrate,” or “imposition,” meant. \r\n\r\nIt would’ve helped if images used were captioned with information about why the image illustrated the point in the text, and also included information about the context of the image (each image was referenced at the end of the chapter, but the reader may have lost interest by then).","consistency_rating":3,"consistency_review":"There is overall consistency between the topics and terminology of this book; the addition of a glossary was a nice touch. See my comments on “Organization/Structure/Flow” below.","modularity_rating":5,"modularity_review":"The book is divided into clear topics and sub-topics, and the table of contents clearly outlines those topics and sub-topics so that they’re easily accessible. Professors could easily assign particular portion of the text to students.\r\n\r\nTopics that really stood out to me as well-done were the description of the design process (chapter 2), basic type classification that focused on the capacities of the printing technology at the time (chapter 3) a good overview of gestalt principles (chapter 3), and the overview of how to choose paper (chapter 6). There are many other discrete topics that could be of use in the classroom in this book, and since the book was written by multiple authors each chapter mostly stands on its own, and could be assigned individually.","organization_rating":2,"organization_review":"To me it felt like there were two distinct parts to this book – a very general broad overview to the history, process, and principles/elements of design (chapters 1-3), and then some very specific information about the print production process (chapters 4-7) that was highly technical and didn’t seem to be written for the same audience as the first few chapters. It’s possible there is an audience out there who could use both of these different knowledge sets, but the two parts did not feel like a natural pairing to me.","interface_rating":3,"interface_review":"There are several different ways to read this book – online, or in multiple downloadable formats including a PDF. The PDF download is very minimally formatted, counter to many of the design principles and elements discussed in chapter 3 (it could use more hierarchy and careful attention to space; text lines were too wide, and there weren’t any call-outs.) The web version is better and includes helpful interface items like a “next chapter” and “previous chapter” link, as well as a button to go to the top of the page (and a sidebar with links to all the book’s contents.)","grammatical_rating":4,"grammatical_review":"There were a few spots where an extra space in the middle of a word or in-between words snuck in, but other than that I didn’t notice many grammatical errors.","cultural_rating":3,"cultural_review":"As mentioned above, the history in chapter one could use some additional cultural perspectives to round out the Euro-centric narrative. \r\n\r\nI agree with another reviewer that the quote starting out Chapter 1.5 (the section on Dada) should probably be removed/updated.","overall_rating":7,"overall_review":null,"created_at":"2020-11-23T13:16:32.000-06:00","updated_at":"2020-11-23T13:16:32.000-06:00"},{"id":4655,"first_name":"Tao","last_name":"Huang","position":"Assistant Professor","institution_name":"Southern Illinois University Carbondale","comprehensiveness_rating":4,"comprehensiveness_review":"I reviewed this book as a potential textbook for my sophomore Graphic Design courses. This book provides comprehensive introductory to the practice of graphic design, especially in the print production sector of the profession.","accuracy_rating":4,"accuracy_review":"I have not found any factual error in this book. However, some of the links might be directing to the wrong pages. For instance, on page 34, the link to the Manchester Dog Street Life example only directs to the agency's main page, not the project itself. Because websites are changing constantly, it might be better to include some of these images in the book. I understand due to copyright concerns, this might not be possible in all cases. But including more details regarding each examples will at least help readers find them on their own if need be.","relevance_rating":5,"relevance_review":"Most of the book's content will stay relevant for a long time because it covers many fundamental principles of design. The later chapters (5 through 7) can be updated when new printing and web publishing technologies become available.","clarity_rating":5,"clarity_review":"This book can serve as a textbook for the undergraduate students because it is written in very clear and straightforward language. I found it easy to read and comprehend. Chapter 5 \u0026 6 contain a lot more jargons and technical terms but they are explained well.","consistency_rating":5,"consistency_review":"It is clear to me that the book was written with students in mind. Its language is consistently clear, though it was written by different people with different specialty. Chapter 5 through 7 could use more examples though, such as screen captures of certain concepts such as kerning.","modularity_rating":5,"modularity_review":"The book can be used in several of graphic design courses because each chapter is self-contained. They don't reference to each other and can be used as separate units.","organization_rating":4,"organization_review":"The chapters and subtitles are clear and logically arranged. However, some parts of chapter 3 should be put in front of chapter 2, as they discuss basic visual elements. There should also be some discussion of different collaterals that need to be printed as solutions to design problems, before jumping into the technical details of print production.","interface_rating":4,"interface_review":"The PDF version of this book is minimally designed, which is a bit disappointing as a textbook for graphic design.","grammatical_rating":5,"grammatical_review":"I've found no grammatical erros.","cultural_rating":4,"cultural_review":"As some other reviewers said, this book has not touched upon any design history outside of the western sphere. It does use some design examples from other culture, but provides no explanation to them. However, as a technically oriented book, I don't find this to be a deal breaker.","overall_rating":9,"overall_review":null,"created_at":"2021-02-26T16:00:56.000-06:00","updated_at":"2021-02-26T16:00:56.000-06:00"},{"id":4758,"first_name":"Candace","last_name":"Butler","position":"Lecturer of Writing \u0026 Design","institution_name":"Emory and Henry College","comprehensiveness_rating":5,"comprehensiveness_review":"Glossary and contents are both comprehensive in that they cover all main terminology and chapters of the text.","accuracy_rating":5,"accuracy_review":"This is my specialty, and all of the information included is accurate.","relevance_rating":4,"relevance_review":"As someone who works in the print design industry, I feel that there is a superfluous amount of information on color-matching technologies but a lack of information on industry-standard software and its importance in sections 2.6 and chapter 4.","clarity_rating":5,"clarity_review":"The straightforward, conversational tone of the prose is well-explained for the target audience: those seeking an introduction to the topic.","consistency_rating":5,"consistency_review":"As might be expected with a book about design and print production, all design and composition elements are clear and consistent.","modularity_rating":5,"modularity_review":"Hierarchy of information and arrangement of subtopics is clear and intentional.","organization_rating":4,"organization_review":"I might have reversed the order of Chapters 5 and 6 so that \"Imaging\" preceded \"Pre-press,\" though this comes from my natural inclination to see Pre-press as the natural end of the production process and \"Imaging\" better-suited alongside chapters on \"Design Elements, Design Principles, and Compositional Organization\" and \"Colour Management in Graphic Technologies.\"","interface_rating":5,"interface_review":"There is no confusion regarding included visual elements; all examples and illustrations are included in the appropriate areas of the text and none seem extraneous.","grammatical_rating":5,"grammatical_review":"There are no grammatical or typographical errors.","cultural_rating":5,"cultural_review":"The language, photographs, and examples used are not culturally insensitive or offensive. In terms of inclusivity, this task would take far more research than I have time to conduct, including determining whether the chosen design pieces herein represent a wide range of designers from various backgrounds--nothing stood out to me while exploring and navigating the text.","overall_rating":10,"overall_review":"This is a nice overview of how both traditional and unconventional print design is created, from ideation to file preparation. The real strength of the text is the inclusion of historical, theoretical, and technological considerations needed aimed at those who are relatively new to the design process.","created_at":"2021-04-12T15:02:43.000-05:00","updated_at":"2021-04-12T15:02:43.000-05:00"},{"id":33622,"first_name":"Cate","last_name":"Simmons","position":"Instructor","institution_name":"Huntington University","comprehensiveness_rating":4,"comprehensiveness_review":"Overall, the text is straightforward, following a pattern in each chapter of introducing a concept before diving a little deeper in the next section. This is especially true for the first half of the book. While the language of this book uses British/Canadian spelling, it does not hinder comprehension and does a great job of acknowledging differences between both North American terminology and standard practice vs. that of the rest of the world (especially in Chapter 6 when discussing Imaging and detailed paperweight terminology). In some sections, the terminology is used without first defining/introducing them. For instance, in section 1.5 Constructivism and avant-garde are mentioned as a part of giving context to Dada, without having previously defined or fleshed out those concepts first.","accuracy_rating":4,"accuracy_review":"Content that covers the more technical processes (especially preflight) is well-detailed and accurate. I found myself connecting a number of troubleshooting and setup examples to real-life experiences in the design process that I would want students to understand. \r\nAs someone coming from a design background and not a press operator background, I can’t speak for some of the more detailed technical processes explained. Even so, I can still say confidently that the basic presentation of content such as color science and color space in Chapter 4 and parts of Chapters 6 \u0026 7 would be beneficial and accurate. Some links (particularly in Chapter 2) are no longer active; two in Chapter 2 are “Life’s Too Short for the Wrong Job Marketing Campaign” and “Manchester Dogs’ Home Street Life”","relevance_rating":5,"relevance_review":"Earlier chapters easily hold longevity, whereas later chapters covering processes would definitely need updates as technology advances and limitations of the technology are gradually overcome.","clarity_rating":3,"clarity_review":"Overall, this text is clear in its content. If using this for a course, I would definitely want to supplement the content with supporting images, examples, and diagrams. Chapters 1 and 3, in particular, could benefit from this – while this text is more technically focused, I believe students would benefit greatly from having more visual examples to display different styles from history, font concepts, and also more visual examples when introducing the elements and principles. The text does a great job in areas where charts \u0026 diagrams are present to aid content. This is especially true in Chapters 5-7. \r\n\r\nThe only other minor peeve of mine was that processes and steps are written in paragraph form. If these were broken down into listed or numbered steps, that would be ideal, although I understand there may be reasons for keeping the layout of those processes as they are.","consistency_rating":5,"consistency_review":"The content and terminology were consistent in each chapter.","modularity_rating":5,"modularity_review":"Students do not have to first read one chapter in order to understand the next. I would say this text is very versatile in that some chapters and sections could be easily utilized in a more technical-focused course while others can be used in a course focusing on theory and study.","organization_rating":4,"organization_review":"I have no problems with the organization of the content. On the PDF version, the glossary is referenced but is blank with no terms. I am not sure if this is true for all PDF versions or simply an issue with my viewing experience.","interface_rating":4,"interface_review":"The PDF version is easy to navigate, but the layout is also a bit dull with little use of color and visual imagery.","grammatical_rating":4,"grammatical_review":"No errors besides an extra space between words maybe twice throughout.","cultural_rating":4,"cultural_review":"I realize this is really meant to be a more technical text and not a Graphic Design history book. The movements and individuals have mere paragraphs or a sentence of coverage, with no visual imagery associated with them. If Chapter 1 could better tie the movements in with individuals with examples it would be a stronger section. I do wish there were more contemporary references as well, such as Paula Scher, Alex Trochut, etc.","overall_rating":8,"overall_review":"I reviewed this book as a potential textbook for my undergraduate introduction graphic design courses for freshmen/sophomores.","created_at":"2021-12-31T11:04:56.000-06:00","updated_at":"2021-12-31T11:04:56.000-06:00"},{"id":34091,"first_name":"Sam","last_name":"Hayes-Hicks","position":"Associate Professor","institution_name":"Southern Oregon University","comprehensiveness_rating":3,"comprehensiveness_review":"This book as a great overview of graphic design history in the first half of the book. The other topics are well explained but don't give clarity on the platforms in which the topics build up from. This is a beginner book but the color management, prepress and imaging are not explained in a way that makes sense for a new designer with little experience with the software. Also the information is dated.","accuracy_rating":4,"accuracy_review":"Information is dated.","relevance_rating":3,"relevance_review":"Information is dated, the info on pre-press and color management still hold true but new software and updates have changed the work flow. Again thinking about the intended audience for this book. Brand new designers need a little more software training ion the front end for these sections to make sense.","clarity_rating":3,"clarity_review":"Chapters 1-3 are great, very linear and easy to digest. the other chapters get into more complex design or production ideas and processes and skip over the main part... Making the design work.","consistency_rating":4,"consistency_review":"The book is consistent in language.","modularity_rating":5,"modularity_review":"Easily broken up.","organization_rating":3,"organization_review":"Chapters 1-3 are great. There is a jump from the history of graphic design and design fundamentals to production of the work in a printing house environment. Missing a lot of fundamental graphic design theory and work flows before the production and packaging phase.","interface_rating":2,"interface_review":"Dated and not visually pleasing. This is a book about graphic design, a very visual field and this book is visually flat. There needs to be more images that show what the author is talking about.","grammatical_rating":5,"grammatical_review":"Grammer is good.","cultural_rating":1,"cultural_review":"This falls under the lack of information in the design process. How to be culturally aware and inclusive as a designer. This is also an issue with the text being out dated.","overall_rating":7,"overall_review":"This book as some good information, I would use the first three sections in a class along with supplemental handouts. Then I would find other texts that are current and do a better job teaching the design process.","created_at":"2022-10-31T11:38:32.000-05:00","updated_at":"2022-10-31T11:38:32.000-05:00"}],"url":"https://staging.open.umn.edu/opentextbooks/textbooks/graphic-design-and-print-production-fundamentals","updated_at":"2025-12-15T02:25:36.000-06:00"},{"id":374,"title":"Introduction to Art: Design, Context, and Meaning","edition_statement":null,"volume":null,"copyright_year":2016,"isbn10":null,"isbn13":null,"license":"Attribution-ShareAlike","language":"eng","accessibility_statement":"","accessibility_features":[],"description":"Introduction to Art: Design, Context, and Meaning offers a comprehensive introduction to the world of Art. Authored by four USG faculty members with advance degrees in the arts, this textbooks offers up-to-date original scholarship. It includes over 400 high-quality images illustrating the history of art, its technical applications, and its many uses.Combining the best elements of both a traditional textbook and a reader, it introduces such issues in art as its meaning and purpose; its meaning and purpose; its structure, material, and form; and its diverse effects on our lives. Its digital nature allows students to follow links to applicable sources and videos, expanding the students' educational experiences beyond the textbook. Introduction to Art: Design, Context, and Meaning provides a new and free alternative to traditional textbooks, making it an invaluable resource in our modern age of technology and advancement.","contributors":[{"id":3887,"contribution":"Author","primary":true,"corporate":false,"title":null,"first_name":"Pamela","middle_name":null,"last_name":"Sachant","location":"University of North Georgia","background_text":"Pamela Sachant is an art history professor at North Georgia College \u0026 State University located in Dahlonega, Georgia."},{"id":3888,"contribution":"Author","primary":false,"corporate":false,"title":null,"first_name":"Peggy","middle_name":null,"last_name":"Blood","location":"Savannah State University","background_text":"Peggy Blood is Director of Confucius Institute and Full Professor in the Department of Fine Arts Humanities \u0026 Wellness. Prior to SSU she Directed satellite campuses (Fairfield \u0026Travis AFD) for Chapman Universities in California. Her area of specialization is Fine Arts, Higher Education \u0026 Administration. She is a Fulbright Specialist \u0026 Fulbright Specialist Program Peer Reviewer, and reviewer for other academic fellowships and scholarships. Blood is a visiting scholar at Jiujiang University in Jiujiang, China."},{"id":6056,"contribution":"Author","primary":false,"corporate":false,"title":null,"first_name":"Jeffery","middle_name":"A","last_name":"LeMieux","location":"Brunswick, GA","background_text":"Jeffery A. LeMieux is Professor Emeritus of Art at the College of Coastal Georgia. He is a practicing artist with works in private and public collections including the University System of Georgia Board of Regents and the College of Coastal Georgia. He holds an M.F.A in 2D Studio Art from the University of Wisconsin-Madison, and a B.S. in Philosophy from the University of Wisconsin-Oshkosh. His area of specialization is college level art foundations and art appreciation which he has been teaching for over 20 years."}],"subjects":[{"id":29,"name":"Arts","parent_subject_id":6,"call_number":"N85","visible_textbooks_count":56,"url":"https://staging.open.umn.edu/opentextbooks/subjects/arts"},{"id":6,"name":"Humanities","parent_subject_id":null,"call_number":null,"visible_textbooks_count":418,"url":"https://staging.open.umn.edu/opentextbooks/subjects/humanities"}],"publishers":[{"id":450,"url":"https://ung.edu/university-press/books/introduction-to-art.php","year":null,"created_at":"2018-09-07T12:22:39.000-05:00","updated_at":"2018-09-07T12:22:39.000-05:00","name":"University of North Georgia Press"}],"formats":[{"id":771,"type":"PDF","url":"https://web.ung.edu/media/university-press/Introduction%20to%20Art-082817.pdf?t=1510261341891","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":2298,"type":"Hardcopy","url":"https://www.amazon.com/Introduction-Art-Design-Context-Meaning/dp/1940771293/ref=sr_1_1?ie=UTF8\u0026qid=1479257341\u0026sr=8-1\u0026keywords=9781940771298","price":{"cents":0,"currency_iso":"USD"},"isbn":null}],"rating":"4","textbook_reviews_count":58,"reviews":[{"id":860,"first_name":"Deborah ","last_name":"Cibelli","position":"Professor ","institution_name":"Nicholls State University ","comprehensiveness_rating":4,"comprehensiveness_review":"The text is organized thematically and does not offer a chronological survey of the history of art.  Chapters discuss forms and materials, the processes of describing and interpreting art, aesthetics, architectural form, art and identity, art and power, art and ritual, and art and ethics.  These topics are all covered effectively.   Chapters include examples of Western and non-Western art and architecture and offer many comparisons of art from different cultures.  While there is no index, the reader may refer to the chapter titles and the glossaries found at the end of each chapter.  ","accuracy_rating":5,"accuracy_review":"The factual information provided is accurate, does not contain errors and is sensitive to world views.  ","relevance_rating":4,"relevance_review":"The themes that have been selected are well chosen and will remain relevant so that the text will not require constant revision.   However, the URLs (Uniform Resource Locators) or web addresses for different web sites may change over time and the authors may want to update the text by adding examples of contemporary art.","clarity_rating":5,"clarity_review":"The text discusses complex ideas in a clear and concise manner.   Terms used in each chapter are clearly defined in the text and in the chapter glossaries.   ","consistency_rating":5,"consistency_review":"Each chapter covers material outlined in the table of contents and the introductory chapter.   Each chapter also has a summary of key concepts and reinforces the themes developed throughout the text.  ","modularity_rating":5,"modularity_review":"The chapters and sections within the chapters are clearly delineated.   There are on average, eight sections in every chapter, making it easy to divide the text into discrete units and easy to refer to specific topics.    ","organization_rating":5,"organization_review":"The themes and ideas covered in the text are clearly delineated.   There are clear transitions from section to section and from one idea to the next.   ","interface_rating":4,"interface_review":"The illustrations are clearly numbered and referenced in the text.  The images are from public domain sources on the web and are identified as such.   It would be helpful to have dates for the images and references to the museums where the art objects are located either in the text or as additional information added to the labels for the images.   ","grammatical_rating":4,"grammatical_review":"There are few grammatical errors.  There are a few typographical errors such as misspellings of memento mori on page 98, of Edgar Allan Poe on page 214, and of iconoclasm on page 246.","cultural_rating":5,"cultural_review":"The text compares works of art from different cultures and seems inclusive, objective, and balanced in terms of the items included and the content.  ","overall_rating":9,"overall_review":"The text departs from standard introductory surveys by referring to objects from different cultures and historical periods that have been selected to illustrate the myriad functions of art, that is, art as map, religious work, “secular icon”, etc.  Material is organized thematically rather than chronologically using a comparative model. The chapters on forms, materials, description, symbolic interpretation, aesthetics, architectural form, identity, power, ritual, and ethics, also encourage the reader to make connections to contemporary art and culture. Key concepts are reviewed in the chapter summaries and each chapter has a list of questions that can be used by the student to review the material as well as a glossary of key terms.   The chapters on forms and materials support the study of art based on media.  In the discussion of interpretive methods, the reader also gains insight into the role of the viewer as well as the artist in determining meaning and is asked to consider the continued relevance of artistic expression. The book could be adapted for teaching a more conventional survey of art if sections are assigned based on content.   Chapter 10 on art and ritual, for example, largely follows a historical trajectory that begins with Stonehenge and examines architectural forms in Hawaii and Japan before discussing the sacred spaces and art of the medieval period that have been produced in different media.  The strength of this work is that students are asked to make comparisons.  They are also asked to think contextually about global art.     ","created_at":"2016-12-05T18:00:00.000-06:00","updated_at":"2016-12-05T18:00:00.000-06:00"},{"id":962,"first_name":"Renee","last_name":"Garris","position":"Adjunct Professor","institution_name":"J Sargent Reynolds Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The text covers Art in a thematic approach.  It explains concepts in an easy to understand manner.","accuracy_rating":5,"accuracy_review":"The content is accurate and error-free.","relevance_rating":5,"relevance_review":"The text is current and few sections would need updating.","clarity_rating":5,"clarity_review":"The text is written is a manner that those who are new to art and art history can easily understand. There are definitions for words that are new for the readers.","consistency_rating":5,"consistency_review":"The text is consistent in its use of terms and the framework in which it is written.","modularity_rating":5,"modularity_review":"The text is written with smaller rather than larger sections and is follow throughout the chapters of the book.","organization_rating":5,"organization_review":"There is a logical progression to the text.","interface_rating":5,"interface_review":"It is free of distortion of images and the illustrations are clear.","grammatical_rating":5,"grammatical_review":"It is free of grammar errors.","cultural_rating":3,"cultural_review":"It is culturally sensitive without bias.  It could use more examples of art from the non-Western world for some sections to provide  better balance.","overall_rating":9,"overall_review":"Enjoyable read and could be used alone or with supplemental material.","created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":963,"first_name":"RADFORD","last_name":"THOMAS, Ph.D.","position":"PROFESSOR OF ART","institution_name":"VIRGINIA WESTERN COMMUNITY COLLEGE","comprehensiveness_rating":4,"comprehensiveness_review":"Content adequately covers the subjects it purports to include. However, there is no comprehensive index. A brief list of Key Terms is included within each chapter. These lists are barely adequate and probably confusing to neophyte students with no art background. For instance, in 1.9 KEY TERMS, p.30, Icon is described primarily as often religious. “Icon”, in art, may have multiple meanings according to the culture that produced the artifact and its use by those members of that group. As an example, the image of “Isis” is an icon found throughout Egyptian culture with various “religious” as well as “power” and other cultural meanings. This criticism can be directed to all KEY TERMS lists in the text to some extent.\n\nIllustrations appear to be consistent with the knowledge base of the written text. In other words, illustrations fit the need and are usually of good quality and reference the dialog effectively. Titles are included for each image along with the artist/author and sources where appropriate. Missing are important notes about media, method, size, and date alongside the illustration. Non-art students are wont to go to the trouble of looking up this important information.\n","accuracy_rating":4,"accuracy_review":"Some KEY TERMS terminology is lacking in completeness or accuracy. Perhaps it is because the editors wished to make definitions simple, too simple. Bias is toward pleasing everyone while skimming over important iconographic details of the art forms examined. Dialog needs to be aimed at describing the iconographic content of art rather than ancillary historic events.","relevance_rating":5,"relevance_review":"  Content appears to be current in a way that will not make the text out-of-date within a normal time period. Updates, except for items that need immediate attention, should be easy to implement.\n","clarity_rating":5,"clarity_review":"This text is actually written in a student-oriented manner that makes a connection between current student populations and information required to cover the subject matter. Applause to the editors.","consistency_rating":4,"consistency_review":"This text is consistent with overall use of terms and organizational framework. Iconographic statements should be revised so they are accurate and clearly defined to explain the focus, use, and understanding of the art.","modularity_rating":3,"modularity_review":"This text is divided into eleven rather arbitrary chapters. Editors chose these topics to somehow relate not only to history of art but to serious ways of making art. So this text is not aimed at teaching students about the why of art but about the construction of art. This makes it an art appreciation text, not an art history text. The format does not flow historically but topically.","organization_rating":3,"organization_review":"It is difficult for the novice student to follow these disjointed chapters to a conclusion about what art really is. Each module or chapter is an end in itself and does not develop a cohesive theme about art itself. The Art and Ethics chapter is particularly misguided. This chapter’s content should be placed alongside relevant art objects and discussed in relation to that art.","interface_rating":3,"interface_review":"Text is rife with various and confusing imagery placed next to each other making it difficult for the beginning art historian to make sense of it. There is a lack of cohesive structure throughout the text with a few exceptions. One example is the discussion of “porphyry” in chapter three. This dialog goes from the Sarcophagus of Constantina to the Palace Chapel of Aachen with no real discussion of how valuable materials are used for iconographic purposes. It then goes on to explain a \"mausolea\" for some reason.\n\nIn addition, I find reading the book difficult because it does not use two columns as a standard interface. It uses only a single column throughout the text.\n","grammatical_rating":5,"grammatical_review":" I find no essential grammatical errors or problems.\n","cultural_rating":5,"cultural_review":"Text is very inclusive and comprehensive in this matter.","overall_rating":8,"overall_review":"In chapter five I found the Key Concepts very well written and useful to students\n\nIt is strange that there is a chapter on Architecture alone as an art form. Photography? or Painting? or Sculpture? or Ceramics? or Weaving...","created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":983,"first_name":"Stephanie","last_name":"Wirt","position":"ACA Art History Adjunct Professor","institution_name":"Reynolds Community College","comprehensiveness_rating":3,"comprehensiveness_review":"This text does cover the material its title implies at an introductory level. More depth could be used in some areas. In the chapter on describing art some major stylistic movements were omitted. The approach to describing art changes relevant to the time period and that is not addressed here by omitting some of the major Art movements like Impressionism, Cubism, Realism, photography and digital imagine. ","accuracy_rating":4,"accuracy_review":"All external Links work\nInformation is accurate but seems to lack in depth in some areas.\nThe artwork shown is primarily from the western world and the art of dead white men.\nIn choosing which art to include as examples more diversity in artists’ ethnicity and gender should be included for a more balanced and realistic scope of art\n","relevance_rating":4,"relevance_review":"The technical content of the text is up – to – date. The information as far as approaches to understanding art in general don’t change. Many of the artworks used to illustrate concepts are well known and appear in many standard art history textbooks. However, the lack of contemporary art examples makes some of the content less relevant to the life of the contemporary student. Art, how and why its made) is changing and this text does not necessarily address how to understand new practices in art","clarity_rating":5,"clarity_review":"The text is clearly written in an easy to understand format.","consistency_rating":5,"consistency_review":"The format, vocabulary and tone of writing is consistent throughout the text.","modularity_rating":5,"modularity_review":"a.\tEach chapter is broken down into subsection that focus on a specific aspect of the overall chapter theme. \nb.\tSections could be combined for instructional purposes \nc.\tSections are brief enough to allow for quick coverage but also leave room for individual teacher adjustments to focus more time and discussion on specific concepts\n","organization_rating":5,"organization_review":"a.\tThe topics and objectives of each chapter are clear and flow in a logical format. While there could be an argument for some readjustment of chapter ordering, it progresses in a thoughtful format.","interface_rating":5,"interface_review":"o\tThis is a pdf text that can be downloaded to computer or tablet form the web. This allows students access to the main content without having to have internet for most of the content.\no\tThe outside links to artworks are necessary to view significant artwork that is not in the creative commons directly at this point. However over time that will change as the original artist dies and time has passed from the date of its creation.\n","grammatical_rating":5,"grammatical_review":"The book's grammar is written using correct English.","cultural_rating":4,"cultural_review":"The text does not show any outright bias against any specific cultural, racial or ethnic groups. However they are not many examples of non-western art or artists or women artists within the examples provided within the book.  This is not unusual for many art survey books but there is a new movement in art education to expand the examples of art to include more people of color and women as well as more diversity in cultural arts within educational texts.","overall_rating":9,"overall_review":"o\tThis book is a good introductory text for a basic art survey class. It doesn’t go into depth in art history or studio practices but it does present a basic knowledgebase for understanding art in general and how to interpret and appreciate a variety of elements of art.\no\tA teacher using this text would want to supplement the reading with practical studio experiences to give students a better understanding of some of the media and techniques presented in the book as well as an opportunity to practice the methods of analyzing artworks with more contemporary artworks.\n","created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":1211,"first_name":"Aderonke","last_name":"Adesanya","position":"Associate Professor","institution_name":"James Madison University","comprehensiveness_rating":4,"comprehensiveness_review":"The text is a bold work in terms of content coverage. It focuses on the nuts and bolts of learning about and discussing art and its context, and combines these with some considerable information on art history, It therefore aptly fits the needs of a foundation class. Although it has semblances of existing studies, this is not your traditional introductory art textbook. Apart from the in-depth discussion of concepts, techniques, and terminologies, the authors have included learning outcomes at the beginning of each chapter, exercises (review questions) at the end plus key terms to help users review and affirm the content of every chapter. I also find very instructive the discussion of ways of looking at and understanding works of art in chapter 4; the distinction between formal and critical analysis, and the distinction in analysis, description, interpretation and evaluation. These comprehensive discussion make the text a great resource. The material is also reader friendly.\n\nI find that there is minimal references to non-western art especially African and African Diaspora Art. This is palpably obvious even under the discussion 4.5.1 Cultural Style in Chapter 4. The illustrations in the text are also geared towards the examination of western art than other categories including Asian and African. In the discussion of two and three dimensional art (with highlights on materials and techniques), almost all illustrations and examples are western art, with some minimal references to Chinese and Japanese preferred materials for art, and their processes.","accuracy_rating":4,"accuracy_review":"There are minor typos found in different pages of the text. For instance:\ni). Introduction: 2.4. Art Forms (cat egories should read categories)\n\nii). Chapter 8: p. 247 \"iconoclas\" should read \"iconoclasm\"'\n\nAdditionally, there is issue of consistency when \"iconoclasm\" is used as a sub-heading but not mentioned again in the body of the text.It also does not appear in the list of terms of reference.\n \nConsistency in reference to location: Benin is in Nigeria, West Africa and not just Africa as presented in the text on page 232. It is correctly referenced in previous pages.","relevance_rating":4,"relevance_review":"Content is up-to-date. However, it may require updating in the next three years to expands coverage particularly the diversity of the subject matter covered, illustrations, and invariably to bring new content into the chapters.","clarity_rating":4,"clarity_review":"The text is ready friendly, written in straightforward accessible prose. The definitions of terminologies accurate and simplified for readers to grasp the concepts quickly.","consistency_rating":5,"consistency_review":"A consistent template runs through the chapters.\n\nHowever, there is an issue with consistency when \"iconoclasm\" is used as a sub-heading but not mentioned again in the body of the text.It also does not appear in the list of terms of reference.\n \nConsistency issue with the way a culture's location is referenced: Benin is in Nigeria, West Africa and not just Africa as presented in the text on page 232. It is somewhat appropriately referenced in previous pages.\n\nConsistency issue with the spelling of terracotta (pages 273-4, and 277)","modularity_rating":3,"modularity_review":"Excellent compartmentalization, though I find the many sub-headings a bit problematic.","organization_rating":5,"organization_review":"The structure of the book is very well organized. The topics are presented in logical sequence.","interface_rating":3,"interface_review":"The interface appears many and a bit distracting. The links interspersed in the text forces the reader to go in and out of the text to check images being compared with those embedded in the text. It would have been more effective if these were readily accessible in the text for immediate comparison. \nNo evidence of overtly distorted images (Perhaps Figure 10.37?). However, some of them could be improved for clarity (Figure 10.48 and 10.49).","grammatical_rating":4,"grammatical_review":"No grammatical errors but there are typos.","cultural_rating":3,"cultural_review":"The text could do with some examples of ideas and images about diverse cultures that the learner in the introductory class can later build upon.","overall_rating":8,"overall_review":"Nothing beyond the outlined responses to other questions in this review.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1233,"first_name":"A.D.","last_name":"Rocha","position":"Fine Arts Advisor and Instructor","institution_name":"Washington State University","comprehensiveness_rating":5,"comprehensiveness_review":"The text presents its themes in an order that is easy to follow. The examples provided are relevant and serve well to illustrate the concept. The prompts at the end of each chapter also present good starting points for class discussion.","accuracy_rating":5,"accuracy_review":"The content is accurate. The definitions provided are concise.","relevance_rating":5,"relevance_review":"The content is current. The inclusion of \"fourth dimensional\" art is particularly helpful in discussing contemporary art.","clarity_rating":4,"clarity_review":"The terminology used is easy to understand. The \"key terms\" section is also helpful in its definition of terms that are introduced in that chapter.","consistency_rating":5,"consistency_review":"The terminology used is consistent and works to expand on the content for proceeding chapters.","modularity_rating":5,"modularity_review":"The arrangement of sections allow for each to be taken separately as necessary. The chapters can be presented in different order or omitted altogether.","organization_rating":4,"organization_review":"The order of each chapter and its individual sections are easy to follow. Presenting basic concepts on the definition of art and the formal qualities that comprise an artwork in the first four chapters provides a good starting point for the context and meaning discussed further into the text. The only issue with the \"flow\" would be the inclusion of the chapter on architecture.","interface_rating":4,"interface_review":"The images were presented within the appropriate text and were displayed clearly. The size of the PDF makes searching for a specific term or section a bit difficult, but otherwise there are no problems with the interface.","grammatical_rating":5,"grammatical_review":"There were no grammatical errors in this version of the text.","cultural_rating":5,"cultural_review":"A broader cultural range of examples would be more helpful, however, this is something an instructor can easily amend within classroom lecture or discussion.","overall_rating":9,"overall_review":"This is an excellent introductory text to basic art elements and concepts. On its own, it provides a clear overview for students with no art history background. It can also be used to support other texts where more specific art movements are discussed.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1360,"first_name":"Joe","last_name":"Macca","position":"Adjunct Faculty","institution_name":"Portland Community College","comprehensiveness_rating":4,"comprehensiveness_review":"While the text covers such a vast amount of visual art history, genres, meaning, symbolism, materials, etc., because it's so much, it can only very briefly mention these topics. That said, the glossary of terms is thorough and appropriate. The 'learning outcomes' and 'test yourself' sections are also very well organized. It can help students understand the kinds of questions and testing done in art survey classes.\n\nIn terms of studio art though the book can be a supplement only. Textbooks can be excellent but still not substitutes for the instruction of the hands on manipulation of materials.","accuracy_rating":4,"accuracy_review":"The book is unbiased (if there is any bias, it's very slightly European. But which comprehensive survey book is?!) and presents its varied historical genres accurately.","relevance_rating":4,"relevance_review":"The book suffers slightly from not discussing more contemporary artists and genres, especially performance, installation and public- art based works. Mid 20th century and before, the book is quite thorough. Because of this it is perhaps mildly more prone to obsolescence.","clarity_rating":5,"clarity_review":"The book is excellent in its prose. Very clear, easy to understand, many good images and illustrations.","consistency_rating":5,"consistency_review":"The book feels consistent overall. As described elsewhere, it may suffer a little from its lack of discussion of contemporary genres, artists, techniques, etc.","modularity_rating":5,"modularity_review":"The modularity is the book's necessary natural feature since it cover so much. The chapters are quick and concise.","organization_rating":4,"organization_review":"The 'Personal and Communal Need to Create' sections are so important. I appreciate that this was covered at length. Some sections are not elaborated on as much. I believe the isolated discussion of different art materials (a section on oil paint, a section on print, etc.) is clear and organized- I also believe it should be discussed that these techniques and materials are also very interchangeable.","interface_rating":5,"interface_review":"The book is very well organized. Illustrations and pictures are appropriately shown. More images of 'artists at work' could improve the text.","grammatical_rating":5,"grammatical_review":"No grammar issues detected.","cultural_rating":4,"cultural_review":"The book does a good job of being varied and unbiased, especially when describing art made in varying regions by peoples with different ethnic backgrounds.","overall_rating":9,"overall_review":"I believe the book can function very well as an Open Art History/ Survey Textbook.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1391,"first_name":"James","last_name":"Jewitt","position":"Manager and Instructor, Arts Minor","institution_name":"Virginia Tech","comprehensiveness_rating":4,"comprehensiveness_review":"This text successfully manages the difficult task of synthesizing a plethora of approaches when studying art and its history. It considers numerous ethical, philosophical, and thematic issues typically left out of traditional survey books. While these comprise a robust and welcome conversation about the reception, agency, epistemology, and meaning of art, it comes at the cost of a slightly anemic treatment of major historical developments along conventional lines. No index is present or list of illustrations.","accuracy_rating":4,"accuracy_review":"Some problems with Italian language terminology are evident, such as \"giornate.\"","relevance_rating":4,"relevance_review":"The content incorporates relevant and informed perspectives on crucial art world debates, including issues of ethical circulation of cultural property and material culture. Its content offers a broad appeal across the humanities and even social sciences, with relevance to students of philosophy and history as well archaeology and communication.","clarity_rating":3,"clarity_review":"The prose tends to be clear and readable, though veers towards a somewhat overly conversational and colloquial tone. In places it seems imprecise and too rambling, needing much more concise and to the point verbiage. Also, captions for images are not given information relating to date, medium, or dimensions--a crucial oversight!","consistency_rating":5,"consistency_review":"The text displays consistency throughout and does a good job of integrating key terms and concepts throughout its chapters. The bolded key terms that appear as a glossary at the close of each chapter is especially helpful, as well as the \"test yourself\" sections and introductory concepts that start each chapter. Such stand-alone devices are a great boon to students and surely aid with comprehension.","modularity_rating":5,"modularity_review":"One keen advantage of this text is the authors' clever division of the material into cogent modules that mesh well with poignant themes currently driving the discipline of art history and also the best courses at colleges and universities. In this way, the text serves as an indispensable resources in introductory design and art history courses, as well as upper-level seminars focused on interpretation, methodology, and philosophy of art.","organization_rating":4,"organization_review":"Overall the book is logically organized, particularly chapters 1-5 and 8-11. However, chapters 6-7 are oddly placed and the section on architecture is not well integrated into the rest of the text. It is treated like a separate and outlying practice instead of being carefully woven into the rest of the chapters on form, production, materials, etc. Likewise, chapter 7, though integral and vital, seems out of place. It would perhaps best be placed before the chapter on meaning, since it offers background on socio-cultural behavior as foundation through which to better understand art.","interface_rating":3,"interface_review":"In general, the illustrations and figures are crisp and high resolution. However, they are not expandable or zoomable as is common in other electronic or digital textbook platforms currently available. Likewise, the internet hyperlinks could be replaced with embedded content to better increase the longevity of the text. Some odd spacing around the figures and illustrations is distracting as well.","grammatical_rating":4,"grammatical_review":"See comment 4 above. In general, the discussions could be edited to offer a more precise and concise analysis that is less conversational and more direct. Right now it reads as if the authors are pandering a bit to a student audience by invoking memes, selfies, and other ostensibly trendy cultural phenomena.","cultural_rating":4,"cultural_review":"Another great advantage of this text is its admixture of canonical and popular objects, drawing upon mainstays of art history as well as more of-the-moment visual culture. It is particularly adept at addressing themes that weave together global works in many media from makers of many backgrounds, thereby questioning the entrenched and monolithic canon.","overall_rating":8,"overall_review":null,"created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1401,"first_name":"Sasa","last_name":"Miljevich","position":"Adjunct Instructor (Fine Art)","institution_name":"Portland Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The text is organized thematically and covers some of the areas of Art. Some of the content is overly simplified , and some important artistic movements are omitted. There is no index, which make it  difficult for students to comprehend some key concepts.","accuracy_rating":4,"accuracy_review":"Content is accurate and error free. Images shown and links to artists are mostly of  Western Art/ Artist, very few examples , in comparison, of Non-Western Art/Artist.","relevance_rating":5,"relevance_review":"The text is current and few sections would need updating.Necessary updates will be relatively easy and straightforward to implement.","clarity_rating":5,"clarity_review":"The text is written in clear and concise manner.","consistency_rating":5,"consistency_review":"The text is consistent in terms of terminology and framework.","modularity_rating":5,"modularity_review":"The text is easily dividable into smaller sections to fit with various topics of discussion throughout a term.","organization_rating":5,"organization_review":"The topics in the text are presented in a logical, clear fashion, but smoother transitions between the different chapters would help.","interface_rating":5,"interface_review":"The text is free of significant interface issues, easy to navigate , with clear images. very easy to download and print.","grammatical_rating":5,"grammatical_review":"The text contains no grammatical errors.","cultural_rating":3,"cultural_review":"The text does not have many examples of non-western artist and is not overly inclusive of a variety of races, ethnicities, backgrounds, gender.","overall_rating":9,"overall_review":null,"created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1450,"first_name":"Hilary","last_name":"Galián","position":"Instructor","institution_name":"Portland Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The text covers a broad survey of art including many art forms. Photography, digital media and relational aesthetics examples are lacking throughout the text. Chapters include examples of Western and non-Western art and architecture. More context could be fleshed out for how works of art were relevant in their own time. \nThe text effectively references images and graphics that are either included in the text or linked on the web. There is no index, and a list of images would benefit the reader by seeing examples listed in chronological order or by medium. Image captions in the text should include mediums, date and location information, which would help with quick reference and to classify a work illustrating an era.","accuracy_rating":5,"accuracy_review":"The wrong title is listed in a few image captions. Otherwise, the book appears error-free.","relevance_rating":4,"relevance_review":"The content of the book spans the ancient world through contemporary art and reflects current art-world values and attitudes in broad terms -- defining art and artists through a contemporary lens and recognizing the omission of women and marginalized groups throughout the canon of art. Though the recognition is valid, more modern and contemporary art examples could be used to reflect the contributions of a broader group of artists.\nThere are many links to outside sources for imagery, and it is unknown how often those may be checked for changes and errors. A safeguard against readers following links to sources that may have changed their content would be to insert those images directly into the text, which would also help the reading flow, particularly when two works are offered for comparison, such as Wiley’s and Clésinger’s \"Femme Piquée par un Serpent,\" in which only Clésinger’s is included in the text.","clarity_rating":5,"clarity_review":"Text is written clearly using accessible language for students. Adequate context is given for technical terms with minor exception. The questions at the end of each chapter to check for understanding reflect the text, though more attention could be aimed at mirroring the language and terms used in the chapter.","consistency_rating":4,"consistency_review":"The chapters are subdivided consistently. There are a few instances in which the title of a work in the text narrative does not match the title given in the caption for the image. There are also some terms listed in the glossary that do not appear in the corresponding chapter. Similarly, there are some inconsistencies in the “Test Yourself” questions, in which the corresponding information is missing.","modularity_rating":4,"modularity_review":"The chapters are clearly defined as are the concise, themed subsections. It could be easily reorganized to fit subunits of a course, though the text is jumbled chronologically due to classification by theme.","organization_rating":4,"organization_review":"The text flows logically by the outlined themes. The book’s organization would benefit from some reference to a chronology. Without this context, a novice student may struggle to follow a somewhat disjointed selection of art and artifacts.","interface_rating":4,"interface_review":"Internal references to images are made sufficiently clear. Over time, the numerous links to other web material may need updating. There is one reference in the text that is missing a link. A few links reveal images and are too small and low-resolution.\nThe handful of formatting mistakes and typos are somewhat distracting, as is the single column layout.","grammatical_rating":5,"grammatical_review":"The text appears free of grammatical errors.","cultural_rating":4,"cultural_review":"The text is inclusive of a variety of races, ethnicities and backgrounds. The balance of art examples still favors a white, male perspective. References to “our” perspective should be made explicit as such. Some general examples given to explain concepts lack universality, such as yoga as an example of art and science.","overall_rating":9,"overall_review":"This book would serve well as primer for beginning art students for its far-reaching historical scope and theme-based approach, though a student would need supplemental material to address contemporary art forms and the contributions of a broader group of artists.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1459,"first_name":"Isabelle","last_name":"Havet","position":"Faculty","institution_name":"Linn-Benton Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The textbook thoroughly covers the topics of each chapter, and each chapter has enough range that it could easily be supplemented and ideas expanded upon. The \"Key Concepts\" and \"Key Terms\" sections after each chapter are very useful and would prove an effective study tool for students, as would the \"Test Yourself\" study questions. However, the textbook should have a master glossary of terms at the end for ease of reference. This is a large omission, especially for students studying for midterms and finals, or working on papers or larger group projects.","accuracy_rating":4,"accuracy_review":"There are a small number of typos and usages of uncommon words when more simple words would suffice that are confusing and obscure meaning. (E.g., the tile for section 5.4.3: \"Prohibition and Destruction of Imagery: Iconoclasm\" misspells the word \"iconoclasm,\" which is particularly problematic as \"iconoclasm\" could easily be reenforced as a key vocabulary word.)","relevance_rating":4,"relevance_review":"The text is relevant, and one of its strengths is the breadth and depth of the visual examples anchoring the chapters.","clarity_rating":4,"clarity_review":"The text is fluid, and the language accessible in a way that would be suitable for different levels of students.","consistency_rating":4,"consistency_review":"While the text is generally well-organized, the organization of the chapters is somewhat confusing. The choice of chapter topics is also somewhat confusing. Certain major topics are omitted (for example, a chapter dedicated to a more in-depth survey of major artistic media), for what are some interesting but less necessary topics (e.g., Significance of materials in art). This will pose a challenge for instructors who might have to carefully weigh which chapters to teach. This might be especially problematic for instructors teaching in a 10-week term system, or who would supplement the text with additional lessons focused on the history of art (which is omitted from this volume).","modularity_rating":5,"modularity_review":"The text would easily be divided, which is a strength as the organization of the chapters as it stands might not work for every instructor.","organization_rating":4,"organization_review":"The topics are generally presented in a logical, clear fashion. The structure of chapters is easy to read and flows well.","interface_rating":4,"interface_review":"The text cleverly utilizes open access images. The images are generally very compelling and of high-resolution, which is a big bonus in a visual arts textbook. There are only a few images that are grainy or fuzzy and would beed to be replaced (e.g., the statue of Menkaure and Queen). The interface is legible and pleasing to navigate.","grammatical_rating":5,"grammatical_review":"The text contains no grammar errors.","cultural_rating":4,"cultural_review":"An array of images from different time periods, geographical locations, and cultures. This is a huge bonus, as visual arts fields are moving to make curricula more inclusive. It would have been useful to include more contemporary art, as this is an important topic to emphasize when teaching about visual culture, and is relevant to students' lives. It is also important for instructors who might be teaching visual arts and studio students.","overall_rating":8,"overall_review":"A unique text with a compelling choice of images and topics, and worthy entry in the expanding but still very limited field of art appreciation/visual culture textbooks. I would have liked to see a glossary of terms at the end of the text. It would also be useful to have a discussion of art history, and if not a chapter or more dedicated to art history, at least a timeline at the end of the text. The students are presented with an overwhelming number of artworks, so a general historical reference at the end of the text would be useful. Finally, there are some omissions of topics in favor of narrowing or less important topics that would necessitate some supplemental teaching materials or lessons.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1466,"first_name":"Samantha","last_name":"Moore","position":"Adjunct Instructor, Art History","institution_name":"Northern Virginia Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The text covers information listed in the table of contents adequately. Content is arranged thematically as is common in art appreciation courses. Each chapter includes a glossary of terms covered at the end of the chapter. It does not include an index at the end of the text. Readers must review the table of contents and guess where information may be found.","accuracy_rating":4,"accuracy_review":"The historical information listed in the text was accurate. The text included accurate information regarding styles and movements and theory associated with art. However, the text presents basic and surface level information and lacks in depth views on any one topic.","relevance_rating":5,"relevance_review":"The content of the text is up-to-date particularly in the discussion of media types. Should updates be necessary it would be easy to implement them.","clarity_rating":5,"clarity_review":"The text clearly defines bolded terminology. Each chapter is divided into sections and information in each section is related to the theme of that content area. The language is clear and easy to read and follow.","consistency_rating":5,"consistency_review":"The language used, content presented, and organizational themes are consistent throughout the text.","modularity_rating":5,"modularity_review":"The text follows a pattern of listing objectives, sectioning off each chapter, and following up with review concepts and terminology. Sections of the text can be assigned at different points within the course.","organization_rating":4,"organization_review":"The text includes eleven chapters divided into sections. While each chapter and subsequent section is rich with information, heading and subheadings do not give a clear sense of what content will be present in a given area. Without an index it is not clear to readers when or where readers will find certain information.","interface_rating":3,"interface_review":"When reading the text online I encountered an issue clicking on links to images. The link would bring me to the image in the same window as the text. I would then have to go back to the text and find my place.","grammatical_rating":5,"grammatical_review":"I did not find any grammatical errors.","cultural_rating":5,"cultural_review":"The text was inclusive of a variety of races, ethnicities and backgrounds.","overall_rating":9,"overall_review":"This would be a decent text to use in an art appreciation course but not in a survey art history course. The content is not arranged chronologically or by region. Rather it is divided thematically into broad sections. I was pleasantly surprised with the information listed in several portions of the text. While it does not cover any area in depth it does a fair job of presenting a basic foundation for most of the major topics covered in an art appreciation course. Instructors will find they need to expand on most concepts and should plan on supplementing the text with readings and lectures. \nWithout an index it is difficult to gauge when and where readers will find specific content. Chapter titles and section sub heads are very broad and do not help with pinpointing the location of information.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1489,"first_name":"Nancy","last_name":"Pettigrew","position":"Associate Instructor","institution_name":"Tidewater Community College","comprehensiveness_rating":3,"comprehensiveness_review":"For an art appreciation textbook, there is no set of required information that must be included and, therefore, a textbook's comprehensiveness is somewhat subjective.  This textbook does cover some core areas for this discipline: the definition of art; the function of art; elements of art and principles of design; and different media used to make art. I thought that the treatment of the elements and principles and of the media was cursory. Beyond that the textbook is thematic, with the choices of themes being somewhat idiosyncratic.  \n\nThe treatment of the subject was constrained by the authors' focus primarily on the traditional media associated with fine arts, such as painting, sculpture, and architecture.  Other current art appreciation textbooks also include more modern media, such as film and design.  The scope was also hampered, in part, by the distinction the authors' drew between art and craft.\n\nThe focus of the textbook is mostly on art made before 1960, with most of it produced long before that. There is a dearth of examples of contemporary art being made by artists in the last 20 years.  An exception to this is the chapter on Art and Ethics, which addresses recent controversies in the field.   \n\nThe textbook does not include an index or a comprehensive glossary.  Terms are defined at the end of each chapter.  The table of contents is not sufficient to function as an index.","accuracy_rating":4,"accuracy_review":"The content of the textbook is generally error free.  There are some opinions expressed that I do not agree with, but these are debates that are not settled within the art history community.  The authors do not seem completely up to date on recent scholarship in some areas.  For example, the \"Snake Goddess\" from Crete is included when modern scholarship has called into question the validity of its heavily reconstructed form.","relevance_rating":5,"relevance_review":"Since much of the art covered in the textbook was made before 1960, the content is up-to date and will not become obsolete quickly.  The exceptions to this are the links to external web pages that will need to be maintained on a regular basis.  Without this regular maintenance, these links could become obsolete quickly.  This could pose a problem since the links are embedded in the content of the text.","clarity_rating":5,"clarity_review":"The textbook is written in prose that should be accessible for the average college freshman.  Specialized discipline-specific terminology is defined in the text and in a list of terms at the end of each chapter.  The text does lack an comprehensive glossary of these terms..","consistency_rating":5,"consistency_review":"The textbook is internally consistent in organizational framework of each chapter and in the use of terminology.","modularity_rating":5,"modularity_review":"The textbook is divided into small reading sections with clear headings and subheadings.  These could easily be reorganized and realigned.","organization_rating":2,"organization_review":"I found it difficult to follow the organization and structure of the text.  There seemed to be no clear logic to much of the distribution of the chapters and the chapter sections.  Related content can be found in different chapters of the text.  For example, both the chapter on Form in Architecture and on Art and Ritual Life contain extensive sections covering sacred architecture. \n\nWithin the chapter sections, there is some organization based on chronology, although this is not consistent. This creates a problem in which chronology is repeated without a larger, cohesive historical narrative.  .","interface_rating":5,"interface_review":"The interface of the textbook was effective overall with no significant issues that would distract or confuse the reader. Of necessity, the textbook provides links to works of art that are not reproducible in the textbook due to copyright issues.  These links can be clunky and I would be concerned that students will not take the time to click on them all while reading the textbook. Links need to be reviewed.  At least one of the links within the text to external images was broken.  For the most part the images included in the textbook are high quality, although I find their sourcing odd from random users on Wikimedia.","grammatical_rating":5,"grammatical_review":"Overall, the textbook contains no major grammatical errors beyond a few typographical errors.","cultural_rating":4,"cultural_review":"The textbook draws its examples primarily from Western (European and American) and Asian cultures.  There is some inclusion of other cultures, races, and ethnicities, such as Native American or African, although this aspect of the textbook could be strengthened.  An instructor would need to bring in additional examples to make a course using this textbook truly inclusive.  The text is not culturally insensitive or offensive.","overall_rating":9,"overall_review":"This textbook could be appropriate for usage in an Art Appreciation class, if the instructor of the course was comfortable with the somewhat idiosyncratic thematic choices of the authors.  For example, the inclusion of the chapter on the Significance of Materials is not typically included in an art appreciation textbook.  The textbook would not work for an Art History course that is taught in a chronological framework. Specific dates are not provided for most of the objects discussed, although birth and death dates of artists are.  The historical context and timeline of the works covered by the text are subsumed within the thematic organization.","created_at":"2017-08-15T19:00:00.000-05:00","updated_at":"2017-08-15T19:00:00.000-05:00"},{"id":1570,"first_name":"Victoria","last_name":"Hutson","position":"Art Faculty","institution_name":"Lake Superior College","comprehensiveness_rating":5,"comprehensiveness_review":"This book covers a broad range of areas that are typically included in a college level art appreciation book.  Because it covers so many different areas—it doesn’t go into a lot of depth in any one area. However, an instructor could easily provide more depth by providing supplementary material for specific areas. The book is arranged by topics or themes which is typical for most art appreciation books. It is not arranged chronological--which is usually the format for art history books.  ","accuracy_rating":5,"accuracy_review":"The book appears to be accurate, error-free and unbiased--although I did catch one inaccurate statement regarding the Vietnam War Memorial. The memorial is below ground level but the book claims that this reflects “the belief that the Vietnam War was initially conducted ‘beneath the surface,’ that is, unknown to most Americans.” However, in the 1995 documentary, “A Strong Clear Vision” the designer (Maya Lin) explains a totally different reason why it is underground.  This conflict between what the artist says and what the book says is worth noting. It did make me a bit concerned that other material may also be inaccurate—but I did not catch any other inaccurate statements. ","relevance_rating":5,"relevance_review":"This book should have relevance for a long time because the material it covers is primarily about past art—which for the most part doesn’t change. While it is possible that new information may become available that changes our understanding of the work—for the most part our educated guesses about the message, meaning, or function of the works will remain the same. In addition, the vast majority of images and information included in this book are also found in most of the standard art appreciation textbooks. ","clarity_rating":5,"clarity_review":"The textbook is written in a style that is clear and easy to understand and follow. Specific terms are written in bold text with their definitions listed at the end of each chapter. ","consistency_rating":5,"consistency_review":"There is a consistency in the way the material is presented in each chapter. ","modularity_rating":5,"modularity_review":"Each of the chapters are divided into smaller sections that make it easy to assign or highlight a specific portion of the text. In addition, each chapter starts with Learning Outcomes and ends with Key Concepts, Test Yourself, and Key Terms sections.","organization_rating":4,"organization_review":"The topics in the text are presented in a fairly logical and clear fashion. It is very similar to other art appreciation textbooks I have used in the past. The book starts with fundamental concepts (what is art, art materials and techniques, describing art, finding the meaning, etc.) and then it proceeds into more advanced topics (connecting art to our lives, identity, power, ritual Life, and ethics). There is a separate chapter on architecture which seems a bit odd since no other area was given a specific chapter of its own. ","interface_rating":4,"interface_review":"The pdf interface is very functional to use and easy to navigate and download. While I understand the reasons for including links to copyright protected images I did find having to click on the link cumbersome and somewhat disruptive. In addition, often I felt a bit confused when I started reading about a work of art that did not have a printed picture to accompany it. I found myself glancing around the page trying to find the image that I was reading about only to see that later in the paragraph there was a link. Perhaps having the link at the beginning of the paragraph would have worked better. Plus, it would serve as a notice that the following text is about an image that needs to be viewed via a link. A few of the links brought me to pages that were no longer active.","grammatical_rating":5,"grammatical_review":"I did not notice any grammatical errors. ","cultural_rating":4,"cultural_review":"The material in this book does includes examples from a variety of races, ethnicities, and backgrounds—although most of the material is from what is traditional considered the origins and evolution of western civilizations. ","overall_rating":9,"overall_review":"This would be a good book for an art appreciation course. Because of its modularity it would be easy for an instructor to assign specific areas to establish a basic foundation and then provide supplementary material for in-depth explorations of chosen topics. ","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1770,"first_name":"Elizabeth","last_name":"Maynard","position":"Adjunct Professor","institution_name":"Rhode Island College","comprehensiveness_rating":5,"comprehensiveness_review":"This books is not an historical survey, but it offers a wide range of artworks from throughout history and the world to elucidate major themes and concepts. Even while it is non-linear or chronological, the text nonetheless covers terms and ideas specific to historical moments, taking them as case studies to illustrate larger themes. The end of each chapter includes questions to consider and a list of major terms with definitions. ","accuracy_rating":5,"accuracy_review":"excellent, to my knowledge.","relevance_rating":5,"relevance_review":"While the book references very contemporary technology, including 3D printing, etc., it contextualizes them in more traditional methods; the themes and of the text remain timeless. ","clarity_rating":5,"clarity_review":"Both the imagery and the phrasing read easily. The images are very detailed and include helpful close ups.","consistency_rating":5,"consistency_review":"The progression of chapter creates a very readable narrative.","modularity_rating":5,"modularity_review":"The book is well divided up, and I appreciate the integration of both historical and formal terms throughout, to offer new historical information throughout without becoming dense.","organization_rating":5,"organization_review":"The book lays out a great foundation for material and terms of analysis to get into deeper themes and modes of interpretation.","interface_rating":5,"interface_review":"One thing I would add/change, is for the images to include the dates in the caption, not just in the text. While the text is non-linear, I think it's important for the dates to be readily available to understand the historical breadth of the works. \n\n","grammatical_rating":5,"grammatical_review":"none that I encountered.","cultural_rating":5,"cultural_review":"I especially enjoyed the integration of works from throughout the world. Often in more conventional texts, art of the non-western world gets relegated to their own, atemporal chapters. This format allows for thematic comparisons that helps to breakdown the hierarchies of the canon.","overall_rating":10,"overall_review":null,"created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1836,"first_name":"Eleanor","last_name":"Johnston","position":"Academic Skills Librarian","institution_name":"Staffordshire University","comprehensiveness_rating":4,"comprehensiveness_review":"This texts provides a comprehensive introduction to the world of Art and contains 11 chapters, thematically arranged, to give an overview for beginners to the subject. The text contains enough content and examples to ensure that there in appropriate contextualisation and that the idea of Art as a concept is covered with sufficient depth and clarity.\nAt the end of each chapter, there is a Key Terms list, which acts as a glossary for the readings just completed.\nThere is no index at the end of the book, but this is not a problem as online PDFs can all be searched using the 'find text' function.\nThere are areas where the text is not greatly detailed - any book of under 300 pages could not possibly cover all areas of art without omissions, so there is a greater emphasis on older works when used as examples. There is little on contemporary art, although it is covered in most detail in the final chapter. As there is no index of Artists, it can be tricky to locate movements using the 'find text' function.\nThe outcome to 'build a broader, more comprehensive view of the nature and definition of visual art' (p.1) is impressively achieved. \n ","accuracy_rating":4,"accuracy_review":"The content of the book is accurate and I did not detect any particular biases or error. Of course, any Introduction to Art may inherently contain the biases of Western Culture in relation to the choice of themes and narrative, but there has genuinely been an acknowledgement of the importance of all cultures, and there has not simply been one token chapter to shoehorn in all other civilisations. \nThere is one error in the layout - on pages 280, 282, 284, 286, 288, 290 and 292 in Chapter 11, these are titled 'Chapter 10: Art and Ritual Life\" on the top right of these pages.","relevance_rating":4,"relevance_review":"This text is arranged thematically, so this structure does ensure that there will not be any aspect of the contents that would quickly become obsolete or outdated.\nAny weblinks used within the text would have to be checked and maintained. These are contained throughout the book - I would surmise they were used if no Creative Commons image was available to illustrate a concept or technique.\nI did click through to a large number of the weblinks and am pleased to report that they not only were, without fail linking through, they also provided further details and areas for discussion that built upon the content of the text.","clarity_rating":5,"clarity_review":"This area is a real strength of the book. The book explains complex concepts in a very clear and concise way, ensuring that any new or unfamiliar terms are included in the 'Key Terms' pages at the end of each chapter. I was particularly impressed with this in Chapter Seven: Form in Architecture.\nI think the authors had an intention to provide clear, accessible prose and to ensure that a reader with no knowledge of the areas of design, meaning and context would be able to understand and appreciate them. ","consistency_rating":5,"consistency_review":"Again, with the chapters arranged thematically with the same structure scaffolding each one (learning outcomes, introduction, before you move on and key terms) the text was consistent and the framework extremely clear. I did not find any examples where key terms were overlapping, confusing or contradictory.","modularity_rating":5,"modularity_review":"As an Introduction to Art with easily digestible sections, these text deserves commendation. Each chapter is approximately 30 pages long, and sections within the chapters are subdivided into smaller sections (e.g. Chapter 8: Art and Identity contains 21 pages and has 5 subsections.\nThe visual aspects of the text -multiple examples, images, photographs, artworks etc, ensure that there are no giant blocks of text, and the book taken as a whole is aesthetically pleasing and a pleasure to consult.","organization_rating":3,"organization_review":"I would suggest that this area could be improved by expanding on descriptions in the contents page - there were sometimes cases of repetition when a concept was discussed across multiple chapters (e.g. the Sacred). This is a hazard of the thematic approach, but I understand that without reverting to a chronological timeline of art, it is very difficult to cover these in one or two paragraphs in one section of a text. The subjects of design, structure and materials provided better scaffolding for chapters.","interface_rating":4,"interface_review":"The text was extremely clear and the images were reproduced at a high definition. Any links taking students through also provided clear images, although these were sometimes rather small. There was no confusion with the image labelling or creative commons attributions, and I found the single column view easy to read.","grammatical_rating":5,"grammatical_review":"There were no grammatical errors that I was able to detect.","cultural_rating":5,"cultural_review":"The text provided references to a variety of cultures throughout the pages. Once again it should be highlighted that non-Western cultural artistic traditions were not simply shoehorned into a chapter, but there was a great deal of inclusivity in the whole book. Indeed, the cultural relevance and variety mentioned is of great artistic importance and is refereed to as crucial to the ethics and raison d'etre of many prominent artists (see especially Chapter Eight: Art and Identity).","overall_rating":9,"overall_review":"This Open Textbook is a valuable addition to the canon of texts currently recommended as an introduction to art. The thematic chapters provide a perfect platform to commence a discussion on a topic (for example, meaning in art). Students would be advised to read the chapter in advance of lectures / tutorials and to use this as a starting point for their research.","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1854,"first_name":"Renee","last_name":"Couture","position":"Assistant Professor of Art","institution_name":"Umpqua Community College","comprehensiveness_rating":4,"comprehensiveness_review":"This book covers just about everything needed for teaching students the basics of visual literacy and introducing them to art. This text has a range of images and includes various time periods, styles, and works from Western and non-Western cultures. The textbook, however, lacks significant references to contemporary art. A vast majority of the work presented is pre-1960 and most of the media covered is traditional fine art media (painting, sculpture, drawing). That being said, the authors provide glossaries at the end of each chapter of target vocabulary, a comprehensive index, and write thoughtfully and thoroughly to provide a solid context to the works/images shown within the text.","accuracy_rating":5,"accuracy_review":"The text appears to be accurate. ","relevance_rating":4,"relevance_review":"The textbook profiles works from ancient through modern times. The text is arranged in a way that introduces students to important concepts for viewing and considering artwork, and uses a logical sequencing of information. The textbook introduces students to some of the major “movers and shakers” in art history, and has many high-quality images of the works discussed within the chapters. The text, however, largely emphasizes pre-1960 art. In fact, it seems only a handful of post-1960 artists are mentioned and very few supporting images are provided of post-1960 artwork. To be fair, there are links provided, which will require upkeep. An instructor will need to find examples from other sources to expose students to contemporary art (artists, media, themes, and modes of working).\n\n","clarity_rating":5,"clarity_review":"The text’s language is appropriate for college-level readers. Sentences are easily understood and the use of art-specific vocabulary (along with providing a glossary at the end of each chapters) shows students appropriate use of target vocabulary. Chapter topics are presented in clearly, accessibly, and with depth. Images are used effectively in supporting content.  ","consistency_rating":5,"consistency_review":"The chapters are uniform in their organization; the writing is consistent. Each chapter starts with outcomes and an introduction. Headings for chapter subsections are clear and specific. Target vocabulary is written in bold type and each chapter has a glossary. Each chapter ends with a summary and review questions to check for student comprehension. ","modularity_rating":5,"modularity_review":"The text is divided in a way that supports teaching a foundation in visual literacy. Each chapter is clearly titled with subsections supporting the chapter’s topic. In some cases, subsections from different chapters could be mixed and matched. One of the strengths is the use of imagery from various time periods within each chapters as opposed to the standard chronological approach to an art history course. This could be further exploited by the addition more contemporary art by the instructor along side more historical examples the text provides.\n\n\n","organization_rating":5,"organization_review":"The chapters are consistently structured. The choice of chapter topics and their flow is appropriate and student-centered. The book starts with basic information (what art is, its structure, media used) and works toward greater complexity (various ways art connects to and shapes our lives). \n ","interface_rating":4,"interface_review":"The supporting images are clear and high quality, allowing the reader to increase the size of the images without losing clarity. Some of the pages feel crowded and a few of the links were nonfunctional. The chapter sections and subsections are clear. The book's font is easy to read with line hierarchy is unmistakable and consistent, and the use of bold lettering indicates target vocabulary for students.","grammatical_rating":5,"grammatical_review":"I found no grammatical errors within the text.","cultural_rating":3,"cultural_review":"The text will provide students with a solid foundation in visual literacy using historical artworks as examples. It includes work and architecture of non-Western cultures and women. However, it (generally) ignores contemporary art (artists, media, modes of working, and thematics) which students will see in today’s world. There are missed opportunities to discuss more recent attitudes \u0026amp; intentions within the arts (for example, in Ch 4: Describing Art, it would seem appropriate to have subsections on Modernism and Post Modernism). It would be helpful if were either more examples of contemporary art along side the more historical examples or if there was final chapter on art post-1960. An instructor will need to find examples of contemporary art (through resources such as Art 21, museum catalogs, artist websites, articles/interviews for arts-related sources) to expose students to contemporary artists and art. Inclusion of more art post-1960 would: 1) present students with more challenging imagery, 2) expose students to themes that are more relevant to them, and 3) further introduce students to the works of more women and minorities. Nonetheless, this book would be an effective tool for an Intro to Art or Art Appreciation course. A strength of the book is its thematic approach instead of the standard chronological approach. I did not find it culturally offensive or insensitive. \n\n","overall_rating":9,"overall_review":"This book has enough general information that certain chapters (or parts of chapters) can be used in a Basic Design or Drawing course as well as a general Art Appreciation/Intro to Visual Literacy course..","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":2094,"first_name":"Dina","last_name":"Pizzarello","position":"Adjunct Assistant Professor","institution_name":"LaGuardia Community College","comprehensiveness_rating":5,"comprehensiveness_review":"This textbook would be a wonderful source for any beginner art or art appreciation class. It does not delve too deeply, but that is a plus for the beginner and/or typical non-artist using this resource. An index and glossary would be great additions to help students search for information and make connections more easily.  ","accuracy_rating":4,"accuracy_review":"I found this textbook to be accurate and unbiased, although more examples of Non-Western art could have been added. Some of the CH 11 pages and titled CH 10 at the end of the text. ","relevance_rating":5,"relevance_review":"This text is current enough for the average art appreciation class. All of the links I checked worked perfectly. Since it is mostly based on works of the past, it will need little updating. ","clarity_rating":1,"clarity_review":"This text is written simply, clearly and with brevity. This can be especially helpful to international students and students with cognitive disabilities. Beginners can easily understand definitions and concepts. ","consistency_rating":5,"consistency_review":"The organization and writting are consistent throughout. ","modularity_rating":5,"modularity_review":"The chapter organization and subdivisions wold work really well for classes taught on single or multiple days. This is a big plus for those of us that teach at community colleges. ","organization_rating":5,"organization_review":"One strength is that the text is arranged thematically, not chronologically. This format has been proven to work better in art appreciation classes. Each chapter has a comprehensible and logical flow to the breadth of information covered. ","interface_rating":5,"interface_review":"I found no interface issues. ","grammatical_rating":5,"grammatical_review":"I found no grammatical errors. ","cultural_rating":5,"cultural_review":"I found this text to be un-biased and culturally sensitive. ","overall_rating":9,"overall_review":"I liked how the text included non-traditional images to explain some concepts. This gave the book a fresher feel that millennials could more easily connect with. Most of the images are of small or medium scale. It would be a nice to incorporate larger image examples of select artworks. This would be more visually impactful. ","created_at":"2018-05-21T19:00:00.000-05:00","updated_at":"2018-05-21T19:00:00.000-05:00"},{"id":2097,"first_name":"Jonathan","last_name":"Johnson","position":"Associate Professor","institution_name":"Otterbein University","comprehensiveness_rating":4,"comprehensiveness_review":"This textbook is ambitious and covers a lot of ground—both theoretically and historically.  The thematic (as opposed to purely chronological or geographical) approach and interface allows the soaring comprehensiveness of this text to take a digestible and highly modular form.  The position of the writing seems to be educator and student centric, with pedagogical concerns.  Art historical (or disciplinary) outcomes aren’t the main focus here—and that should please those looking for an introductory or non-major textbook.  I imagine this would facilitate the outline and planning of a course—where course outcomes could be developed with this text in mind as opposed to developing the course and then searching for an appropriate textbook and supplements.\n\nThe themes address in the text are sufficiently supported and explored with ideas and artwork reproductions that flesh out the major social issues contained within the artwork.  The process and historical/social conditions of the work’s creation are also covered in each section.  In this way, these art works are placed within the time they were made and viewed through a contemporary lens.\n\nTable of contents, key terms and “Test Yourself” sections are comprehensive and helpful from a teaching perspective.","accuracy_rating":5,"accuracy_review":"The textbook is accurate and without bias according to my reading.","relevance_rating":4,"relevance_review":"The overarching “big questions” are up to date, however it could beneficial to have more contemporary examples representing these themes/questions embedded within the pdf version of the book.  Are there more recent examples of art that tackle issues of race, history and identity as in the given example of figure8.25, for instance?\n\nAs mentioned below in “Clarity”, the writing is clear—but undergraduate students might be more immediately engaged with the material if it was more often connected to a contemporary iteration of the social issue at hand.  We are introduced to Maria Luisa of Parma immediately within the Class section (8.3.4)—which I find quite interesting.  However, I wonder if an undergraduate or non-major might desire a class reference that they can relate more to?  At least at first, and then delve into something more “historical”?  I’m thinking a bit of the Oxford University Press’ A Very Short Introduction series here.\n\nWith this being said, I did enjoy looking at more historical works and works from the 19th century through the lens of these very contemporary themes.  I was also newly introduced to a few engaging works such as Sargent’s Gassed (Fig. 9.10) and Daumier’s The Third Class Carriage (Fig. 8.20).  When connected to these larger questions and contextual frameworks, these two pieces (and many others included in the book) seem fresh and imbued with a renewed relevance.","clarity_rating":5,"clarity_review":"The writing style is very straight-forward and clear of unnecessary jargon.  Well suited for non-majors and for building student interest in Art History.  Writing style seems to match the audience and outcomes.","consistency_rating":5,"consistency_review":"Visual and organizational layout is consistent and becomes helpfully predictable as you move through the text.","modularity_rating":5,"modularity_review":"Thoughtful and relevant groupings and subheadings.  The order is logical and terraced to build upon previously presented ideas and themes.  Would function well as a “pick and choose” text for a introductory art course or a course designed for non-majors. ","organization_rating":5,"organization_review":"Structure, flow, sequencing and logic are amongst the greatest strengths of this text.  ","interface_rating":3,"interface_review":"Overall, the interface is easy to follow and basic in design.  The off-white framing of the images and figures is reminiscent of a Polaroid border, and is a little distracting.  Having the date(s) of the artwork underneath each image would be convenient for reference.  Having to go between the text body and the image for the date is a little inefficient.  Image reproduction is mostly sufficient, but the Nocturne in Black and Gold: The Falling Rocket I (Fig. 1.14) would have benefited from a larger reproduction, especially since the text references technical nuances of the work in its analysis.","grammatical_rating":5,"grammatical_review":"I found no grammatical errors in the textbook.","cultural_rating":3,"cultural_review":"The larger questions and themes are well chosen, sequenced and organized.  How do they manifest more directly today?  Showcasing the cultural relevance of more established canonical artists is a strength of this text.  Pairing up Auguste Clésinger (Fig. 8.17) and Kehinde Wiley (pp. 221-2) in the early portion of the 8.3.3 Sex/Gender Identity section is a great example of answering this question I’ve posed, but I think more of it would add a depth and extend the relevance.","overall_rating":9,"overall_review":"It goes without saying that pursuing a textbook writing project such as this truly serves the greater good and the authors should be commended.","created_at":"2018-05-21T19:00:00.000-05:00","updated_at":"2018-05-21T19:00:00.000-05:00"},{"id":2120,"first_name":"Arianne","last_name":"Fernandez","position":"Full - Time Lecturer","institution_name":"LaGuardia Community College","comprehensiveness_rating":5,"comprehensiveness_review":"The range of topics this book covers provides a great resource for teaching students the basics of visual art and introducing them to various media and techniques as well as the process of art making, from multiple. Since the text covers a wide range of time periods, styles, and works from Western and non-Western cultures - enhanced by good images-it is appropriate for both Introduction to Art and Art in Society courses.  Despite the minimal attention in regards to Contemporary Art, the text is well written , with great descriptions of the pieces presented, with accurate explanations  of art vocabulary. Overall, a great source for students.","accuracy_rating":5,"accuracy_review":"The text appears accurate.","relevance_rating":5,"relevance_review":"The textbook is arranged in a logical manner that introduces students to important concepts  which enable them to understand how to describe a work within its cultural framework and uses a logical sequencing of information. The textbook has many high-quality images of the works discussed within the chapters. A fallacy, however, is that the bulk of art emphasized is predominately pre-1960 art. Thus, the instructor will need to go beyond this book to discuss Contemporary works within a global spectrum.","clarity_rating":5,"clarity_review":"The language used is appropriate for college-level readers, with sentences easily understood.  The ned of chapter glossaries provided, re-enforce the art vocabulary presented in each topic. The images support the content effectively and illustrate beautiful the in depth discussions presented within the chapters of the text. ","consistency_rating":5,"consistency_review":"The writing throughout the text is consistent. Each is well organized: outcomes are highlighted. The  vocabulary is written in bold type and the end chapter glossary provided enforces the vocabulary. The  summary and review questions provided at the end, are a great way for students to check both comprehension and progress.","modularity_rating":5,"modularity_review":"The manner in which the text is organized supports  teaching visual literacy in a logical sequence with each chapter’s subcategories allowing for the topics discussed to be highlighted. Thus, the reader can approach these topics from various viewpoints. Having more contemporary images / historical information can allow for students to make more meaningful connections with the art of today. \n\n \n","organization_rating":5,"organization_review":"Overall, the chapters are consistently and straight forward which allows students to understand the topics presented clearly, as the book seamlessly weaves introductory concepts – i.e. what art is, its function and various use of media- and makes connections in the way that art shapes society as a whole.","interface_rating":4,"interface_review":"The images provided in the text, are clear and high quality. The chapter sections and subsections are clear. The font is appropriate and easy to read and the inclusion of vocabulary words in bold, allows students to pay closer attention to the material covered.","grammatical_rating":4,"grammatical_review":"The textbook contains a few typographical errors but nothing major.  ","cultural_rating":4,"cultural_review":"This text provides a solid foundation in the visual arts. By analyzing historical artworks in depth and including works from non-Western cultures – African, Asian cultures- and women -which despite significant contributions are always glossed over In introductory texts- providing a global platform for students. An instructor would need to bring in additional examples to strengthen student understanding.  Specially in regard to contemporary art. The text is not culturally insensitive or offensive. The thematic approach instead of a chronological approach makes it reader friendly and not tedious to read. ","overall_rating":9,"overall_review":"Overall, this is a great introductory text that discusses important styles, concepts and historical context. Some chapters need expanding, or the instructor can mix and match chapters in this text with other supplementary material in areas that are lacking. ","created_at":"2018-05-21T19:00:00.000-05:00","updated_at":"2018-05-21T19:00:00.000-05:00"},{"id":2129,"first_name":"Peter","last_name":"Spooner","position":"Instructor","institution_name":"Lake Superior College","comprehensiveness_rating":5,"comprehensiveness_review":"With eleven chapters in just under 300 pages, the text provides a comprehensive framework with which to explore the topic of art appreciation. It does not (nor does it claim to) offer a complete art historical survey, but rather uses examples of visual imagery from a variety of cultures, time periods and genres to make larger points about how we actually use art. Its chapter and sub headings suggest a view where art is fully relational to its users, whether they are individuals, communities or nations.  Rather than a comprehensive glossary, the authors place key terms at the end of each chapter. The text is searchable, making an index unnecessary.\nThe text successfully presents art as both an individual and collective enterprise, appropriately offering a variety of ways to explore its multiple functions, from self-identity and spirituality to commerce and communication.  It makes an attempt to compare artworks from different time periods and cultures in terms of their function in life, and looks specifically at the viewer’s role in the process. To its credit, the text concludes with a chapter devoted to ethics and art.\n","accuracy_rating":4,"accuracy_review":"The text seems to be free of any overt bias, and authors attempt to bring a variety of viewpoints to bear on the art and ideas they present. The text is well balanced between the authors’ assertions and well-documented quotes and information from a variety of sources. ","relevance_rating":5,"relevance_review":"The text is organized thematically and in terms of large ideas, thus guaranteeing a degree of longevity and future relevance. With so many web links in the text, it will be important to check regularly to make sure they are active. While this text is not based only on contemporary art, it uses many examples of current art throughout. For this reason, longevity is always a concern in art appreciation and introductory art texts. Since by definition contemporary art is a moving target, and at times local or regional in its relevance, instructors may want to supplement the text with their own references to contemporary art.    ","clarity_rating":5,"clarity_review":"The text is clear and accessible, written to encourage understanding, not to prove points or advance opinions. It is appropriately written for students who are introducing themselves to art, and contains a minimum of jargon and hyperbole. Relevant key words and technical terms are defined at the end of each chapter, as befits any introduction to a subject. ","consistency_rating":5,"consistency_review":"The organization of the text and its components is consistent throughout, as is tone and flow of the text.  Care is given throughout to maintain a consistent tone, level of detail, and depth in the text. Each chapter contains the same useful sequence: Learning Outcomes, Introduction, “Before You Move On” and Key Terms. Generally, students find such consistent organization reassuring and helpful.","modularity_rating":5,"modularity_review":"Each chapter of 25-30 pages is sub-divided into seven or eight subtopics, and these sub-topics are themselves broken down into easily readable paragraphs, were key ideas are evident. These subtopics are well related to chapter themes, but by themselves could be used as lessons or topics for assignments. Beyond the first two chapters, the tone of which is more introductory, it seems as though instructors could and should feel free to present chapter and subtopics in whatever order serves their needs. The text is flexible and relational to the degree that some, but not all, chapters and/or subtopics would need to be used in a course. Given the modular organization of sub-topics within chapters, the text could be efficiently updated, and it is easy to see how instructors could insert their own material into chapters. The sub-topics contain plenty of specific examples, yet it is always possible to trace their connection to the chapter’s larger ideas.  ","organization_rating":5,"organization_review":"Major topics are presented in a clear fashion that has a logical sense of development. The subtopics within each chapter are also clearly organized. Blocks of text are broken up by copious illustrations, photographs and live links. Each chapter begins with a list of learning outcomes, and ends with a section titled “Before You Move On,” which reviews key concepts, and provides a list of study questions. In addition, key terms are defined at the end of each chapter, as opposed to a single glossary, which makes it likely that students will review terms after reading chapters.","interface_rating":4,"interface_review":"The PDF form with live links to websites and on-line resources was easy to use. Links were placed within text immediately following the artist or artwork under discussion, making them easy to find. The links themselves were relevant and added to the topic(s) at hand. All of the links I checked were operational, but as one might expect, the quality and size of images and text varied from website to website.","grammatical_rating":5,"grammatical_review":"I did not detect any grammatical errors in the text. However, in Chapter Eleven: Art and Ethics, a number of the pages contain the heading Chapter Ten: Art and Ritual Life.","cultural_rating":4,"cultural_review":"The text makes reference to art from a wide variety of cultures and to the experience of people from diverse backgrounds.  It is true that many of the artworks and artists are familiar and part of a standard canon of Western art and its cultural touchstones. However, each chapter also contains references to non-Western art, and a cross-cultural approach is evident throughout the book, not only in isolated chapters.  ","overall_rating":9,"overall_review":"The inclusion of an entire chapter devoted to “Art and Ethics” is refreshing, and somewhat overdue.  The authors discuss and provide examples of art that has provoked controversy in terms of censorship, first amendment rights, copyright, appropriation, and the role of artists and institutions in examining sensitive societal and political issues. ","created_at":"2018-05-21T19:00:00.000-05:00","updated_at":"2018-05-21T19:00:00.000-05:00"},{"id":2271,"first_name":"Lori","last_name":"Parks","position":"Visiting Assistant Professor, Art History","institution_name":"Miami University","comprehensiveness_rating":3,"comprehensiveness_review":"The focus and organization of this text is similar to a number of other Art Appreciation textbooks currently available. For example, there are a number of texts that present Art Appreciation through a thematic structure. The material is introductory which is positive in that it is very accessible to readers and thus would not be too intimidating to students new to this subject. The text also does a good job with listing and creating Learning Outcomes for each chapter along with a wide variety of mostly good quality open sourced images. While there are lists of Key Terms included in each chapter, they are minimal at best and there does not seem to be enough cross connection with the terms and their use within the body of the text. There is also some problems with being too simplistic with terms and concepts, one example being the use of icon which is very much dependent on both the historic and cultural context. Although the text is organized somewhat thematically, it would help to have chronology play a part within each chapter/topic as well as some form of an appendix or place where an overview of the history of art might be placed. This is often the problem with Art Appreciation texts and the reason why so many of them have a very condensed overview/history of the various periods. It is difficult to provide any depth without the context.","accuracy_rating":3,"accuracy_review":"There are a number of issues with accuracy, which could also overlap with other subsections of this review. For example, the terminology is often overly simplified and inaccurate. While readability is important, it is equally important for a student to expand their vocabulary and become familiar with the language of the discipline. Simplification also comes in the form of analysis and description of the works of art without connecting it to formal elements and historical and cultural context. There are also assumptions being made in the analysis (e.g. students knowing what Prairie Style is and how that might influence another artist/movement). Another problem area are the huge leaps in time and generalizations made in content, for example, in connecting the ancient Greeks to Jackson Pollock on page 4. Another area of concern is the labeling and citations. The labels for the images give weight to the open sourced “author” rather than the information that is important to the work of art (artist, title, date, medium, dimensions, and museum/collection), this could be better by creating a reference page at the end of the text for the open sourced images.  More examples of non-western art would also be important.","relevance_rating":4,"relevance_review":"Overall good, I would have liked to see more contemporary art and topics/themes including areas like performance. The images chosen generally follow the typical works of art found within the canon of Western Art History.","clarity_rating":4,"clarity_review":"Generally clear and readable, although as mentioned elsewhere in this review, at times overly simplistic and rambling and repetitive. And, as mentioned earlier, the labels for the works of art are in need of correction with emphasis placed on the artwork rather than open source.","consistency_rating":4,"consistency_review":"The template used is consistent through the chapters. There are issues with consistency in use of terms, and citations/websites etc. This should be strengthened more. I also wonder about the sources and context with regards to the discussion of historical development of art.","modularity_rating":4,"modularity_review":"Each chapter is organized into topic/theme and subsections that are meant to connect back to the theme of the chapter. While this is a good way to allow for quick access there is room for further development both by the authors and also within the classroom setting and by the teacher.","organization_rating":3,"organization_review":"While the thematic approach is important, the chapters read as disjointed and the text is at places overly general and at times repetitious. There should be more focus on an overarching question of “what is art” which would allow the various themes explored in each chapter to read as more cohesive. The chapter on Art and Ethics could be strengthened more.","interface_rating":4,"interface_review":"While there is a really good attempt at organizing the text, there are a number of issues that make it difficult. For example, the placement of the imagery and discussion becomes somewhat confusing when there are also a number of images that are discussed but not shown the body of the text. The reader is instead supposed to go to the link and toggle back and forth. Such long links in the body of the text are distracting and confusing. A better way to organize this might be creating case studies which would allow for more in depth focus on the particular artist/artwork. The lack of continuity would be confusing for a student who is new to the topic of art and art history. Overall the clarity of the images are okay with only a few that could be improved upon in quality.","grammatical_rating":4,"grammatical_review":"While there are some typos, the formatting and use of citation is more distracting. As mentioned, the inclusion of large links in the midst of the text is frustrating as well as the lack of period to enclose this before beginning a new sentence. There are also things like the indentation in the footnotes that can be easily fixed.","cultural_rating":4,"cultural_review":"Overall there is an attempt to draw from different cultures to connect to the themes and concepts without being overly biased. As mentioned earlier, more examples of non-western art might be helpful. Also, more contemporary examples and connecting them to issues that are currently relevant like identity and protest etc.","overall_rating":7,"overall_review":"Overall an impressive project and a good foundation to build upon. This text is best for Art Appreciation or potentially studio classes (supplement).","created_at":"2018-08-02T19:00:00.000-05:00","updated_at":"2018-08-02T19:00:00.000-05:00"},{"id":2505,"first_name":"Bob","last_name":"Casper","position":"Adjunct Faculty","institution_name":"Boise State University","comprehensiveness_rating":5,"comprehensiveness_review":"I used it a supplement for a Webdesign course, reinforcing artistic concepts, and it was well received by the students.","accuracy_rating":4,"accuracy_review":"When it really comes down to it, some issues of toughness may have come up here and there, but, all in it was acceptable for my student's level.","relevance_rating":5,"relevance_review":"Seemed to work well and present ideas and concepts that were relevant to for my students.","clarity_rating":4,"clarity_review":"My students were a novice level and some details were not too in-depth.","consistency_rating":5,"consistency_review":"Elements of the book followed a framework that as easily followed.","modularity_rating":5,"modularity_review":"The book was presented in chapters that worked well in the course and for what I needed.","organization_rating":5,"organization_review":"Each area was well put to together and bridged nicely.","interface_rating":5,"interface_review":"Simple read, clear text.","grammatical_rating":5,"grammatical_review":"Did not notice any errors.","cultural_rating":5,"cultural_review":"Presented historical and cultural ideas and issues without calling out marginalised students.","overall_rating":10,"overall_review":"Seemed to meet ADA standards.","created_at":"2019-01-09T15:16:22.000-06:00","updated_at":"2019-01-09T15:16:22.000-06:00"},{"id":2555,"first_name":"Mandy","last_name":"Keathley","position":"part time professor","institution_name":"Linn-Benton Community College","comprehensiveness_rating":4,"comprehensiveness_review":"Considering how entry level and accessible the text is, it is also fairly comprehensive. I wish there were more contemporary art examples, but I was able to fill in as needed. I found it sufficient as an outline, and did a lot to fill in the gaps. ","accuracy_rating":5,"accuracy_review":"No errors noticed. ","relevance_rating":4,"relevance_review":"The book feels a bit out of date as it is, though not in danger of becoming more so over time. ","clarity_rating":5,"clarity_review":"The text is great on clarity and accessibility, written in a way that most entry-level students could understand. If anything, it errs on the side of over-simplification. ","consistency_rating":5,"consistency_review":"Very consistent","modularity_rating":5,"modularity_review":"The modularity was one of the strongest aspects of this book which made it easy to teach in a course. Each unit feels contained and leads into the next. However, I think that some modules could be expanded. \r\n","organization_rating":5,"organization_review":"The book is organized well. It is not in chronological order like might be expected, but this can be used effectively. I found it helpful to teach chapter 5 \u0026 6 first, to get students to think about the meaning in art as a way to get them interested. ","interface_rating":3,"interface_review":"The interface was adequate. The design could be improved, including the sub-headings and organization of images. ","grammatical_rating":5,"grammatical_review":"no errors noticed","cultural_rating":4,"cultural_review":"The book does a decent job of touching on a few global art examples, but could do better. ","overall_rating":9,"overall_review":null,"created_at":"2019-01-28T22:36:02.000-06:00","updated_at":"2019-01-28T22:36:02.000-06:00"},{"id":2701,"first_name":"Michelle","last_name":"Dean","position":"Assistant Professor","institution_name":"Thomas Nelson Community College","comprehensiveness_rating":4,"comprehensiveness_review":"Introduction to Art: Design, Context and Meaning is an appropriate title for this text. The 11 chapters explore structure, materials, meaning and context of artistic production in a somewhat comprehensive manner. It certainly provides a solid foundation for visual literacy and aligns with content in standard art history courses. This text is also well organized. Learning outcomes and an introduction are found at the beginning of each chapter. Key concepts, key terms and a self-test are found at the end of each chapter. This text, however lacks a comprehensive index or glossary.","accuracy_rating":4,"accuracy_review":"The content of this text is accurate and essentially unbiased and error-free. Key terms are often defined in a universal manner and therefore aligns with terminology in standard art history texts. The text does not display any particular bias and appears error- free. The main criticism I have in this area is the information provided for images does not align with the standards. Title, artist, medium, size, and location for each image should be provided for the reader not just a reference to where the image was obtained.   ","relevance_rating":4,"relevance_review":"The bulk of the content in this text will remain relevant for an extended period of time. Topics such as structure, materials, meaning and context of artistic production leading up to the modern age do not change significantly over time. The one criticism I have in this area is that there is not much contemporary art and that fact may lead to the text feeling out dated over time. Additional chapters would be perhaps the easiest way to update the content however this text in not arranged in chronological sequence and integrating contemporary example in previous chapter will be challenging. ","clarity_rating":4,"clarity_review":"This text is written for students who are new to art. It is an introduction to art. It presents information in an accessible manner and clearly defines most terms. Although the learning outcomes are stated in perhaps on overly cumbersome manner. The main criticism I have in this area is that the history of art and perhaps more importantly the evolution of art is difficult to ascertain when works of are referenced without regard to chronological sequencing.  To talk about classical and modern examples in a section can be challenging for a new student in art to compare and comprehend.","consistency_rating":4,"consistency_review":"The framework of this text is very consistent. The content of each chapter is organized in the same manner. As previously stated, learning outcomes and an introduction are found at the beginning of each chapter. Key concepts, key terms and a self-test are found at the end of each chapter.  Key terms are in bold type in the chapter and also included in the list of key terms at the end of the chapters. Terms are used consistently throughout the text.","modularity_rating":3,"modularity_review":"The chapters of this text are divided into sub-sections. For example Chapter 3 on materials is divided into 11 sub-sections which include sections on learning outcomes and introduction at the beginning and self-tests and key terms at the end. And although there are numerous sub-divisions in this chapter it is still reads as large blocks of text. Text boxes might be a more effective manner to present the content in a more accessible manner for our current student populations. ","organization_rating":4,"organization_review":"The overall organization of the content is presented in a clear a logical fashion. The first chapter asks the appropriate question ... What Is Art? Chapters 2-4 discuss the structures of art, the materials used in art and describing art. Chapters 5 and 6 discuss meaning in art and connecting with art. Chapter 7 is specifically focuses on architecture. And chapters 8-11 address art as related to special topics such as identity, power, ritual and ethics. A concern here is that architecture is not fully integrated into broader discussions. ","interface_rating":3,"interface_review":"The images and diagrams in this text were clear and of good quality. The inclusion of various links in the body of the text were well placed and on topic. But I could not open all the links.  ","grammatical_rating":5,"grammatical_review":"I did not notice any significant grammatical errors. ","cultural_rating":4,"cultural_review":"This text is somewhat unbiased. I did not notice any culturally insensitive or offensive content. However, the content is primarily a discussion of the western tradition. Although, Eurocentric approaches are common in art education it is perhaps more appropriate to intentionally be inclusive of non-western traditions. ","overall_rating":8,"overall_review":null,"created_at":"2019-03-27T12:20:50.000-05:00","updated_at":"2019-03-27T12:20:50.000-05:00"},{"id":2862,"first_name":"Jeff","last_name":"Brown","position":"Associate Professor of Art","institution_name":"Nicholls State University","comprehensiveness_rating":4,"comprehensiveness_review":"In its 11 chapters, the book covers the essentials for the overall subject.  I appreciate how it is divided up, especially in the beginning where it starts with basic ideas and concepts of what is art.  It can seem elementary to discuss this, but is so important to establish this with students who may not have had  any or much interaction with fine art.  The book includes learning outcomes for each chapter, which works well for instructors who use learning outcomes within their syllabus and for assessment purposes.  I feel the selection of images are a good choice and diverse, using the traditional images found in just about all the other hardcover textbooks.   A nice addition is the use of images of process and where artists are working. The inclusion of key words and meanings at the end of the end chapter is a useful tool for students utilize.  \r\nOne item that could use more attention would be to include dates and materials used for the chosen artworks.","accuracy_rating":5,"accuracy_review":"Accuracy of content was error free and unbiased.","relevance_rating":5,"relevance_review":" The content is current information about a historical event or current event as we know to this day.  Updates can easily be made without much restructuring of the textbook.","clarity_rating":5,"clarity_review":"The book was written in an easy read way with lots of imagery to match concepts.  Key terms placed in bold text makes it possible for readers to easily locate if going back and forth from text to key term definitions, located at the end of each chapter.","consistency_rating":5,"consistency_review":"The book is full of terms and its consistency to the concept or subject.  Terms that may not seem clear to the reader are defined at the end of each chapter.  This would allow the reader a more user-friendly way of referencing a term then the typical glossary at the end of the book.\r\n\r\nThe framework of the book that remained consistent from chapter one to the final chapter.  An overall good structure to the textbook.\r\n","modularity_rating":5,"modularity_review":"This is probably the toughest part to putting a book together in my view.  Choosing what to include or how much to include of one topic or concept can truly make or break it for a textbook.  This book is setup in a conventional way, such as chapters with subheadings.  This way does work for the textbook, but is nice is that within each chapter the subheadings do not linger on and on when it could have been much shorter.  ","organization_rating":5,"organization_review":"Organization of the chapters and subheadings work well.  Easy to work through","interface_rating":3,"interface_review":"I give the interface a low rating due to its setup of links and workings as a PDF.  I like the fact that the textbook utilizes web links.  This can be exciting for the reader to potentially experience other useful visuals or resources to help relate to a topic.  Some web links within the text of the subheadings are sometimes often just images with no actual source listed and lack further information. This part could be revisited for better interfacing.  \r\n\t\r\nOne thing I noticed and hope it can be remedied, are the workings of the table of contents.  Many dead jump links existed in the table of contents page. Some worked great, allowing you to jump to a chapter or subheading with the press of button. Frustrating when it did not.\r\n\r\nIt would be nice to be able to easily return to the table of contents from anywhere, rather than having to scroll back up to the table of contents page.  \r\n","grammatical_rating":5,"grammatical_review":"The text of book seemed to have no grammatical errors.","cultural_rating":5,"cultural_review":"No cultural insensitivity stood out.  ","overall_rating":9,"overall_review":"A useful online textbook.  Images are of a choice and quality.  However, more information is needed for each image used, such as dates, materials, and dimensions.","created_at":"2019-04-29T16:41:16.000-05:00","updated_at":"2019-04-29T16:41:16.000-05:00"},{"id":2887,"first_name":"Anthony","last_name":"Marchetti","position":"Full-Time Faculty","institution_name":"Minnesota State","comprehensiveness_rating":4,"comprehensiveness_review":"This textbook is an impressive guide to the introduction of art and visual literacy. It is not an art history textbook. There is room for further examples of artwork or at least links to more visual resources. Also, more contemporary image examples would only strengthen this title. The Learning Outcomes provide a solid reference for the main themes presented in each chapter. The Key Terms, however, are less developed and seem more like an after thought. The text is organized thematically, but there is room for chronology to play a larger role, perhaps in individual topics/chapters or with an appendix that can trace back to image examples throughout the textbook.","accuracy_rating":4,"accuracy_review":"The text is accurate, error-free and also unbiased. The shortcoming is one of omission - there should be more information presented with the images. Title, artist, scale/size, medium, current location, and any other pertinent information about process should be included.","relevance_rating":4,"relevance_review":"Aside from the need for more contemporary examples (or links to contemporary work outside of the text), the information presented is relevant. Much of the text is historical so will remain so for as long as the text is available. The arrangement of content is easily modifiable for future editions. More contemporary work could be added, making the content even more up-to-date.","clarity_rating":4,"clarity_review":"he text is written in a style that is easy to understand. Simple repeated visual devices (differences in color or size of text, bold text for important terms, etc.) organize the text. Topics and subtopics are broken up into manageable blocks of text that should retain student interest. As mentioned previously, more information is needed about the individual sample images.","consistency_rating":5,"consistency_review":"The organizational template used and the writing style are consistent throughout the text.","modularity_rating":5,"modularity_review":"The division of topics and subtopics is supportive of student comprehension. The organization of the text would allow for multiple class formats - one class session per week, multiple classes per week, or an online Art Appreciation/Intro to Art.","organization_rating":5,"organization_review":"The thematic nature of this textbook would work well for an Art Appreciation or Introduction to Art seminar/survey course but would not be applicable to an Art History course that demands more chronological order. The text is successfully organized so a student would easily understand what to expect from chapters and subtopics. Text formatting unobtrusively guides the viewer to important concepts and key terms.","interface_rating":5,"interface_review":"The PDF interface was a strength of this work - links to outside content supplement the text. Still, there is room for more of this type of content in this text. Images in the text are high quality reproductions. I found no navigational problems.","grammatical_rating":5,"grammatical_review":"I did not detect any grammatical errors in the text.","cultural_rating":4,"cultural_review":"In general, the text draws from different cultures to connect main concepts and themes throughout - this is an important distinction from some art appreciation texts that place the majority of non-Western cultural/artistic traditions into a single chapter. More contemporary examples are needed in this text.","overall_rating":9,"overall_review":null,"created_at":"2019-05-04T11:40:33.000-05:00","updated_at":"2019-05-04T11:40:33.000-05:00"},{"id":2894,"first_name":"Leila","last_name":"Armstrong","position":"Visiting Faculty","institution_name":"Metropolitan State University of Denver","comprehensiveness_rating":4,"comprehensiveness_review":"The text covers a broad array of art movements both geographically, and temporally, though I think the non-Western selections are a bit slim. There are a number of mentions of modern/contemporary art, but the authors often provide links to images rather than embedding them. I imagine it has to do with copywright issues, but I think our student body would skip clicking on the links. The learning outcomes, key concepts, test yourself, and key terms sections provide a nice loop for students to reinforce material learned, and to give quick but accurate definitions of key terms that appear throughout the text.","accuracy_rating":4,"accuracy_review":"The setup is different from most textbooks I've used, and some of the terminology is different (e.g. elements of design instead of visual elements). There are also some terms I've never seen used before (e.g. psychic line). I found some visual elements and some principles of design commonly found in other texts either missing or placed in categories that aren't where I'd put them (light//value, pattern, motion, isometric perspective), but overall the information is presented in an unbiased manner and the content is accurate.","relevance_rating":5,"relevance_review":"The content is up to date and there's not much that will change in the historical sections of the textbook (particularly at this level), and making additions of new artworks, or updating the images used would be relatviely simple.","clarity_rating":5,"clarity_review":"Again, the key terms, definitions etc will help students with new terminology, and I found the writing straight-forward, concise, and conrete. The explanation of terms are clear, and the authors have a number of good charts, diagrams and the like to help students understand the terms better and how they can be applied to different media.","consistency_rating":5,"consistency_review":"The authors are consistent in their use of terminology throughout and each chapter is set up the same. \r\n","modularity_rating":5,"modularity_review":"Each chapter and the text within each chapter follows a similar format, and the authors have made a number of subdivisions of the text with numbes which makes breaking the chapters up into modules very easy. The information is parsed in readable sections, but each subunit aligns with the ones before and after it.","organization_rating":5,"organization_review":"The organization is logical, beginning with the the basic questions, moving into formal analysis and then into thematic units. Overall the text flows easily from one topic to the next.","interface_rating":5,"interface_review":"The images, diagrams, etc. are all clear. I tested a number of the links (but not all) and they worked, but I've found links are one of the most problematic additions to course content, because the links often break. Furthermore, depending on whether the student is reading the text in Adobe or online, the link will take them out of one program and into another, which isn't a seamless reader experience, or in the case of online, if the link isn't right-clicked, you go straight to the web page and lose you spot in the text.","grammatical_rating":5,"grammatical_review":"The text didn't contain any grammatical errors that I could see.","cultural_rating":5,"cultural_review":"Although I found the non-Western selections slim, the book was inclusive of a variety of works from different cultures and time periods. I didn't come across any information that I would consider insenstitive or offensive, but since art often deals with subjects that can be considered controversial, there are there certainly sections that may offend (nude bodies, or looking at past representations of race that are unacceptable today). The book does have a nice section that covers some of the controversies of art.","overall_rating":10,"overall_review":null,"created_at":"2019-05-09T11:31:24.000-05:00","updated_at":"2019-05-09T11:31:24.000-05:00"},{"id":2944,"first_name":"Michael","last_name":"Takemoto","position":"Associate Professor","institution_name":"University of Hawaii Maui College","comprehensiveness_rating":4,"comprehensiveness_review":"This is a review of the hard copy, purchased from Amazon.  Overall, for an art appreciation / introduction to visual art text, it is fairly comprehensive.  However, compared to other books of a similar nature, it lacks in some aspects: it doesn’t include a glossary, many significant 20th and 21st  century artists and their works are not included.  A more in-depth exploration of the elements of design (or visual elements), the principles of design, as well as the deeper exploration of various art mediums and techniques would be helpful.\r\n\r\nEach chapter begins with learning outcomes and ends with review questions and key term definitions, this is definitely helpful for students to understand the basic concepts of the text.\r\n ","accuracy_rating":4,"accuracy_review":"The book has accurate historical and cultural facts, and includes the correct titles of works and  artists.  However, most of the printed images have no dates, mediums, and dimensions.","relevance_rating":4,"relevance_review":"The text is relevant for our times, as it introduces a wide range of Western and non-Western, multicultural artforms and traditions.  It also includes sections on the role of politics, economics, and ethics in the visual arts.  ","clarity_rating":5,"clarity_review":"The writing is clear and concise, it is easy to follow and understand.  The Key Terms at the end of each chapter serve as a good review of the introduced vocabulary.","consistency_rating":5,"consistency_review":"There is good internal consistency  in the text, as each section follows a similar format.","modularity_rating":5,"modularity_review":"Each chapter is broken up into smaller sections, so readers can proceed at their own pace and know what to expect is each subsequent chapter.","organization_rating":5,"organization_review":"The text is organized in a logical, but not historical manner.  The concepts presented flow smoothly from one postulation into the next.","interface_rating":3,"interface_review":"Iʻm somewhat neutral on this, since Iʻm reviewing the hard copy.  However, when exploring the PDF version, the links throughout the text are a great asset.  \r\nSome links took a while to download, I’m sure this part will need constant updating.\r\n","grammatical_rating":5,"grammatical_review":"The text is clearly written and grammatically correct.  Readers are able to comprehend and understand the concepts and ideas presented.","cultural_rating":4,"cultural_review":"While the content is dominated with Western Art concepts and examples, it still includes a number of diverse cultural works and traditions from different historical eras and locations.","overall_rating":9,"overall_review":"Iʻve used this text for one semester so far, and plan to continue its usage.  As a basic introductory book, it is more than adequate.  Instructors can definitely pick and choose the parts they find useful and add their own additional content when needed.  Students will understand the content and like its cost, even if they decide to order a hard copy.","created_at":"2019-05-24T00:49:25.000-05:00","updated_at":"2019-05-24T00:49:25.000-05:00"},{"id":3120,"first_name":"Stephanie","last_name":"Newton","position":"Professor","institution_name":"Aims Community College","comprehensiveness_rating":3,"comprehensiveness_review":"The book could spend more time with processes of creating--the different types of paint, printmaking, etc. It seems to be very brief in introducing the elements and principles of art as well. Although each chapter has a glossary, it does not have an index, which I usually find to be helpful in textbooks. The images also lack some key information that is standard in other art textbooks--no dates, no dimensions, no media. I truly disliked that about the text.","accuracy_rating":3,"accuracy_review":"While I appreciate the gender-neutral language of the text (craftsperson), I do not feel that it is totally error free and accurate. For example, the authors use the dated notion of \"sympathetic magic\" when discussing cave paintings, which is a theory, but is not widely accepted any longer. They also refer to cherubs or putti as cupids. Cupid is a specific deity. One really glaring problem is the use of \"Eskimo\" on page 270. They need to reframe the use of that term to indicate it is not an acceptable way of describing the Inuit or Yupik cultures.","relevance_rating":4,"relevance_review":"The text has a nice mixture of old and new art, and examples of contemporary art could easily be updated. My one issue with the relevancy is that many of the contemporary works of art (and other examples they employ) are not pictured, but given as hyperlinks. Those links could easily be broken in the future. I understand that obtaining copyrights to those works could be prohibitive, but it's a distraction from reading the text to send students to a website to look for the example provided.","clarity_rating":3,"clarity_review":"On page 208, paragraph three, the authors are referring to a conceptual artist, but they omit the word artist, and don't define what a conceptual artist is. They also often refer to historical styles of art without defining what that means. How are my students supposed to know what Beaux Arts or Art Nouveau are without some sort of explanation (p. 193)? On page 203, they mention the Franks, but don't explain who the Franks are. On page 205, they mention a tympanum, but don't define what a tympanum is, nor is it in bold (to indicate that it is in the glossary), although it is defined in the glossary. There are also some areas that are not very clearly written, such as paragraph 2 on page 202. On page 256, while discussing Chichen Itza, they discuss Quetzalcoatl but don't tie it to the pyramid in anyway at all.","consistency_rating":3,"consistency_review":"I found the beginning of the text to be much more clearly written and compelling than the second half of the book. It provides almost too many examples of art to discuss an idea.","modularity_rating":4,"modularity_review":"You could fairly easily rearrange the order of chapters or omit a chapter without needing the others to support the content. This for my class would be necessary in chapter 2, where bizarrely, they discuss processes before elements and principles.","organization_rating":4,"organization_review":"It seems to be organized fairly well, although chapter 2 does have me a bit confused. It would also be good of them to introduce abstract vs. naturalistic earlier, perhaps in chapter 2.","interface_rating":4,"interface_review":"Again, I worry about using so many hyperlinks in a text such as this. They could easily become dated or broken, leaving the reader frustrated. Some of the images are low quality, and some of the diagrams are very hard to see, so I am concerned about students with vision issues.","grammatical_rating":1,"grammatical_review":"Oh boy! Again, I didn't start seeing major problems here until around page 200. \r\nPage 178, Fig 7.5, Skara Brae is misspelled as Sjara Brae\r\nPage 218, the word artist is missing after conceptual\r\nPage 235, Persepolis is spelled Persepholis\r\nPage 246: Iconoclasm is spelled as iconoclas\r\nPage 250: Bamiyan is spelled as Bamyan","cultural_rating":4,"cultural_review":"I felt that it was very culturally inclusive, using artistic examples from around the globe, but perhaps focused too much energy on Christianity. Again, framing the use of the word Eskimo would be worthwhile.","overall_rating":7,"overall_review":"There were some things I thought were really unique and wonderful about this textbook. The first four chapters had me very excited about the possibility of a OER book for my students. I especially thought chapter 3 had some valuable and unique ideas that would be super fun to share with my students. Chapter 5 is where it started to lose me. They discuss how important iconography is, but don't really give any analysis of specific symbols in a deep and meaningful way. They could have used the Merode Altarpiece as a platform to really dive deep into Christian symbolism, but only mention a few of the icons that are present. I know these are things that can be done in the classroom, but I was a little disappointed by the vagueness of their analyses and the overabundance of examples.","created_at":"2019-07-26T12:06:20.000-05:00","updated_at":"2019-07-26T12:06:20.000-05:00"},{"id":3166,"first_name":"Mara","last_name":"Pierce","position":"Assistant Professor of Art Education","institution_name":"TRAILS","comprehensiveness_rating":3,"comprehensiveness_review":"This text covers several, if not all, the bases needed to fully appreciate art making processes, historical perspectives, variations, time periods, methods, criticism, purposes, associations, and artists. Each chapter opens with objectives and concludes with an evaluative activity. The authors present varied perspectives that are appropriate to understanding the diversities that are encompassed in the art world. The images included are also significant and comprehensively representative. However, many of the images also depict the same imagery found in other books. Students reading this material need to also see work from a more balanced sampling of artist genders. The topic is discussed in Chapter 8, but not visual samples of women’s or other-gendered artists included there. I applaud the discussion of the Nazi art theft.","accuracy_rating":4,"accuracy_review":"The text contains mostly accurate information, but could use further clarity. For example, if using Indigenous names, use tribal identifiers, such as Piikani for those who identify as Blackfeet. A piece of dance regalia is referred to as a “costume,” which elucidates the author’s limited understanding of the role of garb in ritual. While appropriation, as covered in Chapter 11, is an integral part of the contemporary artworld, it is also presented as acceptable and normalized. It should also be included that appropriation is not universally accepted and is fought by several artists today. For example, there was recently a court case by Ai Weiwei brought against Volkswagen for copyright infringement based on appropriation of his work used in an ad.","relevance_rating":5,"relevance_review":"For a General Education class, there is no doubt that this text would work toward appreciation of art making, art history, criticism, and aesthetics. There is a great deal of insightful information that would be relevant to undergraduate students’ first exposure to the art world. Additionally, some points would be relevant to students who have been practicing in the art field already, as well as those who plan on teaching art at the K-12 level.","clarity_rating":5,"clarity_review":"The authors have written using clear language and vocabulary that are appropriate and relevant to the early college student. However, it would be more effective to have the vocabulary listed at the onset of the chapter, as opposed to the end. In doing so, the students can reinforce learned words and make connections throughout the reading. It also acts as an introductory feature.","consistency_rating":5,"consistency_review":"The flow and voice are consistent. Level of difficulty is upheld and relevant throughout, as well.","modularity_rating":4,"modularity_review":"Each chapter in this text can work independently of each other. However, in being able to comprehend and apply information in some of the latter chapters, one would have needed to cover material, specifically, in Chapter 1 and 3-5.","organization_rating":5,"organization_review":"The text is excellently organized. The authors began with the foundation of defining art through discussions of contemporary diverse purviews held. The organization is logical and would be in a manner that I would present in my course.","interface_rating":4,"interface_review":"The text file is easy to access and navigate. The URL links are clear, as well. However, it would be helpful in supporting the learning to provide links on the images to their sources, as well.","grammatical_rating":5,"grammatical_review":"There are no perceivable grammatical mistakes.","cultural_rating":2,"cultural_review":"I found the cultural aspects of the text to be limiting. The authors touch on the fact that art is not viewed identically throughout the world, which I applaud given that this is a tremendous part of the art perspective today. However, there is also a need for greater underrepresented Indigenous discussion/examples. Between Chapter 1 \u0026 2, for example, there is only one image of Aboriginal origin. Ch. 7 includes three architectural pieces. Consider Anasazi examples, such as Pueblo Pintado or Mesa Verde as part of early architecture. Chapter 10 discusses masks, but only examples one. There are thousands of cultural groups across the globe that use masks for purposes from theater to holidays.","overall_rating":8,"overall_review":"The text is a good resource for basic understandings. It may be best served for an online course given that much of the relevant information is laid out in the text.","created_at":"2019-09-16T17:29:05.000-05:00","updated_at":"2019-09-16T17:29:05.000-05:00"},{"id":3173,"first_name":"Maria","last_name":"Guzman","position":"Instructor - Art \u0026 Art History ","institution_name":"Peralta Community College District","comprehensiveness_rating":5,"comprehensiveness_review":"I found this book to be a good \"skeleton\" text for a variety of courses. I liked that it had chapters dedicated to both formal analysis (Chapters Two, Four, and Five) but also managed to include global perspectives (Chapter Eleven: Art and Ethics was especially thought-provoking). The themed chapters (Chapter Eight: Art and Identity and Chapter Nine: Art and Power) are relevant for any Art History course, and I use them for all courses, including World Art, Art 1, 2, and 3 (these cover the prehistoric to contemporary periods, collectively). The addition of Key Terms at the end of chapters was also helpful. ","accuracy_rating":5,"accuracy_review":"When I decided to use this text, my main concern was regarding whether the content would be easy to connect to my prior courses' designs. I used Henry M. Sayre's \"A World of Art\" and the Marilyn Stokstad \"Art History\" textbooks. \r\nThanks to the chapter that discussed the general theories about what art \"is\" (Chapter One), and the clear language that mirrored Sayre's creative drives (found in Chapter 6, mainly), I easily transitioned to using this book for my course. Most recently, I have adopted it for Art 101: Western Art History and ART 103: History of Modern Art. ","relevance_rating":5,"relevance_review":"Inclusivity is consistent in the discussion of works from different cultures and geographic areas.  I was impressed by the mention of postcolonial topics, and even the addition of 4-D in relation to formal descriptions. This is a text that has incorporated recent scholarly perspectives and new genres in art. I had fun adding OER readings about identity, especially, in order to complement the chapter in this text.","clarity_rating":5,"clarity_review":"I have had feedback from students regarding the easy-to-follow format and text used in this book. I also find it easy to get through in a short amount of time. ","consistency_rating":5,"consistency_review":"Overall, the terminology was clear and consistent. ","modularity_rating":5,"modularity_review":"Yes. I usually remix the chapter order, based on what type/periods I am addressing in a course. Chapters One, and Two are great for the first few weeks. I save Chapter Four for the middle of most classes, in which we are beginning to do more art descriptions as a group. I use Chapter Six towards the end of the courses, where the class begins to conduct research and observe more creative drives and themes. I apply Chapters Eight and Nine based on the time periods, and how relevant they are the subject matter or styles covered in the course. I have thought about inserting Chapters Eight and Nine right after Chapter One in order to address the modern period and the growing individualism in modern art. \r\n\r\nChapter Ten is especially good for any ART 1, 2, or World Art course, especially (ART 101 or 102 as well). \r\n\r\nI will be teaching a short-term course about Architecture this semester, and am excited to use Chapter Seven: Form in Architecture. ","organization_rating":5,"organization_review":"Excellent -- these are short, include many genres, mediums, and cultural styles in a sensible way. Usually, the chapters include a variety, and this enhances the global perspectives that the authors encourage. It also makes it easier to select works of art to focus on, if you are covering particularly modern or World Art, for example.","interface_rating":5,"interface_review":"No issues with interface. The format is easy to navigate, and my only suggestion is to create hyperlinked headings for chapters in the Table of Contents, so that you could jump to the chapters a little sooner. Small suggestion, though. It's very well formatted and designed.","grammatical_rating":5,"grammatical_review":"No grammatical errors observed. ","cultural_rating":5,"cultural_review":"As stated in the Relevance section, this book offered good topics that were easy to connect to contemporary or recent studies in non-Western art (Global Art perspectives). See pages 5, 8, and 9 for a few points made about this text's open format and my review of The Met Museum's OER text, \"Art in Africa\". It was a compatible text and I would recommend \"Introduction to Art\" for its culturally-sensitive and unbiased perspectives, especially if building a course about global approaches to art. Read my summary here: https://docs.google.com/document/d/1cSG4MWFta-nE9yTgSC__QP22D2dHpYjsg9evVysBQFg/edit?usp=sharing","overall_rating":10,"overall_review":"No additional comments. ","created_at":"2019-09-26T18:29:02.000-05:00","updated_at":"2019-09-26T18:29:02.000-05:00"},{"id":3216,"first_name":"Jade","last_name":"Hoyer","position":"Assistant Professor of Art","institution_name":"Metropolitan State University of Denver","comprehensiveness_rating":4,"comprehensiveness_review":"As other reviewers have noted, the text covers elements of design, rationale, context, and impact for and of making art. It’s a lot for a work to cover, and is generally successful, if sweeping, in doing this. I didn't note an index. \r\n\r\nThe exception to this for me is Chapter 2, which is essentially a studio class in a chapter (a rapid-fire discussion of all artistic media, design elements, design principles, and color theory for good measure. This chapter contains no less than 150 \"Key Terms!\"","accuracy_rating":5,"accuracy_review":"I found the content to be generally accurate. ","relevance_rating":4,"relevance_review":"It was frustrating that most of the work’s contemporary examples were hyperlinked instead of embedded as images and potentially impermanent. Though likely a result of copyright issues, to present most contemporary accounts as a block of black text visually diminishes their importance. (It’s also likely that students won’t bother clicking the links.) Would like to see links changed to more persistent format. ","clarity_rating":3,"clarity_review":"With regard to writing, the work is generally clearly written, and approachable to beginning students. The tone of the writing is quite generous- the first chapter explains how art is ultimately about the viewer’s interpretation and adds “but we do have help if we want it. People who have made a disciplined study of art can offer ideas about what art is important and why.”\r\n\r\nWith regard to imagery, I thought that no dates, media, or sizes were listed for the works to be a big miss. \r\n\r\nThe work also had a tendency to bounce around. I felt many sections leapt centuries and continents (and often both centuries and continents) within a single page with transitions akin to  “meanwhile in Russia…,” or “a few hundred years later.” I appreciate that many of these about faces were connected to efforts to be inclusive, but it presented a dizzying narrative, that was made more confusing for lack of timelines or context (like dates!) provided in the imagery. \r\n","consistency_rating":4,"consistency_review":"Writing seemed consistent throughout. However, I found instances of sloppy formatting: definitions were often in bold a few letters or even a word beyond the word being defined. Beyond this, I could imagine this formatting being confusing for students as words that were in bold indicated definitions and sometimes, but not always, were designated as Key Words at the end of each chapter. For example, on p 63, four terms are defined in one paragraph (unity, variety, conceptual, interval, scale, proportion), but only two words (interval, scale) are designated as Key Words. I find using a different formatting technique in this case, such as color, would be helpful in assisting students in identifying Key Words earlier at the beginning of the chapter. ","modularity_rating":5,"modularity_review":"I enjoyed this aspect of the work! I would especially use the final chapters for my classes (such as Art and Power, Art and Ethics). I found these chapters to be thoughtful and relevant to students, and especially appreciated their being structured around case-studies.","organization_rating":5,"organization_review":"I appreciated the general flow of the work beginning from simple definitions “what is art?,” “who is an artist?” to contemplating identity, power, ethics, and controversies in artmaking, though some sections seemed redundant. Good summaries and questions to accompany the readings, especially later in the text. ","interface_rating":4,"interface_review":"Worked great for me! I also appreciated how the Hyperlinks took me to new works, and that I could return to my spot on the page when I clicked the back button. Please note Relevance section regarding links. ","grammatical_rating":5,"grammatical_review":"I found limited grammatical errors. ","cultural_rating":4,"cultural_review":"I appreciated the interweaving of Western and Non-Western narratives, though found that, especially if one were focusing on the imagery, that the works presented felt skewed Western. ","overall_rating":9,"overall_review":"Great resource- will definitely utilize sections in my teaching. ","created_at":"2019-10-25T02:32:50.000-05:00","updated_at":"2019-10-25T02:32:50.000-05:00"},{"id":3262,"first_name":"Elizabeth ","last_name":"Morton","position":"Associate Professor","institution_name":"Wabash College","comprehensiveness_rating":4,"comprehensiveness_review":"This text covers almost all of the bases one would expect for an introductory class. \r\nIts biggest problem is the lack of inclusion of non-western examples in its presentation. The European art tradition dominates the discussion, with some allowance for Chinese and Japanese. You look in vain for references to African, Latin American, Oceanic, or indigenous art, even when they would be an obvious choice given the ongoing discussion.\r\n","accuracy_rating":5,"accuracy_review":"This text has been written and edited carefully by veteran teachers. I did not see any errors or the use of suspect research","relevance_rating":5,"relevance_review":"I believe the thematic approach to the material is far more relevant to today’s student than the classic approach based on historical progression. The chapters are judiciously chosen and are placed in a logical order. Again, the only thing old-fashioned here are the relentless insistence on using the western canon as the basis of discussion.","clarity_rating":5,"clarity_review":"This text has been carefully written and has been painstakingly edited. I particularly thought Ch 2 was a standout in the way it presented the basic categories of art. At many points I berated myself for failing to present material so clearly in my own classes!","consistency_rating":5,"consistency_review":"Once again, it is worth stating that the editing is of admirable quality. A lot of thought has gone into maintaining similar terminology and reference points as the chapters progress, even though they have different sets of authors. The use of keywords is also a strong feature, since many of them recur as the book progresses.","modularity_rating":5,"modularity_review":"A definite strength of the text. Very easy to divide up the text by week, class, group, etc.","organization_rating":5,"organization_review":"The editor is to be commended as the text flows smoothly from on section to another.","interface_rating":5,"interface_review":"I liked the yellow bars on the right side which assist in moving between chapters. The “find” feature works well, and overall it was easy to use the extext. This is very user-friendly.","grammatical_rating":5,"grammatical_review":"Once again, the editing here has been thorough and painstaking","cultural_rating":3,"cultural_review":"Chapters 8-10 in particular are disappointing in that they offered a chance to move away from a traditional, Eurocentric approach. While the authors do include some non-western examples as they proceed, they still rely too much on European art. Chapter 11 is also disappointing—with non-western art having been plundered systematically for a long time and its placement in First World museums being increasingly problematic, it is not even mentioned.","overall_rating":9,"overall_review":"Well done on a very user-friendly text. However, some extra work in terms of broadening the geographical base of examples is definitely in order","created_at":"2019-11-06T06:22:36.000-06:00","updated_at":"2019-11-06T06:22:36.000-06:00"},{"id":3366,"first_name":"David","last_name":"Riep","position":"Associate Professor","institution_name":"Colorado State University","comprehensiveness_rating":5,"comprehensiveness_review":"I found this textbook to be very comprehensive. As one can quickly grasp from the table of contents, this book covers all of the major introductory topics for approaching and discussing art and visual culture (as well as some focused topics that are not typically found in \"Intro to Art\" texts). The authors organize the information in a manner that effectively builds upon previous sections, while also maintaining the ability to assign specific chapters and sections independently. Although this is not meant to be an art history text, I was impressed at how the content engages with numerous art historical methodologies (formalism, semiotics, social art history, feminist art history, iconography, connoisseurship, and even some key points coming from Hegel’s theories) without becoming cumbersome. The images of techniques and processes are also helpful (i.e. relief wood carving), as are the detailed explanations of media (i.e. what is egg tempera?). The key terms found throughout the text are also very helpful and are perhaps more useful at the end of each chapter, rather than a comprehensive glossary at the end of the book. ","accuracy_rating":4,"accuracy_review":"While it can be difficult to address global art production with an unbiased voice, I found the overall content to be thoughtful and generally balanced. I appreciated the broad questions posed to the reader, and found them to be very interesting and engaging (i.e. Why do we make art?, What defines an artist? What is the difference between Art V Craft?) as they provided the reader with the opportunity to further explore such topics. I also appreciated the authors’ openness regarding the strengths and limits of various perspectives and explanations throughout the text. While the discussion of some specific works are at times perhaps too narrow, and draw upon singular, declarative statements in order to support a point, the authors generally promote critical thinking and exploration of broad concepts. It is perhaps noteworthy to mention that some chapters were more effective in presenting a global perspective than others, although this is addressed in more detail below. Overall, I found the content to be accurate and well-researched. ","relevance_rating":5,"relevance_review":"One of the strengths of this text centers on the timely content, which references modern technology and concepts, as well as popular culture. I also really like the ability to pull up supplementary images throughout the text by clicking on imbedded links, although I found several of them in need of updates. I appreciated the inclusion kinetic art and new media within the comprehensive list of formal elements for 2D, 3D, 4D art, and found the overview of Aesthetics to be intentionally geared toward contemporary readers. There were many sections of the text that seemed to be specifically aimed at addressing current trends in art production and interpretation. For example, I enjoyed the dialog regarding architecture’s response to changing social development and advances, as well as the discussion in Chapter 8 which ties visual content to contemporary culture (popular media and activities such as genealogical websites, etc.). Chapter 9 equally engaged with the role of visual culture in contemporary societies by addressing Art and Power (propaganda, both symbolic and documentary), and offered an interesting dialog on building visual literacy. This chapter addresses the role and limits of media in recording or presenting images of power, and also addresses how imagery can appear “objective,” but can often contain specific messages. I found this to be extremely relevant, especially given the role of visual imagery in popular culture and social media. The chapter on Ethics is also quite relevant, and highlights the perception of visual culture and how it changes over time. Finally, the discussion on appropriation is very timely, as is the component that addresses museums. The questions posed regarding collecting and display practices are often left out of introductory texts, but are extremely relevant in contemporary times. ","clarity_rating":5,"clarity_review":"Overall, the text is approachable and clear in tone, and effectively guides the reader on how to best use this resource (i.e. explaining how the book will present content, and where the reader can expect to find various components). I found it to be a very useful text that presents complex concepts in a manner that non-specialists will easily understand. I also found the various case studies that are used to guide the reader in applying theories and methods to be very effective. The text presents content in a clear and concise manner, and I found the “Test Yourself” questions to be well constructed, approachable, and effectively open ended (when appropriate). ","consistency_rating":5,"consistency_review":"Another strength of this text is its consistency in presenting and disseminating content. The authors developed a number of components that are found in each chapter which draw the reader's attention to recognizing and applying key concepts. I found each chapter to be clearly and effectively structured, with appropriate subheadings and use of bold text to highlight important ideas and terms. This made the text very easy to navigate. I also found that the overall content maintained a consistency in tone, in spite of the fact that multiple contributors were working on any given chapter. The text is very clear and approachable, yet engages with complex theories and concepts. ","modularity_rating":5,"modularity_review":"It would be very easy to assign portions of this textbook throughout a teaching term, as most chapters can function as independent units, while also effectively engaging with other sections. I like the overarching themes of each chapter, which could easily be realigned as needed, and the fact that the subunits are of a manageable length. This book offers instructors a great amount of flexibility. ","organization_rating":5,"organization_review":"The book’s overall organization is clear and concise, with each chapter presenting measurable learning outcomes and ending with practical applications of concepts. I also found the subheadings to be very thoughtful in expounding upon the overall topic in each respective chapter. It is very easy to navigate through the various subunits, and the overall content is very appropriate in building an effective discussion of the various topics at hand. ","interface_rating":4,"interface_review":"While I really like the use of imbedded links to view images and expound upon concepts, some of the links did not work and need to be updated. Regardless, I like the fact that the use of links allows for the text to remain current, and to highlight contemporary content, developments, and artists. ","grammatical_rating":5,"grammatical_review":"I did not find any grammatical errors.","cultural_rating":3,"cultural_review":"The text offers a sound explanation of artistic concepts, and makes an effort to present a global perspective. I appreciated the attempt to use both recognizable images from the Western canon as well as lesser known works, although some chapters were more effective in presenting a global perspective than others. For example, I was intrigued by the in-depth discussion / case study in Chapter 3 covering media in the eras of Constantine through the Ottonian Empire, although it could have been balanced by non-Western case studies (for example, the use and significance of metals in African cultures). Chapter 4 addresses formal analysis, although the overall discussion is largely focused on degrees of representation in the arts. This seemed to present a very \"Western\" perspective of artistic development, and could perhaps benefit by highlighting western and non-western objects, as well as naturalistic and abstract pieces. I especially liked the focus on “Interpretation” and highlighting how meaning is formed from multiple perspectives (the individual, society, and the impact of time), although I found the section on “Evaluation” to be rather narrow and perhaps unnecessary (what, for example, is the “verdict of history” that determines great art? Who / what determines this \"verdict\"? Why are museums placed at the center of this discussion, along with the suggestion that a work’s presence in a museum determines its artistic value? What do the authors mean by the phrase “best art”?). I appreciated the discussion of conventions in Chapter 4, and how the text traces them across cultures. However, when addressing cultural style, it might be helpful in some cases to note the role of \"time\" (the Western examples were presented according to how various artistic conventions developed over time, while many of the the non-Western examples, such as the Ancient Near East, are not given this same treatment). In a similar manner, the topic of individual artistic style could also benefit from exploring non-Western “anonymous” artists through a brief discussion of the history of collecting, and how one can trace the hands of unknown artists in the same way that Western artists have an identifiable style. I appreciate the inclusion of female artists such as Lilly Martin Spencer and Frances Palmer in Chapter 5, as well as the addition of a few non-Western pieces, but the chapter is still quite heavily Western, as is Chapter 6, which maintains a Judeo-Christian focus. This chapter could perhaps be broadened by engaging with diverse belief systems. This seemed to be rectified in numerous other chapters. For example, Chapter 7, which focused on architecture, was more intentional toward representing global perspectives and works of art, which I found to be very helpful in understanding global art production. Along the same lines, I found Chapter 8 to be very effective and inclusive in presenting concise notions of \"the self\" within expanding social spheres, and in discussing individual identity/gender, and external influences such as economics and class. I also appreciated how Chapter 10 highlighted global engagement with sacred structures, sites, rituals, and performances, as well as their significance. ","overall_rating":9,"overall_review":"The open source text \"Introduction to Art: Design, Context, and Meaning\" is an impressive resource that addresses the foundations of approaching, discussing, and understanding art through both historical and contemporary lenses. The authors took on an impressive amount of work to create a textbook that engages with contemporary topics, while laying the foundations for effective visual literacy. ","created_at":"2019-12-10T10:34:37.000-06:00","updated_at":"2019-12-10T10:34:37.000-06:00"},{"id":3410,"first_name":"Mike","last_name":"Morelli","position":"Director Entertainment Management","institution_name":"University of Montana - Missoula","comprehensiveness_rating":4,"comprehensiveness_review":"This book provides a nice broad survey of styles, periods, artists' and types of art.","accuracy_rating":4,"accuracy_review":"The content is accurate for the vast majority of the book with few technical and grammatical errors. That being said, the errors (which appear in the second half of the book) have drawn notice from some of my students.","relevance_rating":5,"relevance_review":"As an introduction, this book provides an excellent basis for discussion with students. The chapters and content are relevant, presented in a clear concise manner, and are supported by facts.","clarity_rating":5,"clarity_review":"I appreciate the clarity of the material and the structure of chapters as well as the tone of the book. Color images with good labels and attribution make it easy to discuss and research further for students.","consistency_rating":5,"consistency_review":"The text consistently presents concepts with supporting images and documentation in a logical and straightforward manner.","modularity_rating":4,"modularity_review":"Good modularity for the most part. Given the way in which artists'/styles/concepts are presented in chapters, by necessity some ideas can only be examined contextually, and require a broader framework for understanding. The authors to a great degree provide that background and break down segments through titling with numbers to show flow while creating \"bite sized pieces\".","organization_rating":5,"organization_review":"Excellent organization. Well laid out.","interface_rating":5,"interface_review":"A logical combination of text, images, and titles delivered in a visually pleasing way.","grammatical_rating":4,"grammatical_review":"As noted previously, few grammatical errors although enough to draw comment from students. ","cultural_rating":5,"cultural_review":"This text explores art as expressed by a wide variety of artist's with differing races, ethnicities, and backgrounds in inclusive and thoughtful ways. While I have had students react strongly to images or concepts in the book, (i.e. Hindu Swastika) it is not an objection to the manner in which the material is presented but often a strong initial personal reaction to a specific image, which is then discussed contextually in a manner that is both sensitive and dispassionate. ","overall_rating":9,"overall_review":"This book has worked well in several first semester Introduction to Art courses. It's clear, concise, and well written with logical and consistent organization.","created_at":"2019-12-19T20:57:26.000-06:00","updated_at":"2019-12-19T20:57:26.000-06:00"},{"id":3416,"first_name":"Rick","last_name":"Lostutter","position":"Associate Professor of Art and Design","institution_name":"Hanover College","comprehensiveness_rating":4,"comprehensiveness_review":"This textbook is a fairly comprehensive primer on art from the approach of purpose, materials, structure and meaning. It provides readers with the foundational tools of understanding how to more formally assess art and the creation of many different kinds of visual representation. Having the \"test yourself\" and key terms sections at the end of each chapter allows the reader to develop a language and vocabulary that applies across the breadth of the nature and definition of visual art and helps solidify the elements presented within each area of art exploration. There are plenty of cultural references to the context of historical examples as well as the impact that art and design has had on society and the importance of art as a timeless reflection of the world. The structure of the book is an easy introduction into many different aspects of the study of art. I really enjoyed the inclusion and focused chapter on architecture within the greater context on art.","accuracy_rating":5,"accuracy_review":"Having read through this text several times, I find it to be very accurate from an art perspective, technical reference and grammatical work. Statements made throughout the book are presented in a way that is supported with referenced examples and well agreed-upon art and design principles. The evaluation of art is traditionally an objective process, yet this text allows for expert opinion and fact to reside together in a way that allows for appropriate and open evaluation by the reader. So many art texts try to push specific agendas pertaining to narrow views of what art is or is supposed to be and this book avoids that in a very skillful manner.   ","relevance_rating":4,"relevance_review":"The references and visual material presented in this book are of generally-accepted and representative examples of historic art. I would have liked to have seen some more contemporary art and artists represented as a comparison to art that has traditionally been used to illustrate the principles of art and conceptual design work. Given that this is a digital text that can easily be updated, it seems to provide a platform for having up-to-date and even current artists and their work represented. Students need to see that current work is being created that adheres to the traditional standards of the historical works referenced through the ages of art instruction. Having said that, the works used do not represent an obsolete view on art evaluation and instruction.","clarity_rating":5,"clarity_review":"The reading acuity and age-appropriateness of the terminology, vocabulary and description are adequate and what I would expect for a college-level resource material. Again, the terms at the end of each chapter provide an easy reference tool for any language that a reader might not be familiar. It not only helps in the reading and retention of the material, but creates a great study guide for review after the reading of each section.","consistency_rating":5,"consistency_review":"Having read many co-authored texts on specific subjects, the voice of the work is consistent and reads as though one author was the source for the entirety of the book. This is important, especially for a subject such as art, so the reader can begin to develop their own assessment of the topic without struggling through many different styles of evaluation.","modularity_rating":5,"modularity_review":"The sections and chapters of this book are appropriately divided in a way that makes the subject digestible. The pacing of each chapter is segmented so that the ideas and concepts are easily incorporated into the overall topic of that chapter. This makes it a much better tool for grouping concepts from several different chapters into a lesson that requires many different elements to work together as a conceptual theme. Some chapters or sections may not be as relevant at particular times within a structured curriculum segment and the format allows for easy coordination of those individual concepts that will seamlessly integrate a cohesive lesson plan.","organization_rating":5,"organization_review":"The organization of the topics in this book are clearly stated and work as a logical progression from one theme and area of art to another. Having said that, the topics can stand alone as needed for any given presentation within a class lesson.","interface_rating":5,"interface_review":"The interface of this book is very clear and easy to use. Locating relevant topics from the table of contents and then quickly finding those topics within the text was thoughtfully accommodated with the section titles at the top of each page.  ","grammatical_rating":5,"grammatical_review":"I have not found any grammatical errors in my assessment of each segment of this book.","cultural_rating":3,"cultural_review":"Art is a discipline that has traditionally focused on the western culture and therefore has not been a very inclusive, historical representation af all cultures and races. This text does an adequate job in presenting examples that bleed outside of the traditional western historical examples of other texts. I would have liked to see more diversity which could have come from more contemporary examples of art. Given that, I did not find anything that I felt was culturally insensitive or inappropriate.","overall_rating":9,"overall_review":"I would highly recommend this book as a great introductory supplement to any foundational art course that is meant to provide students with a base-level understanding of the complexities of art and design as a visual exploration. This should be incorporated as an essential text for students who are beginning their journey of the study of the creation of art and design. I could see this as a supplement to an introductory art history course as well.","created_at":"2019-12-20T13:03:02.000-06:00","updated_at":"2019-12-20T13:03:02.000-06:00"},{"id":3438,"first_name":"Billi","last_name":"London-Gray","position":"Adjunct Assistant Professor","institution_name":"University of Texas at Arlington","comprehensiveness_rating":4,"comprehensiveness_review":"The text is comprehensive, providing an introduction to design concepts and terminology as well as an historical survey of (mostly Western-centric) ideas around the production and interpretation of art. Topics like ethical considerations in art, originality, meaning and materiality, and community purposes for art are given thoughtful treatment, encouraging multiple viewpoints for class discussions. The book lacks back matter — no comprehensive glossary, index, image list, or bibliography. As an e-book, this can be solved with a CTRL + F search. If printed, it’s a limitation for users.","accuracy_rating":4,"accuracy_review":"I did not find any factual errors in the text, but I did find some errors in image captions (ex: Figures 7.5 and 7.36) and spellings. I encountered some variation from conventional transliterations of artist’s names (ex: Do Ho Suh is spelled Do Ho Su, page 92, and Wassily Kandinsky is spelled Vasily Kandinsky, page 106). I also encountered numerous broken or misdirected hyperlinks. These broken links were especially disappointing when they failed to show works by underrepresented artists, such as Jaune Quick-to-See Smith (page 168).","relevance_rating":4,"relevance_review":"This text offers a lot of relevant material, especially given that it’s free for students to access. The content could be more up to date, with examples by new media, performance, and social-practice artists. I would also find examples by contemporary mid-career and emerging artists instructive and relevant.","clarity_rating":4,"clarity_review":"The bolded key terms and glossary in each chapter are very useful. The prose is clear but drifts between accessible and academically clunky. I wish the images of artworks were captioned with the date completed and, where applicable, an indication that the artist is unknown rather than omitting artist information. For most images, the date was provided in the running text, but this requires re-reading and could confuse context for students who don’t know what to look for. ","consistency_rating":5,"consistency_review":"The text is internally consistent with respect to terminology used and the framework of each chapter. There is some inconsistency with including locations of architectural sites in image captions.","modularity_rating":5,"modularity_review":"The text is divided into chapters that can be digested in one reading assignment or broken into shorter assignments. The divisions are clear and logical. This makes the text scalable for classes that meet multiple times per week, once per week, or on accelerated schedules. Individual chapters (for example, Chapter 2 on form and composition, or Chapter 4 on formal and critical analysis) could also be assigned as stand-alone readings, in lieu of adopting the entire textbook for a course, especially given the inclusion of a glossary within each chapter.","organization_rating":5,"organization_review":"The organization of this text builds progressively on concepts chapter by chapter, but is not self-referential in a way that requires reading the book from cover to cover. The structure of each chapter, with learning objectives followed by content followed by a recap, comprehension questions, and key terms, provides a clear framework for students to prioritize information and test themselves. It is also conducive to reflective and indirect instructional activities in class or online.","interface_rating":4,"interface_review":"The interface is clean but has some leading issues in the text, where letters are slightly stretched, slightly squished, or cut off below the baseline. The multi-decimal section numbering system is visually noisy and, in my opinion, no more useful than section titles and page numbers in helping students find reading assignments or refer to passages. In general, page layouts are tight, with minimal margins between images and text. This seems like a decision driven by printing concerns (minimizing page count), but additional white space would improve readability. The text worked well with the text-to-speech reader in Google Chrome.","grammatical_rating":4,"grammatical_review":"I encountered numerous typos and grammatical errors, mostly in the form of missing punctuation, missing words, missing letters, and awkward sentence constructions. None of these obscured the author’s meaning, but it could use another round of proofreading.","cultural_rating":3,"cultural_review":"This text presents more than the usual suspects found in introductory art appreciation and visual literacy books. Images by pre-modern American and European women artists are refreshing and demonstrate efforts to go outside the traditional canon. That being said, it could still be much more representative and inclusive. For example, the first chapter addresses the definition of art but approaches the debate through the ideas of notable white men without acknowledging the hegemony around this question. No examples in this chapter are truly contemporary, with Maya Lin’s Vietnam Memorial, completed a generation before today’s students were born, being the most recent image example. This trend continues throughout the book, where the vast majority of text and images are devoted to long-dead Western artists (mostly white European and American men) and static forms of art (mostly painting and traditional sculpture), with good representation for Ancient Near East art traditions, less for Eastern traditions, and little consideration for new media or performance art, artists of color, and global south art and artists. Good opportunities are missed: while there’s more than a page of text devoted to Kehinde Wiley, the image of his work is accessed via hyperlink rather than embedded (pages 221-222) for effective appreciation of his art-historical reference. In the section “11.5 Ethical Considerations in the Collecting and Display of Art,” Nazi looting is criticized but there’s no mention of the colonial plunder that still resides in American and European institutions. It would be great to see a more inclusive second edition of this book.","overall_rating":8,"overall_review":"While I have listed specific areas that need improvement, I am thrilled that this book exists as an accessible, free, and user-friendly resource for students and instructors. Its shortcomings are far less than other texts I’ve used, and its virtues are numerous, especially given the flexibility to make immediate improvements using the Creative Commons Attribution-ShareAlike license. Many thanks to the authors, editor, and publisher who have generously shared this work.","created_at":"2019-12-30T00:25:05.000-06:00","updated_at":"2019-12-30T00:25:05.000-06:00"},{"id":3485,"first_name":"Mary","last_name":"Shira","position":"Instructor","institution_name":"James Madison University","comprehensiveness_rating":3,"comprehensiveness_review":"This is not a book I feel I could adapt in its present form in my course, Art in the General Culture, a general education course designed to introduce students with little or no background in art. While it contains a wealth of information that I can adapt within my course, it is not laid out in such a way as to communicate new concepts, such as the elements and principles of design and the history of art following a timeline that is easily followed by novice students hoping to grasp the major concepts and apply them to their lives in a meaningful way. My biggest concern is with the layout of the content as it is. In broad terms it does introduce a wide range of cultures and artforms which is wonderful but would be overwhelming to my population. Early chapters contain media spanning history and techniques (architecture, photography, craft and fine art) that need defining before the more complex concepts such as aesthetics and criticism can be attempted","accuracy_rating":5,"accuracy_review":"I found only two minor errors while reading the text: Page 123, in the hypertext notes mid page Beckmann has an “r”, Breckmann before the link. And in the discussion of the Palette of Narmer on page 239 it states the image on the back of the palette shows Narmer with the crown of Lower Egypt, when in fact he displays both Upper and Lower Egypt’s symbols as he is “The Great Unifier”.","relevance_rating":5,"relevance_review":"The inclusion of contemporary art is well placed throughout. I do feel the inclusion of so many art forms and cultures throughout most chapters is confusing however. For example, Chapter 2 attempts too many media such as painting, printmaking, sculpture plus the elements and principles of design making it hard to absorb in a meaningful way.","clarity_rating":4,"clarity_review":"Most of the technical information is well presented with good visuals to back it up. I particularly appreciated the inclusion of definitions for artist made prints versus reproductions to be helpful for students to understand the difference. \r\nAs an artist and college instructor myself, I can easily follow all the information but my students would be challenged to absorb much of the technical aspects of the art presented as it jumps around in application from selfies and digital art to Renaissance to ancient works. The chapter on architecture, often student’s favorite section, is too broad and yet has little nineteenth and twentieth century urban examples such as the significance of The Crystal Palace and the contribution of Le Corbusier. \r\n","consistency_rating":5,"consistency_review":"Yes, the text is consistent throughout in terminology and framework. It is as I have stated however the framework that doesn’t work for me in my class setting. I believe the user would be better served by grouping less broad concepts within chapters, for example, photography. By discussing its history from the Camera Obscura to the iphone, students could see how it affected the history of artmaking while understanding also the development of criteria for judging it as an artform in the twentieth century. It is something students today will need to develop for computer generated art in their lifetime.","modularity_rating":3,"modularity_review":"\r\nI don’t agree that the text can be easily absorbed or supplanted into an existing course as it is initially challenging in the early chapters to define art without giving students the tools to make these decisions and injects historical imagery again without a way for placing it in a useful framework. Chapter One in particular, is heavy on theory and would lose many of my students at the outset. Discussions of labyrinths and terms such as circumambulate would be off putting and unnecessarily confusing. Chapter Two is too ambitious and would serve students better if it followed a thread beginning with Gestalt and following up with two-dimensional media and only later addressing three-dimensional media such as sculpture and pottery.\r\n\r\n","organization_rating":2,"organization_review":"Here is the rub, I am confused by the organization here.  I would like to adapt portions of the text but the way topics are presented makes it challenging. The text contains a wealth of information but the format and general layout of the chapters makes it a daunting task to absorb it into my course. I do really feel that a timeline of some sort coming later in the text is essential for students to place work in its social, political and historical context. All art can only be appreciated fully beyond its formal aspects when the viewer has access to the context in which it was created. The format of this text confuses that by jumping around culturally and historically too much.","interface_rating":4,"interface_review":"I do feel the inclusion of maps to place the art in the world would greatly advance comprehension. I don’t think students will likely access links referenced within the text though I appreciate the concept so that can create a navigational problem if the art is essential to understanding the concept. I also found the diagram used to explain the Lost Wax method of casting to be poor.","grammatical_rating":5,"grammatical_review":"Only the one I mentioned previously. All in all the writing is engaging and easy to follow","cultural_rating":5,"cultural_review":"If anything, I think the effort to be inclusive of cultures is overdone. Women could be better represented, though again within the framework of the text it is more challenging since their contribution has historically been ignored until the modern era.","overall_rating":8,"overall_review":"I really enjoyed the text. I made copious notes and underlined passages on many of the pages that I will absorb into my own course as the information expands topics I touch on throughout the semester. I do feel it would be a monumental task to adapt this book to my course, given the population I deal with in an introductory course on art history and culture. In addition, my course concentrates on Western culture, and so references world art only in so much as it has influenced that aspect of our culture.\r\nI am not quite sure what sort of student your text would address in so much as it is technical and expansive while not really addressing the needs of the novice in art history. I think it would be better suited for an aesthetics course than my introductory one. The class I teach is designed to help students develop a cultural understanding and appreciation of the visual arts, such as architecture, painting, sculpture and design. Lectures, videos, projects and discussions focus on issues related to the practice and techniques of creating and valuing visual imagery. Special emphasis is given to developing an understanding of the language of visual art and design, learning the basics of art criticism method, and gaining an overview of the history of the visual arts with a priority given to contemporary works of art.\r\n.\r\n\r\n","created_at":"2020-01-08T13:23:49.000-06:00","updated_at":"2020-01-08T13:23:49.000-06:00"},{"id":3553,"first_name":"Kimberly","last_name":"Jones","position":"Associate Professor","institution_name":"Sweet Briar College","comprehensiveness_rating":4,"comprehensiveness_review":"While the text is relatively comprehensive, I wish that it would have cast the net wider in terms of art forms to include a more extensive coverage of film, video games, textiles, typography, etc.  Nonwestern art is included, but I would have like to have seen more.\r\n\r\nI do wish the authors would have expanded their discussions a bit more. In their attempt to be succinct, a choice, I imagine, made to keep the reader engaged, I'm afraid some important content is lost.  \r\n\r\nAdditional information in the captions is also needed. Important facts, such as year, medium, size, etc., are not included.\r\n\r\n","accuracy_rating":5,"accuracy_review":"I did not identify any errors. It appears to be unbiased.","relevance_rating":5,"relevance_review":"I appreciate that the text stresses, right from the beginning, the importance of images in contemporary society. Asking the question -- how does Bouguereau's work relate to today -- is a good way to connect past art to the present. I do wish it would have given more examples though of new media art. I thought this was a lost opportunity to add relevancy.\r\n\r\nI believe the text is organized in a way so as to easily implement updated material.","clarity_rating":5,"clarity_review":"The style of writing is much more readable than other textbooks I've used. I believe today's students will find this style more accessible and will therefore be more likely to actually read the text. While the authors acknowledge art history's (and presumably their own) use of jargon, which they argue is \"unavoidable\" in any discipline, they avoid the use of unnecessary jargon. Key vocabulary words (jargon if you like) relating to art and art history are clearly and concisely defined.","consistency_rating":5,"consistency_review":"I found the tone and style to be consistent throughout. ","modularity_rating":5,"modularity_review":"I very much like the way the text is organized. I appreciate that blocks of text are short. I think it would be easy to organize this text anyway you like when teaching, although the flow, the way one chapter leads into another, is nice, so I personally would not change it. The text is easily customizable, in my opinion.","organization_rating":5,"organization_review":"See above. ","interface_rating":4,"interface_review":"Overall the interface is fine, but it is pretty basic. Extra features, like allowing users to zoom in on pieces, or adding arrows to specific parts of images under discussion might make this more accessible and interactive.","grammatical_rating":5,"grammatical_review":"I did not identify any grammatical errors.","cultural_rating":5,"cultural_review":"I did not find the text to be culturally insensitive. ","overall_rating":10,"overall_review":"I was surprised that the text did not take advantage of its online format to include links to videos, especially when discussing various techniques. The different printmaking methods, for instance, are much more easily understood when demonstrated. It could also have included actual videos in its discussion of video art and performance art, rather than a link to a photograph.  \r\n\r\nWhile I do see room for improvement, I appreciate what this text has to offer. I may even consider adopting it for my introductory course.","created_at":"2020-01-29T21:15:01.000-06:00","updated_at":"2020-01-29T21:15:01.000-06:00"},{"id":3693,"first_name":"Alexis","last_name":"Rusch","position":"Adjunct Instructor","institution_name":"Oakland City University","comprehensiveness_rating":5,"comprehensiveness_review":"This book is easy to comprehend. I do think the first half is better than the second. There is no index which I do find useful. In the area of visual elements and principles of design, I do wish they went more into depth.","accuracy_rating":5,"accuracy_review":"I find the information presented to be accurate.","relevance_rating":5,"relevance_review":"The contemporary art could easily be updated to keep this as a current and relevant text especially since links are used.","clarity_rating":4,"clarity_review":"I do think the first half of the book is a bit more clear than the second half. When teaching, I find it useful to have just 1-2 examples of art for each idea/concept I am discussing. The second half almost gives too many examples of some ideas and becomes confusing for students.","consistency_rating":5,"consistency_review":"The book has an overall good and consistent structure. The terms being given at the end of each chapter are good and easy for students to find and study.","modularity_rating":5,"modularity_review":"The organization of the chapters and subheadings is logical and makes sense. This book is easy to break up into small sections of readings for students.","organization_rating":5,"organization_review":"I would consider the organization the best thing about this book!","interface_rating":5,"interface_review":"All the links worked! The quality of images and text for those links varied from website to website.","grammatical_rating":5,"grammatical_review":"No grammatical errors observed.","cultural_rating":4,"cultural_review":"Examples of artwork are given from all over the world. Although the examples and content is heavy on Western Art, there is some reference to Non-Western Art. I did not find anything culturally offensive.","overall_rating":10,"overall_review":"Closest thing you will find that is free to use for an art appreciation course. I would not use this as my only book for the course but would use it and have some online resources to supplement areas such as visual elements and principles of design. I do feel like this book relies heavily on European art as examples.","created_at":"2020-03-30T08:48:54.000-05:00","updated_at":"2020-03-30T08:48:54.000-05:00"},{"id":3776,"first_name":"WangLing","last_name":"Chou","position":"Associate Professor of Art","institution_name":"Louisiana College","comprehensiveness_rating":4,"comprehensiveness_review":"The text is comprehensive, offering a wide range of material on the subject. Several of the chapters--mostly the latter ones--are more conceptual and/or philosophical and while they would be excellent for Art majors or upper level students, they would not be as useful for a general education Art Appreciation course. Still, many of the other chapters are more than sufficient in terms of comprehensiveness. In terms of an index or glossary, neither are present at the end of the book; however, at the conclusion of each chapter, all vocabulary from that chapter are listed and defined. An index and the end of the text would be helpful.","accuracy_rating":5,"accuracy_review":"No inaccuracies were detected in the text. The book is unbiased except that is obviously favors a greater understanding of art, such as at the end of section 1.3.2. Chapter 11 briefly deviates from the text's usual objective tone, calling on the need for both society and artists to have a particular understanding of one another.","relevance_rating":5,"relevance_review":"Even with the later chapters that touch on more recent phenomena in the art world such as identity and ethics, the material in the text is written in a way that it will be relevant for an indefinite period of time. Updating content should present no problems in terms of ease of implementation.","clarity_rating":5,"clarity_review":"The text is easy to read and would be accessible to college students. All specialized terminology are conveniently in boldface type and are defined both in-chapter as well as in a section at the end of the chapter. The prose is not clinical and dry but is often inviting, making use of an inclusive third person perspective and sometimes directly addressing the readers with \"you.\"","consistency_rating":4,"consistency_review":"The text is largely consistent. One area to improve might be in the learning outcomes at the beginning of each chapter. While many of verbs are measurable such as identify, name, analyze, distinguish, explain, etc., the verb \"understand\" is used frequently in the outcomes and is not measurable based on Bloom's Taxonomy of educational objectives.","modularity_rating":5,"modularity_review":"All chapters are divided into smaller, easily identifiable sections, ranging from anywhere to 5 up to 12. Most sections within chapters are only a couple of pages. Understandably, some sections are significantly longer, but multiple images can be a contributing factor to the increased length. The text does reference itself (i.e. \"this text,\" etc.) on occasion, but such references are minimal.","organization_rating":5,"organization_review":"The text is well organized, both in terms of the arrangement of chapters, as well as the divisions within the chapters. The text begins generally, moves to historical, practical, and knowledge-based content, and finishes with conceptual/philosophical content.","interface_rating":3,"interface_review":"One issue of concern is that in Chapter 11, every other page is incorrectly labeled at the top as \"CHAPTER 10: ART AND RITUAL LIFE.\" Such a mislabelling could confuse readers. Also, the justified text is generally not a problem, but the inconsistency in spacing between characters is sometimes problematic. For example, the first line of the last paragraph on page 19 includes no spacing between any of the characters, making the sentence almost unreadable. Finally, while the images graphics are relevant and helpful, the text as a whole feels cramped and could use some negative space--more white space around images and graphics.","grammatical_rating":5,"grammatical_review":"Few grammatical errors were detected. It should be noted that the writers employ all three points of view--often writing in first person. Such an approach likely makes the text more accessible to college readers. However, a small issue that arises is when the writer first mentions \"the viewer,\" singular, but subsequently uses the pronoun \"we\" (plural). This agreement error was only noted a couple of times on page 14 and may or may not occur in other places. A simple fix is to change \"the viewer\" to \"viewers.\"","cultural_rating":5,"cultural_review":"The text does an excellent job on covering a broad spectrum of cultures, ethnicities, and backgrounds. At no point could any content be misconstrued as culturally inoffensive, as the writers did a good job in remaining objective in presenting the facts. For example, the section on The Dome of the Rock in Chapter Six is a sensitive topic, but the writers treated it with historical accuracy and cultural and religious sensitivity.","overall_rating":9,"overall_review":"Even though several chapters are above and beyond what I need for my gen. ed. Art Appreciation course, I would still find this text useful.","created_at":"2020-04-30T15:34:55.000-05:00","updated_at":"2020-04-30T15:34:55.000-05:00"},{"id":3807,"first_name":"Julia","last_name":"May","position":"Assistant Professor","institution_name":"University of Virginia","comprehensiveness_rating":5,"comprehensiveness_review":"I would use this text in my art appreciation/visual culture course. I very much appreciate the arrangement of the book, the first section dedicated to the fundamentals of art and the second, to central themes. These aspects provide a solid foundation for students who will want to know more. It is a sufficient balance of form and meaning, which you don't often see in introductory texts. It is accessible and easy to follow. The embedded hyperlinks to supplemental information is also a unique feature that students will find helpful.","accuracy_rating":5,"accuracy_review":"The information is accurate and consistent.","relevance_rating":5,"relevance_review":"Any updates will be easy to make. I don't see anything going out of date too soon.","clarity_rating":5,"clarity_review":"The language is clear and accessible. Including glossaries at the end of each chapter is a great way for students to have ready access to key definitions.","consistency_rating":5,"consistency_review":"The text is consistent.","modularity_rating":5,"modularity_review":"I feel that the modularity of the text is adequate. The reader should not be overwhelmed by the above elements. Being able to zoom in on the images - is a great feature - they remain very crisp and clear, at least for me.","organization_rating":4,"organization_review":"The authors organized the text effectively, considering the amount of material covered (see above). I appreciate how the authors include a set of learning outcomes at the start of each chapter and have \"tests\" throughout as well as \"key concepts\" and glossaries. \r\n\r\nMy only concern is that there is no index, nor is there a bibliography (unless I missed them).","interface_rating":5,"interface_review":"I think the interface is sufficient. I was able to access the material embedded in the hyperlinks. Using hyperlinks to supplemental content is a terrific way for students to obtain details on particular objects. I also like that authors used them judiciously.","grammatical_rating":5,"grammatical_review":"I did not see any grammatical errors.","cultural_rating":5,"cultural_review":"The chapter on art and ritual life serves as an excellent example of presenting the traditions of a variety of cultures in a balanced and respectful manner.","overall_rating":10,"overall_review":"This book is a perfect companion to any college-level art appreciation course - and for today's student. The balance of form and meaning,  the inclusion of learning objectives for each chapter, the \"tests,\" and hyperlinks to supplemental material makes it unique and a text I would consider using in my course.","created_at":"2020-05-07T12:24:33.000-05:00","updated_at":"2020-05-07T12:24:33.000-05:00"},{"id":3997,"first_name":"Marla","last_name":"Sweeney","position":"Adjunct Instrcutor","institution_name":"Middlesex Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The text is a good introduction to art and art history . It is not a chronological art history text but covers several periods, art forms and ideas related to understanding art.","accuracy_rating":5,"accuracy_review":"The text is well researched and unbiased.","relevance_rating":4,"relevance_review":"Although examples of art from many periods are addressed the final chapter on Ethics includes the most contemporary art examples. The text is arranged in a format that would allow updates to be easily implemented.","clarity_rating":5,"clarity_review":"The text is written in clear understandable prose. Each chapter ends with  an overview of key concepts, vocabulary and good test questions on the material.","consistency_rating":5,"consistency_review":"The text is consistent in framework and terminology.","modularity_rating":5,"modularity_review":"The text is organized in consistent module format. The format introduces each chapter with learning outcomes and a brief introduction. Each chapter ends with key concepts, vocabulary and good test questions as a review of the material.","organization_rating":5,"organization_review":"The text is organized logically and the chapters are based on clear topics.","interface_rating":5,"interface_review":"There are no navigation issues with the text or the display of image examples.","grammatical_rating":5,"grammatical_review":"The text contains no grammatical errors.","cultural_rating":5,"cultural_review":"The text gives examples of varied types of art from diverse cultures. There are good visual examples from historical to contemporary.","overall_rating":10,"overall_review":"This is a good introductory text to art. I feel it would be a good accompaniment to a chronological art history text. It addresses topics that may not be covered in other art texts as fully including a definition of art, the distinction between fine art and craft, art and identity and ethics in art .","created_at":"2020-06-17T09:00:21.000-05:00","updated_at":"2020-06-17T09:00:21.000-05:00"},{"id":4084,"first_name":"Talicia","last_name":"Honkola","position":"Art Instructor","institution_name":"Mesabi Range College","comprehensiveness_rating":4,"comprehensiveness_review":"The textbook is comprehensive, offering topics on elements and principles covered in my course.    In my opinion the first half would work better to introduce students to visual art.  The book is arranged well and is easy to comprehend.","accuracy_rating":5,"accuracy_review":"The textbook is comprehensive, offering topics on elements and principles covered in my course.    In my opinion the first half would work better to introduce students to visual art.  The book is arranged well and is easy to comprehend.","relevance_rating":5,"relevance_review":"The textbook is comprehensive, offering topics on elements and principles covered in my course.    In my opinion the first half would work better to introduce students to visual art.  The book is arranged well and is easy to comprehend.","clarity_rating":5,"clarity_review":"The textbook is comprehensive, offering topics on elements and principles covered in my course.    In my opinion the first half would work better to introduce students to visual art.  The book is arranged well and is easy to comprehend.","consistency_rating":5,"consistency_review":"The textbook is comprehensive, offering topics on elements and principles covered in my course.    In my opinion the first half would work better to introduce students to visual art.  The book is arranged well and is easy to comprehend.","modularity_rating":4,"modularity_review":"The textbook is comprehensive, offering topics on elements and principles covered in my course.    In my opinion the first half would work better to introduce students to visual art.  The book is arranged well and is easy to comprehend.","organization_rating":4,"organization_review":"The textbook is comprehensive, offering topics on elements and principles covered in my course.    In my opinion the first half would work better to introduce students to visual art.  The book is arranged well and is easy to comprehend.","interface_rating":5,"interface_review":"The textbook is comprehensive, offering topics on elements and principles covered in my course.    In my opinion the first half would work better to introduce students to visual art.  The book is arranged well and is easy to comprehend.","grammatical_rating":5,"grammatical_review":"The textbook is comprehensive, offering topics on elements and principles covered in my course.    In my opinion the first half would work better to introduce students to visual art.  The book is arranged well and is easy to comprehend.","cultural_rating":4,"cultural_review":"The textbook is comprehensive, offering topics on elements and principles covered in my course.    In my opinion the first half would work better to introduce students to visual art.  The book is arranged well and is easy to comprehend.","overall_rating":9,"overall_review":"The textbook is comprehensive, offering topics on elements and principles covered in my course.    In my opinion the first half would work better to introduce students to visual art.  The book is arranged well and is easy to comprehend.","created_at":"2020-06-25T13:55:57.000-05:00","updated_at":"2020-06-25T13:55:57.000-05:00"},{"id":4095,"first_name":"Meridyth","last_name":"Espindola","position":"Adjunct Professor","institution_name":"Bunker Hill Community College","comprehensiveness_rating":5,"comprehensiveness_review":"This book does a great job covering a broad spectrum of the context and meaning of art and design, and consistently provides visual examples.","accuracy_rating":5,"accuracy_review":"This book presents information in an accurate way, although it includes a very limited perspective on art by BIPOC. While this is characteristic of traditional art and design history texts, it is important to be aware of and address in the classroom.","relevance_rating":5,"relevance_review":"The text focuses mainly on historical art history, and will not quickly become obsolete.","clarity_rating":5,"clarity_review":"The text is well-written, easy to read, and follows a natural hierarchy of information. Visually, the page formatting is digestible, easy to follow, and well organized. This text is more inviting than other digital resources because of the visual design system in place.","consistency_rating":5,"consistency_review":"Consistent tone of text and organization of information.","modularity_rating":5,"modularity_review":"The division of content into small, clearly labeled and organized sections makes it easy to approach, navigate, and understand.","organization_rating":5,"organization_review":"Well organized, clear structure and easy to follow. Both the written text and the visual design facilitate a clear hierarchy of information and digestible content.","interface_rating":5,"interface_review":"Easy to use interface.","grammatical_rating":5,"grammatical_review":"(Did not find any grammatical errors.)","cultural_rating":2,"cultural_review":"The text is not directly insensitive or offensive, but examples of artwork by BIPOC are limited and presented from colonial perspectives. This is not a problem stemming from this book alone, rather the traditional Western perspective of recorded art history, theory, and criticism. However, this text also misses the opportunity to address cultural appropriation. In a section titled and devoted to \"Appropriation\" (Chapter 11), the only perspective offered is that appropriation is a \"legitimate way\" for artists to \"re-contextualize\" images. The singular artist example is photographer Sherrie Levine. To devote a section to appropriation, and yet leave out cultural conflicts entirely, misses an incredibly problematic aspect of appropriation in both the historical and contemporary landscapes of art and design. This is a critical discussion that belongs in the classroom, and a disappointing absence in this text.","overall_rating":9,"overall_review":"The typography, image formatting, and layout system do a nice job of keeping information easy to read and navigate.","created_at":"2020-06-26T13:13:07.000-05:00","updated_at":"2020-06-26T13:13:07.000-05:00"},{"id":4182,"first_name":"Sandra","last_name":"Clyne","position":"Adjunct Instructor","institution_name":"Bunker Hill Community College","comprehensiveness_rating":3,"comprehensiveness_review":"Although the text provides a detailed analysis of ancient, traditional, and modern visual art, it is notably deficient in its treatment of contemporary (post 1960s) art. This omission would lessen the appeal to college students of this otherwise encyclopedic and well reasoned introduction to the critical awareness of visual art.","accuracy_rating":5,"accuracy_review":"The text's treatment of anthropological and art historical detail is meticulous.","relevance_rating":3,"relevance_review":"Art students require a text that provides insight into the revelatory role of visual art within human consciousness. This text is far too pedantic and does not invite exploration and imagination by the students in interpreting the works of art presented.","clarity_rating":5,"clarity_review":"The text would be quite accessible for undergraduate college or university students. The concepts discussed are  adequately introduced and the terms are well defined. The style of writing is quite clear and straightforward.","consistency_rating":5,"consistency_review":"The text is quite internally consistent, without notable contradictions in its key propositions and theses.","modularity_rating":4,"modularity_review":"The text is quite clearly divided into chapters and subheadings, and there is a \"Key Terms\" section at the end of every chapter. However, the text lacks an omnibus glossary and subject index.","organization_rating":4,"organization_review":"The text \"flows\" from basic to more complex concepts. The text approaches the critical analysis of visual art from distinct perspectives that are clearly signaled by chapter headings.","interface_rating":5,"interface_review":"The display features employed in this text are its beautiful illustrations, which bring to life the adjacent verbal analysis.","grammatical_rating":5,"grammatical_review":"The grammar and sentence structure utilized in this text are impeccable.","cultural_rating":2,"cultural_review":"The text examines visual art from a wide variety of cultures over a range of geographical sites, but is somewhat Eurocentric.  More emphasis on African, Asian, South Asian, Native American and Oceanic art would have diversified its approaches and content.","overall_rating":8,"overall_review":"Because of its logical structure and clear writing style, this text would provide an accessible introduction to the highly complex field of visual art for undergraduate community college, college, or university students.","created_at":"2020-06-30T13:49:54.000-05:00","updated_at":"2020-06-30T13:49:54.000-05:00"},{"id":4245,"first_name":"Don","last_name":"Oberheu","position":"Lecturer","institution_name":"Leeward Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The text does an excellent job of covering the areas and ideas that one expects from an introduction to art textbook. The table of contents is clear and provides easy navigation within the text. While there is no glossary at the end of the text, there is a chapter-specific glossary at the end of each chapter providing a convenient review of the concepts and terms covered in each chapter.","accuracy_rating":5,"accuracy_review":"The content is accurate, error-free, and, with its many comparative references to different cultures and times, very unbiased.","relevance_rating":4,"relevance_review":"The content is up-to-date and covers all of the mediums, including photography, that one would expect from an introduction to art text. It is written and arranged in such a way that any necessary updates will be relatively easy and straightforward to implement.","clarity_rating":5,"clarity_review":"The text is written in organized and well-flowing prose that introduces and explains the ideas, the technical terminology, and the historical flow of the material it covers.","consistency_rating":5,"consistency_review":"The text is internally consistent in terms of terminology and framework.","modularity_rating":5,"modularity_review":"The text is easily and readily divisible into smaller reading sections that can be assigned at different points within a course. The text is not overly self-referential. One can cherry-pick whole chapters or sub-sections within a chapter to align with various subunits of a course without presenting much disruption to the reader.","organization_rating":5,"organization_review":"The topics in the text are presented in a logical, clear fashion.","interface_rating":2,"interface_review":"The interface is the only area of this text that needs some improvement. While the text is not overly self-referential, when it does refer to previously introduced and discussed images, the reference tends to be incorrect. The image referred to does exist however, the given labeling is often incorrect. Likewise, while it is great that the text is peppered with hyperlinks to images on the web, many of the links are not valid. The hyperlinks work, however, the linked images or pages are often missing.","grammatical_rating":5,"grammatical_review":"The text contains no grammatical errors.","cultural_rating":5,"cultural_review":"The text is not culturally insensitive or offensive in any way. In fact, it makes great use of examples that are inclusive of a variety of races, ethnicities, backgrounds, and time periods.","overall_rating":9,"overall_review":"In addition to serving as a textbook for introduction to art courses, this text can also be used in more medium-specific introductory art courses, e.g., Introduction to Digital Photography, to help learners in the courses better understand both composition and the potential role of their own art as it relates to the medium they are learning.","created_at":"2020-07-14T19:05:53.000-05:00","updated_at":"2020-07-14T19:05:53.000-05:00"},{"id":4321,"first_name":"Danielle","last_name":"Bell","position":"Adjunct Professor of Art and Art History","institution_name":"Community College of Aurora","comprehensiveness_rating":2,"comprehensiveness_review":"In reviewing this text, there were many things that I had issues with:\r\n1. The text condenses the discussion on artistic mediums to half a chapter. This does not give students enough time to fully engage with the mediums since there is no context given. \r\n2. There is a whole chapter dedicated to architecture, but only smaller sections within a chapter dedicated to other art mediums, such as painting, printmaking, and drawing. The chapter on architecture could have been condensed so much more and included in the mediums section.\r\n3. In the sections on mediums, the text does not always show examples. For instance, in the printmaking section, they do not show an art example for each process, so the students reading would have no idea what a screen print even looks like. \r\n4. My other issue with chapter 2 is directed at the sections on the elements of art and principles of design. These sections are very rushed. Its information overload. The authors do not spend an adequate amount of time/space on each element. Again, no context is given for each element and its many facets. There needs to be more time given to the elements and principles and more art examples given so that students are better equipped to identify such things when doing a formal analysis. \r\n5. My next issue is that there is no definition of formal analysis given before the authors, in Chapter 4, begin performing a formal analysis on two different works of art.\r\n6. Chapter 4 also has a rather quick, but comprehensive art historical section, but it doesn't really belong in this chapter as its supposed to be about \"describing art.\"\r\n7. The chapter on identity in art is incredibly Eurocentric, and is also is very focused on art before 1900. There is a significant lack of contemporary art discussed in this text.","accuracy_rating":5,"accuracy_review":"The content that is presented and discussed is done so accurately and seemingly unbiased.","relevance_rating":4,"relevance_review":"For the most part, the text is very relevant, especially its chapters on themes in art. However, there are times the authors delve into topics that seem irrelevant to an intro to art text. For instance, Chapter 3 on cultural value of materials is very out of place in this text.","clarity_rating":3,"clarity_review":"The book is at times accessible and yet also full of scholarly jargon that is confusing to those not familiar with that type of writing. Throughout the text, the authors \"name drop\" scholars, art schools, historical figures and events, etc. without providing context. Even the metadata for artworks is always clear as there are times where the text will omit information rather than indicating that the information is unknown.","consistency_rating":4,"consistency_review":"I encountered some inconsistency in the spelling of artist names. In the text, there are conventional transliterations of artist’s names. For instance, for artist Do Ho Suh, the name is spelled Do Ho Su on page 92, and Wassily Kandinsky is spelled Vasily Kandinsky on page 106.","modularity_rating":5,"modularity_review":"The text is not overly self-referential and would be easy for any professor to cherry-pick sections to assign to students. I think the strongest chapters in this book that any intro to art class could benefit from are chapters 1, 5, and 11.","organization_rating":3,"organization_review":"The organization of topics is strange and, at times, confusing. One area that really stood out to me as disorganized is found in Chapters 2, 3, and 4. Chapter 2 is titled \"Structure of Art\", which is already a confusing name for this chapter as the topics range from mediums of art to the elements and principles of art and design. Chapter 3 then gets into the intrinsic value of materials, which already seems of out place in this textbook as it seems like something more relevant to an art history class than an introduction to art class. Finally, in Chapter 4, there is a discussion on formal analysis, which really should have been included in, or put after, chapter 2 since it discussed the elements and principles.","interface_rating":4,"interface_review":"There are a number of links given in the text that do not work and others send students to works of art with low image quality.","grammatical_rating":5,"grammatical_review":"I found no grammatical errors in this text.","cultural_rating":3,"cultural_review":"This text is pretty Eurocentric. While it does have sections where the authors discuss non-Western topics, such as Chapter 10 on ritual life and art, its only in the context of Western themes. African, Mesoamerican, and Native American art are some notable cultures that are either left out or barely discussed.","overall_rating":8,"overall_review":"This is a decent textbook for cherry-picking specific topics from, but all together it is not a great text to use as a tool for creating course structure.","created_at":"2020-08-14T17:38:15.000-05:00","updated_at":"2020-08-14T17:38:15.000-05:00"},{"id":4412,"first_name":"Julia","last_name":"May","position":"Assistant Professor","institution_name":"University of Virginia","comprehensiveness_rating":5,"comprehensiveness_review":"I would use this text in my art appreciation/visual culture course. I very much appreciate the arrangement of the book, the first section dedicated to the fundamentals of art and the second, to central themes. These aspects provide a solid foundation for students who will want to know more. It is a sufficient balance of form and meaning, which you don't often see in introductory texts. It is accessible and easy to follow. The embedded hyperlinks to supplemental information is also a unique feature that students will find helpful.","accuracy_rating":5,"accuracy_review":"The information is accurate and consistent.","relevance_rating":5,"relevance_review":"Any updates will be easy to make. I don't see anything going out of date too soon.","clarity_rating":5,"clarity_review":"The language is clear and accessible. Including glossaries at the end of each chapter is a great way for students to have ready access to key definitions.","consistency_rating":5,"consistency_review":"The text is consistent.","modularity_rating":5,"modularity_review":"I feel that the modularity of the text is adequate. The reader should not be overwhelmed by the above elements. Being able to zoom in on the images - is a great feature - they remain very crisp and clear, at least for me.","organization_rating":5,"organization_review":"The authors organized the text effectively, considering the amount of material covered (see above). I appreciate how the authors include a set of learning outcomes at the start of each chapter and have \"tests\" throughout as well as \"key concepts\" and glossaries. My only concern is that there is no index, nor is there a bibliography (unless I missed them).","interface_rating":5,"interface_review":"I think the interface is sufficient. I was able to access the material embedded in the hyperlinks. Using hyperlinks to supplemental content is a terrific way for students to obtain details on particular objects. I also like that authors used them judiciously.","grammatical_rating":5,"grammatical_review":"I did not see any grammatical errors.","cultural_rating":5,"cultural_review":"The chapter on art and ritual life serves as an excellent example of presenting the traditions of a variety of cultures in a balanced and respectful manner.","overall_rating":10,"overall_review":"This book is a perfect companion to any college-level art appreciation course - and for today's student. The balance of form and meaning, the inclusion of learning objectives for each chapter, the \"tests,\" and hyperlinks to supplemental material makes it unique and a text I would consider using in my course.","created_at":"2020-11-30T12:21:18.000-06:00","updated_at":"2020-11-30T12:21:18.000-06:00"},{"id":4449,"first_name":"Andrea","last_name":"Lepage","position":"Professor of Art History","institution_name":"Washington \u0026 Lee University","comprehensiveness_rating":5,"comprehensiveness_review":"The text integrates all of the key areas traditionally covered in an art appreciation course with an emphasis on cultivating an art specific vocabulary and understanding the materials of art. The authors incorporate a wide variety of artistic media, traditions, styles, time periods, and regions into their discussions. The majority of the examples provided are drawn from Western art historical traditions, but the authors also include examples from regions beyond the West—especially China, Japan, and India. The text features some examples from Nigeria, Ghana, and North American indigenous traditions, but greater attention to African, Latin American, Central and South Asian, Oceanic, and indigenous traditions would be welcome. The work of male artists, mostly drawn from the Western art historical canon, dominate the discussions; greater coverage of women artists would also be welcome. The Table of Contents is hyperlinked and clearly organized, and each chapter concludes with an excellent glossary of terms. Including an index would assist students in navigating the book.","accuracy_rating":4,"accuracy_review":"The content is mainly accurate throughout the text, with some typographical, spelling, and technical errors (broken links), especially in the second half of the book. As noted below, the text includes some inaccuracies or inconsistencies pertaining to indigenous cultures and artists. On occasion, the authors present controversial viewpoints in a straightforward manner. The 2003 toppling of the Saddam Hussein monument in Baghdad (p. 249) is one example. In a section dedicated to propaganda, the authors make no reference to the controversial nature of this incident, which may have been initiated or manipulated by U.S. military forces for propagandistic purposes.","relevance_rating":4,"relevance_review":"The text is arranged in such a way that extended discussions and additional examples would be relatively easy to introduce. Updates might include extended discussions about artwork produced by women, indigenous, black, and other artists of color. In some cases, updates might simply expand the discussion around examples already introduced into the text (for example Gee’s Bend quilt maker Lucy Mingo, page 7; Judith Baca’s Great Wall of Los Angeles, pages 23-24; Jaune Quick-to-See Smith’s multi-media work, page 168). Such updates would help to further decenter traditional canonical Western art historical narratives. In addition, references to LGBTQ artists would be a welcome addition, as would including supplementary sections dedicated to contemporary artistic production. The authors have been careful to include discussions of more contemporary art forms like new media and graphic novels, and additional examples would be relatively easy to insert into the text. Discussions of early modern and modern art are already strong.","clarity_rating":5,"clarity_review":"The text is written in clear and accessible prose. The learning outcomes at the beginning of each chapter give readers the necessary information to navigate each chapter. The concluding section in each chapter (“Before You Move On: Key Concepts”) does an excellent job of synthesizing the key points included in each chapter.","consistency_rating":5,"consistency_review":"The text is arranged thematically rather than chronologically and is internally consistent throughout. Each chapter is well organized and easy to follow with a consistent arrangement that will be especially helpful for students as they study key points presented in the text.","modularity_rating":5,"modularity_review":"The authors organize the text thematically, rather than chronologically as is the case with many introductory art history textbooks. Each chapter is organized consistently with learning outcomes, an introduction, a series of content sections that could be assigned at different points in the course, followed by a recap section entitled ‘Before You Move On,” and a list of key terms. The key term/glossary sections are extremely useful. In particular, the key terms included in chapter three, “Significance of Materials Used in Art”, provide an excellent and comprehensive glossary of artistic materials. It is easy to imagine students consulting this resource routinely throughout the course. Many of the ‘Test Yourself’ questions included at the end of each chapter could also double as in-class discussion prompts.","organization_rating":5,"organization_review":"The book contains eleven chapters, organized thematically. The chapters cover conceptual questions, including: What is art, who is considered an artist, and why is art powerful (chapters one and nine)? How does art connect to our lives (chapter six), our identity (chapter eight), ritual life (chapter ten), and ethical world views (chapter eleven)? These conceptual discussions bookend chapters focused of the materials of art, and later chapters effectively circle back to themes briefly presented in the introductory chapter.\r\n\r\nThe remaining chapters provide students with art specific vocabulary and the descriptive and analytical tools to view, discuss, and interpret art and architecture. Chapters two (“The Structure of Art”) and three (“The Significance of Materials Used in Art”) provide students with an excellent and thorough description of the materials of art, which will be especially useful to students without a background in studio art. The authors are careful to include discussions of a wide variety of media including architecture (chapter seven), painting, printmaking, sculpture, video, performance, and new media. Chapters four (“Describing Art”) and five (“Meaning in Art”) provide students with an overview of strategies for formal and contextual analysis.","interface_rating":4,"interface_review":"The Table of Contents provides links to each subsection, which is an effective navigational feature. The artworks and charts embedded in the text are high quality, well placed, and increase reader understanding of the concepts presented. The consistent design layout makes it easy for the reader to shift between image and text. Due to copyright restrictions, however, the authors are unable to include reproductions of all of the artworks discussed in the text. In those instances, the text includes links to the images. Some of the links to artworks are broken or point to sites that will require students to sift through extensive texts or image sets to find the artwork mentioned in the textbook. Along with the artist and title, it would be helpful to include the date, medium, size, and location in the label accompanying each artwork. This is a highly accessible textbook—the authors offer a variety of ways to download the PDF as both low- and high-resolution files, chapter sets (1-3; 4-7; 8-11), and in Japanese translation. The work is licensed under a Creative Commons Attribution-Share Alike 4.0 License.","grammatical_rating":4,"grammatical_review":"The text does not contain obvious grammatical errors. However, it does contain typographical and spelling errors; accents are omitted at times.","cultural_rating":4,"cultural_review":"Overall, the text makes use of examples that are inclusive of a variety of races, ethnicities, and backgrounds. At times, the text misses opportunities to bring the discussion into communication with cultures that flourish beyond the Western world. Greater attention to indigenous cultural specificity is warranted. For example, the authors reference the Aztec Plumed Serpent deity Quetzalcóatl (p. 256) in the context of Chichén Itzá, which is a Maya site located in the Mexican state of Yucatán. However, Kukulcán is the name of the Yucatec Maya deity to which the main temple at Chichén Itzá is dedicated. The authors should reconsider using the word ‘Eskimo’ (p. 270) or explain that ‘Eskimo’ is a designation imposed upon Inuit and Yupik people that has been rejected by Inuit communities for decades. This is one of several instances in which the authors could engage more significantly and critically with histories of settler colonialism. Other opportunities to confront biased Western narratives could occur in the sections focused on mahogany harvesting in the Caribbean (p. 88), Manifest Destiny (p. 161-162), and discussions of transatlantic trade in general. The discussion of Jaune Quick–to–See Smith's (an enrolled Salish member of the Confederated Salish and Kootenai Nation) \"Montana’s Trade (Gifts for Trading Land with White People)\" presents one such opportunity (p. 168), but both links to her work are broken. Because the artist’s name is misspelled twice in this section, students may encounter difficulties finding a reproduction of the work independently. Similarly, the authors could confront histories of enslavement more frequently, modeling their discussions on the section dedicated to Fred Wilson’s \"Mining the Museum\" exhibition (p. 289-290).","overall_rating":9,"overall_review":"This text represents an important contribution in the effort to make art and the study of art accessible to students. Undergraduates studying art appreciation will benefit from the accessible prose, clear design layout, and high-quality in-text illustrations.","created_at":"2020-12-13T17:02:01.000-06:00","updated_at":"2020-12-13T17:02:01.000-06:00"},{"id":4733,"first_name":"Daniel","last_name":"Vedamuthu","position":"Instructor of Art and Design","institution_name":"Rochester Community \u0026 Technical College","comprehensiveness_rating":4,"comprehensiveness_review":"Books for Introduction to Art / Art Appreciation courses usually cover some standard topics: the definition of art, materials used to make, the elements of art and the principles of design, reasons for creating art, and methods of formal analysis of art. Introduction to Art: Design, Context, and Meaning covers these topics in the appropriate amount of depth.\r\nTexts usually then present a thematic, chronological, or cultural history of art. Introduction to Art: Design, Context, and Meaning focuses on a thematic approach. Figures often appear without dates. Courses that focus on a chronological approach will find this text lacking. \r\nThe text lacks a “whole book” glossary of key terms. The Key Terms are found at the end of each chapter. The text includes a Table of Contents but does not have a formal index. This would have a negative impact on a printed version of the text. In the PDF version, searching the text is only a click away.","accuracy_rating":4,"accuracy_review":"The text is accurate. One of the most important aspects of accuracy in a text in this subject is ensuring that the Artist, Artwork Name, and Date of Creation are correct. Doing a few random spot checks, when this information is present, the information is correct. Figures are labelled with the source author, source location, and the license.\r\nOne area the text could improve is the lack of pronunciation guides in the text and in the Key Terms areas.","relevance_rating":4,"relevance_review":"Being a text covering the thematic history of visual art, the content itself will not go out of date. The lack of contemporary imagery is the biggest drawback to the text, due to licensing of the figures. To include contemporary artwork in the text, links to outside images are provided in the text. Outdated links or redirects could cause the text to become obsolete. I believe it would be helpful to have a section after the copyright page or at the end of the text describing when links have last been updated or revised.\r\nHowever, the text is organizing in such a way that adding new images requires revising the thematic examples throughout the text instead of having to add and reorganize chapters. This is a benefit for adding new contemporary or cultural examples through the text.","clarity_rating":5,"clarity_review":"The text is very clear. Art terms are clearly explained. Written examples are used to explain difficult terms. Even more importantly, Figures are used to demonstrate the meaning of art terms. When there are contrasting ideas, the text provides multiple Figures to demonstrate those competing ideas and provide instant opportunities for students to discussion about compare-and-contrast between the two figures.","consistency_rating":5,"consistency_review":"The text is consistent on how it approaches topics. Art terms are using consistently throughout the text.","modularity_rating":5,"modularity_review":"The text is built to be modular. Each chapter could be assigned in any order, though it’s obvious that the editor has an intended order for reading at the beginning of the text in order to logically introduce readers to the topics.\r\nToward the end of the text, the topics become more thematic, and these chapters could be easily reorganized and adapted.\r\nEach Chapter’s main Chapter Content has clear headings and well-defined sub-headings. Each level of heading seem to be good breaking points to create smaller readings or to remix and rearrange the text.","organization_rating":5,"organization_review":"Chapters in the text follow a logical and consistent structure. Each chapter establishes Learning Outcomes (which are meaningfully written), and Introduction, Chapter Content with well-defined subheadings, a conclusion named “Before You Move On” that includes Key Concepts and Chapter Questions, and finally, a list of Key Terms from the Chapter. Chapters build in a logical progression a the beginning of the text.","interface_rating":5,"interface_review":"The real point of concern with any art appreciation text is the quality of the images. The resolution of most images appears to be sufficient for screen and print. Images are no distorted. Navigating the text is easy through PDF Bookmarks.","grammatical_rating":5,"grammatical_review":"I observed no grammatical errors in the text.","cultural_rating":4,"cultural_review":"This book features many examples that vary from the traditional art appreciation “textbook examples.” Images still tend to represent a “western art” perspective. There are examples from a range of different cultures but compared to some of the best commercial textbooks for cultural relevance, this text does compare to those standards.  \r\nAre there any other comments you would like to make about this book?\r\nI am not fond of the typographic and typesetting choices made for the text. Multiple columns of text would reduce some of the very long line lengths found in the text. With a long line length and narrow leading, the lines seem to blend together. Figures do not seem to follow a strict layout grid that enhances the layout of the information. The drop-shadows on Figures are unnecessary. Fake small cap on Chapter names in the Table of Contents isn’t high quality.","overall_rating":9,"overall_review":null,"created_at":"2021-04-01T15:00:32.000-05:00","updated_at":"2021-06-01T11:09:47.000-05:00"},{"id":4845,"first_name":"Meidor","last_name":"Hu","position":"Professor","institution_name":"Hawaii Community College","comprehensiveness_rating":5,"comprehensiveness_review":"This text is a comprehensive survey of ideas and subjects— theoretically and historically, similar to other text for an introduction to visual arts course. A wide variety of artistic media styles, time periods, and regions are covered, mostly with examples from Western art. Love the \"Test Yourself\" and \"Key Terms\" section at the end. It is lacking an index and glossary at the end of the text. I can see how this text can be easily incorporated with my previously prepared lessons. ","accuracy_rating":5,"accuracy_review":"The text reads unbiased and highly accurate. Although the image examples left out info on size, media, date and location of the art work.","relevance_rating":4,"relevance_review":"The text is current but could give more focus on art since the 1960s and inclusion of more women artists.","clarity_rating":5,"clarity_review":"The writing is clear and easy to read. The \"Test Yourself\" section at the end of each chapter is a great addition to check for understanding.","consistency_rating":5,"consistency_review":"There is consistency in the logical structure and presentation.","modularity_rating":5,"modularity_review":"The chapters and subheadings are logical. Each chapter opens with Learning Outcomes and ends Key Concepts, Test Yourself, and Key Terms sections to check for understanding. The subheadings are in easily digestible sections.","organization_rating":5,"organization_review":"The text's organization is clear in format and structure.","interface_rating":4,"interface_review":"The basic design is clear and non-distracting.  The image quality were also good.","grammatical_rating":5,"grammatical_review":"No issues with grammatical errors.","cultural_rating":3,"cultural_review":"Although the text incorporated examples from different cultural and geological region, the majority of the discussions are Eurocentric in perspective.  More attention to Asian, African, Pacific and the Americas would give the content more diversity.","overall_rating":9,"overall_review":null,"created_at":"2021-04-23T20:35:20.000-05:00","updated_at":"2021-04-23T20:35:20.000-05:00"},{"id":4886,"first_name":"Ines","last_name":"Corujo-Martin","position":"Adjunct Assistant Professor","institution_name":"New York City College of Technology","comprehensiveness_rating":4,"comprehensiveness_review":"This textbook seeks to offer a deep and comprehensive insight into the world of art, including a broad variety of perspectives, such as art and meaning; art and power; art and ethics, among many other subjects. It contains over 400 high-quality images that illustrate the various forms of art, its technical applications, and its many uses. The table of contents seems detailed at first, but a closer look reveals the lack of logical and coherent progression. While Chapters 1 and 2 analyze the meaning of visual art, what is an artist, and the structure of art, Chapter 3 jumps into the study of materials, introducing jargon and technical terms that belong to an art history or more specialized course. Chapters 4 and 5, which respectively explore “Describing Art” and “Meaning in Art,” should have been placed right after Chapter 1, as they cover basic topics and terms. On the other hand, Chapter 7 delves into art in architecture, while other forms of art like painting, sculpture, or photography are neglected and find no space of deep analysis in the textbook. Overall, the content is imbalanced and needs more work, as well as the inclusion of updated materials and examples. Relevant chapters that could introduce thought-provoking and add new perspectives into the classroom (e.g., Chapter 8: Art and Identity; Chapter 9: Art and Power) are brief in comparison to other sections and offer a superficial and simplistic overview on very complex topics. For example, the authors do not illustrate the relationship between art and the construction of intersectional identities of race, gender, nationality, and ethnicity, mainly centering on religious and spiritual values (Chapter 6 and Chapter 10). \r\nAlthough each chapter ends with a section of \"Key Terms,\" there is no glossary or list of illustrations at the end of the textbook. It includes footnotes citing the references employed, but there is no final bibliography, which is detrimental for an introductory college textbook that should provide a condensed view of documentation in the field.\r\nThis textbook is inaccurately described online as “digital in nature,” when it takes on a conventional approach to teaching and learning. The only digital component is the inclusion of links embedded throughout the text, most of which are not contextualized. Some of these links do not work, and others send students to artworks with poor image quality. The textbook as a whole fails to provide digital activities and/or projects to expand students’ educational experiences beyond the textbook, helping them master concepts (i.e., quizlets, flashcards, videos, interactive images, etc.). It does not contain learning features like annotate and bookmark, which increase engagement with course content. Besides, there is no way to monitor students’ progress. It would have been useful to incorporate review, summary, and expansion activities at the end of the chapters, in addition to self-quizzes, to enhance student performance and facilitate the grasp of content.","accuracy_rating":4,"accuracy_review":"The images do not include information on the artist, title, size, medium, date, and museum/collection of the works of art, and the emphasis is solely placed on the open source. Names of artists are sometimes misspelled and show no consistency like Vassily Kandinsky instead of Wassily Kandinsky (p.106).","relevance_rating":3,"relevance_review":"As previously noted, this textbook takes on a traditional approach both in content and format, failing to add innovative insights to the art field. It mostly focuses on the pre-1960s period, and there is a notable absence of contemporary art, non-Western cultures, and art produced by female artists and people of color. There is barely no discussion of subculture art, urban art, or popular art, and the importance given to museums for the dissemination of art is minimal. There are stances in which the authors delve into topics that seem irrelevant to an introductory art course. For instance, the emphasis on the cultural value of materials (Chapter 3) seems very off-topic and, as already mentioned, should belong to an art history or material culture course. In contrast, relevant ongoing topics like digital art and the relationship between art and technology, often students’ favorite section, should be organized as a separate chapter instead of inserting disconnected and vague references throughout the text. \r\nThe textbook does not provide enough opportunities for students to develop their critical thinking. This aspect could have been polished by designing exercises to analyze the works of art presented or by adding case studies on current and relevant artistic activities to interpret practical scenarios. To give an example, the eleventh chapter--\"Art and Ethics\"--could be greatly improved by introducing recent articles and real-world examples to explore ethical dilemmas related to the concepts of intellectual property, collecting, and censorship.","clarity_rating":4,"clarity_review":"Overall, the language is clear and accessible, except for instances in which the authors use jargon and obscure terminology not appropriate for an introductory art course. Some of these technical words are not even included in the \"Key Terms\" sections at the end of each chapter, forcing the readers to figure it out by themselves and confusing students who might have little or no background in art.","consistency_rating":5,"consistency_review":"The template used is consistent through the chapters. There is consistency regarding structure, framework, and terminology.","modularity_rating":5,"modularity_review":"Each of the eleven chapters that comprise the textbook are organized into topics followed by subsections that are meant to connect back to the main theme. All chapters start off with a section of \"Learning Outcomes,\" summarizing the learning objectives that should be attained at the end. After this, an introductory part provides background and presents the main themes and ideas that will be covered. The constant inclusion of rhetorical questions throughout the text allows students to reflect on their own learning process and to recognize the impact of art in their daily lives. Moreover, each chapter ends with two conclusive sections: \"Before You Move On\" and \"Key Terms.\" The first one gives a list of discussion prompts to test the knowledge gained so far and to connect the content to students’ personal experiences. These self-reflection questions are particularly useful to engage students in their knowledge-building process and can be easily assigned to discuss in small groups during class or adapted for online forums to extend the exchange of views beyond the classroom.","organization_rating":4,"organization_review":"There is no introduction/preface in which the authors explain the structure they follow, their educational goals or the relevance and application of the content in this textbook. Having a preface at the beginning of the textbook is useful to specify and give more information on the intended audience, as well as the educational level for which it is recommended (although we assume it is addressed to introductory college/university courses on visual art, art history, and art appreciation). There are no suggestions for planning the course and using the textbook in the classroom. This lack of pedagogical guidance could be greatly improved in the future.","interface_rating":4,"interface_review":"This is an aspect that needs improvement, as many of the links do not work or the linked images and pages are missing. In other cases, when referring to previously discussed images, the labeling tends to be incorrect. It is frustrating that the links within the body of the text are so long and that they are not enclosed with a period, which distracts the reader. Other than that, navigation through the text is straightforward and the text is clearly displayed.","grammatical_rating":5,"grammatical_review":"The text does not include grammatical errors.","cultural_rating":2,"cultural_review":"The approach of this textbook is clearly Eurocentric and Westernized, leaving out examples of art from Africa, Latin America, indigenous tribes, or any other non-Western culture. The only part in which the authors make some explicit references to other cultures (in this case Asian) takes place is Chapter 10 on \"Art and Ritual Life\"; however, this discussion occurs within the framework of Western themes. \r\nThe vast majority of artworks in the textbook display white men and, as mentioned elsewhere in this review, there is no representation of female artists or people of color. This omission of diversity is problematic and one of its main downfalls. Art is one of the most powerful mediums to educate others on issues of inclusivity, social justice, and cultural sensitivity, which is key to forming well-rounded, global citizens. This textbook perpetuates a white-male-dominant perspective, following the typical works of art found within the canon of Western Art History. It is highly recommended that the authors revise the selection of pictures, citations, and examples to represent diverse cultures, races, ethnicities, genders, and backgrounds.\r\nIn this respect, it is noteworthy to mention that the eighth chapter on the subject \"Art and Identity\" is one of the shortest and most superficial ones (in comparison, for example, to the previous chapter devoted to architecture that occupies more than 30 pages). The chapter \"Art and Identity\" provides over simplified conceptions of what cultural identity means (and constantly from a Westernized perspective) and misses out the fertile intersection of art with gendered and racialized identities over the course of history.","overall_rating":8,"overall_review":"This textbook is not recommended as the main reference material or as a tool for organizing the course structure due to all the weaknesses in regard to content, structure, and cultural relevance detailed in this review. However, some of its sections can be incorporated into already prepared lessons, in particular Chapter 1, 4, 5, and 11, which from my perspective are the strongest. The textbook is not overly self-referential and some parts can be easily used as a supplemental material in combination with other educational resources.","created_at":"2021-05-04T20:03:03.000-05:00","updated_at":"2021-05-04T20:03:03.000-05:00"},{"id":4977,"first_name":"David","last_name":"Chatfield","position":"Adjunct Instructor","institution_name":"Community College of Aurora","comprehensiveness_rating":2,"comprehensiveness_review":"This text is not especially comprehensive. \r\n\r\nThe first, and the most egregious example is the lack of historical and cultural contexts, normally found in the form of sections on art history. The authors attempt to embed art history into sections on material, Formal Elements, and Themes in Art, but it lacks a lot of context.  This is especially the case when it comes to representation in non-western cultures. While I understand it is difficult to represent all cultures in dedicated chapters in this kind of text, and while I like the idea of embedding art history into other sections, they do not provide enough historical context and non-western cultures. One can choose a select group of representative cultures that demonstrate the relevant ideas that can give the students the structure and critical thinking skills needed to analyze the omitted cultures.  Exposure to other cultures and other contexts is essential to developing empathy, essential in developing critical thinking skills when considering new and unfamiliar contexts.\r\n\r\nFinally, while it is fairly comprehensive in describing other ideas, like materials, Formal vocabulary, and themes it's not very comprehensive on the application of those ideas. ","accuracy_rating":3,"accuracy_review":"While the content seems accurate, it is not unbiased. As stated above this text is pretty typical in so far as the overrepresentation of Western cultures (and cultures generally accepted by the Western Canon like Egypt or China) in textbooks. This shows a bias toward an outdated Eurocentric viewpoint.","relevance_rating":3,"relevance_review":"The content is not up-to-date. As an example, in the chapter on Protest and Shock, the most recent example is from 2001. There is a plethora of protest art from recent years, for example, BLM to the continued LGBTQ+ rights movements.\r\n\r\nThough the text does include some contemporary artists, like Mel Chin, the examples are outdated.\r\n\r\nThe text also has at least 2 outdated links to image examples. Relying on links to other sources does not ensure longevity as the web is ever-changing. One could PDF the source and include that, or just include the images directly.","clarity_rating":2,"clarity_review":"This text is pretty academic/inaccessible in its prose and doesn't provide much context for the terminology. For example, in the description of the often confusing Complimentary Colors, the authors state: \"There is a slight delay between the depletion and restoration of this chemical supply within the neuron. In the interim, an afterimage occurs. Look at the green, orange, and black flag for 10 seconds, then look at a blank wall or empty white space. (Figure 2.52) For a few moments, you will see the complement, or opposite, of green (red), the complement of orange (blue), and the complement of black (white)...\"\r\n\r\nThis idea is deceptively hard to teach, and even experienced art students are confused by Complimentary Colors. Describing chemical reactions and neurons might require one to explain what neurons are as well as what color wavelengths are on top of the cultural specificity of color and so-on and so-on only to additionally complicate a complicated idea, when what the student's need to know is how Complimentary Colors behave visually in contrast to Harmonious Colors, and why that is important to an artist. Compliments clash, while Harmonies don't.","consistency_rating":4,"consistency_review":"The text is fairly consistent in its terminology and seems to be organized by an overall framework, starting with the vocabulary, then materials, then finally themes of Art. I would like to see more ties between the different sections using the vocabulary. For example, in the earlier section on the Formal Elements and the later section on visual analysis, the vocabulary used in the early section isn't brought forward in a clear and consistent way. ","modularity_rating":4,"modularity_review":"The text is modular, with sections delineated out into broader ideas that are then explored specifically, that can be viewed independently if needed.","organization_rating":3,"organization_review":"As stated above the text is well organized. Looking at the table of contents one can easily find specific ideas and jump to them using the page number feature. That being said, it would be far more intuitive and accessible if the sections in the table of contents linked directly to their corresponding sections.","interface_rating":2,"interface_review":"Though this text has some accessibility problems.\r\n\r\nAs to the interface, I have been able to copy and paste text easily, making me think the text accessible to an eReader. I'd like to see how this text works with an eReader for visually impaired or neuro-divergent students. As of now, I do not see an option for the text to be read within this interface requiring a third-party eReader.\r\n\r\nThe images are small and cannot be enlarged or opened in another tab. Being able to zoom in helps students interact with the work in a more intimate way. This is also a huge problem for visually impaired students.\r\n\r\nThere are several broken links, and I've found that the PDF takes a lot of time to load, even on a stable internet connection. This could be problematic if a user's computer or internet connection is slow. Could the sections be broken into smaller, linkable sectons?\r\n\r\nBeyond a few links, the user experience is limited.","grammatical_rating":5,"grammatical_review":"As best as I can tell there are or no grammatical or spelling errors. Though I'm no editor.","cultural_rating":1,"cultural_review":"I did a keyword search and found a striking lack of non-Western Art. Renaissance is mentioned 30 times, while Africa/African: 8, Mesoamerica: 0, Aztec: 3, Mayan: 1. Aboriginal: 2, Pacific Island: 1, and so on. \r\n\r\nA cursory glance at the imagery is equally unrepresentative. I mostly see artwork from movements typically seen in Eurocentric Textbooks that dominate Academia (or cultures like Egypt or China, generally accepted into the Western Canon). The purpose of seeking out an OER is to move away from these types of texts.\r\n\r\nThis lack of representation is highly problematic.","overall_rating":6,"overall_review":"As to Higher Order Learning skills, specifically analysis/evaluation, I don't see enough in the text on how to analyze a work of art. They simply include a brief section with only two images and all too brief corresponding paragraphs of academic visual analysis. I don't see many connections to previous sections on the vocabulary used in visual analysis. The authors academically explain an idea, or a theme, but give the students much opportunity to apply those ideas.\r\n\r\nA good book should lay the groundwork first on the necessary ideas, concepts, and vocabulary. When a student gets to the analysis in this book I don't think they would be prepared to understand the analysis the authors provide.\r\n\r\nThen they need to have an immediate opportunity to apply those ideas. I realize this is part of my job, however, a good text does add exercises the authors find relevant to their text. My assignments may not be enough. At any rate, it's nice for the students to have additional options for the application of ideas.\r\n\r\nThis text also does not contain enough modalities in presenting the information. There are no supplemental videos, hands-on projects, or audio components. Just providing text and pictures is not enough. This particular text would require me to heavily supplement information, in which case I might as well toss the text and curate content that comes from multiple modalities myself. \r\n\r\nFinally, quizzes at the end of each section may provide decent quantitative assessments, there is little here to help me provide qualitative assessments. Again, I understand that is my job to provide those opportunities, but I've found good text does as well.","created_at":"2021-05-24T15:49:31.000-05:00","updated_at":"2021-05-24T15:49:31.000-05:00"},{"id":33341,"first_name":"Christine","last_name":"Shearer","position":"Adjunct Professor","institution_name":"Cleveland State University","comprehensiveness_rating":5,"comprehensiveness_review":"The book is a good resource for a basic art appreciation course that plans to focus more on topics and themes and less on formal qualities. Most of the examples are of a Western focus and provide a very Eurocentric viewpoint. There is a lack of female representation, both as maker and patron, providing a male-centric focus—a common occurrence in art historical textbooks.","accuracy_rating":4,"accuracy_review":"The images are great examples; however, they do not include any information that most professors would include in their lectures and PowerPoints—artist, title, date, medium, location.","relevance_rating":4,"relevance_review":"For a survey it has relevance, but it is not relevant for an upper division art history course. The book does not include much material post-1960, lacks representation beyond Europe and Western civilization, and is light on female contributions.","clarity_rating":5,"clarity_review":"The template of the book is clear, nicely designed, and consistent. The writers have expressed their ideas in easy-to-understand language and have provided images and/or links to images to expand the learning experience visually. At the beginning of each chapter there is a list of learning objectives, and at the end of each chapter there is a review of key concepts, a test yourself section, and key terms.","consistency_rating":5,"consistency_review":"The book is arranged thematically throughout, and the format is the same for each chapter.","modularity_rating":5,"modularity_review":"Each chapter is broken down into subsections that are easy to pull out and assign in a different order than they are presented or as part of another course.","organization_rating":4,"organization_review":"The organization of the book is by theme. It is structured to cover what is art and how to make art in the beginning chapters and then progresses through different forms before landing on specific themes. It can be used as presented or re-arranged to fit another format.","interface_rating":5,"interface_review":"There are hyperlinks that are a little long. These could perhaps by converted to bitly links to make it less distracting when you come across them in the text.","grammatical_rating":4,"grammatical_review":"There are a few grammatical errors.","cultural_rating":4,"cultural_review":"As stated above, the book is heavily Eurocentric and focused on Western art. Very little material on women and post-1960 is included within that focus as well. It does not include non-Western art and culture which is often lacking from many art historical texts. Sections could be used for supplementing material in other courses, but overall, it is a good source for an introductory art appreciation course.","overall_rating":9,"overall_review":null,"created_at":"2021-07-11T11:24:46.000-05:00","updated_at":"2021-07-11T11:24:46.000-05:00"},{"id":33604,"first_name":"Monika","last_name":"Meler","position":"Assistant Professor of Art and Foundations Coordinator","institution_name":"University of Saint Francis","comprehensiveness_rating":4,"comprehensiveness_review":"This book is a good and comprehensive text outlining themes and ideas. I see the audience for this text being complete beginners. It focuses less on formal principles and elements and tackles larger, more comprehensive themes like defining art, audience, and really large and complex ideas like identity, and power. Because it is a large survey textbook, these topics are not discussed in depth but do offer a brief introduction.  The text does have a lot of questions at the end of chapters that would spark great conversation about these topics from beginning students.  \r\nI don't mean to suggest that the book doesn't discuss elements and principles, but not nearly in as much depth as the textbook we use for foundations courses currently.  I would use portions of this book for a 2D, 3D, or beginning drawing class, but it would not be an accurate replacement text for an intro/foundations course. For instance, the chapter on \"describing art\" would be very applicable to introduce students to critique. There are great examples of formal analysis that would be excellent to start the process of critique with.","accuracy_rating":5,"accuracy_review":"The content of the book is very accurate.","relevance_rating":3,"relevance_review":"This is tricky to evaluate because this book is extremely relevant to beginning students.   I could see this book being used in an art appreciation class or a class for non-majors not looking to go very deep. In our program, we teach a series of 1 credit  beginning seminars for art majors that introduce them to different areas of study in studio art, audience, content, materials, and meaning.  If I have the opportunity to teach one of these classes, I will definitely be pulling parts of this book.  As you know, I am a fan of the \"Describing Art\" chapter and foresee using the \"Connecting Art to Our Lives\" chapter in the class as well as \"Meaning on Art\" in the courses. \r\n\r\nMy vote of \"3\" here is because of the lack of cultural diversity in the art that is represented and the fact that there are very few examples of more contemporary art. The examples are very European and this is why I would not use this as the sole text for any class. I would need to supplement with more contemporary/culturally diverse perspectives. Contemporary artists are mentioned, but few visual examples are used.","clarity_rating":5,"clarity_review":"I think the book is very clear and consistent and believe that it communicates well to a beginning audience.","consistency_rating":5,"consistency_review":"The book is very consistent. I like that each chapter begins with a section on \"learning outcomes\" and concludes with a review of key concepts.  If your course includes tests or quizzes, this consistent structure would make it easier to construct the texts/quizzes and would serve as a nice study guide for students.","modularity_rating":5,"modularity_review":"I addressed some of this in the \"consistency\" review above but this is one of the books biggest strengths. It is very easy to pull just one part of the book and teach from sections.  The sections do no depend on the student having knowledge of previous chapters/sections.","organization_rating":5,"organization_review":"As I have mentioned in previous points, this is a strength of the book.","interface_rating":5,"interface_review":"There are no interface/navigation problems.  I am impressed with the quality of images used.","grammatical_rating":5,"grammatical_review":"I do not see any grammar issues.","cultural_rating":1,"cultural_review":"This is one of the major issues I see with the book and I mentioned that in the points above.  Other reviewers have also mentioned the lack of focus on cultural inclusion/diversity.  If this book is to be used as a sole text for any course, it would have to be much more inclusive.","overall_rating":9,"overall_review":null,"created_at":"2021-12-30T12:05:40.000-06:00","updated_at":"2021-12-30T12:05:40.000-06:00"},{"id":33839,"first_name":"Eddy","last_name":"Mora","position":"Faculty","institution_name":"Johnson County Community College","comprehensiveness_rating":5,"comprehensiveness_review":"Very comprehensive touching on subjects required not only to understand art but design as well. Topics were related to visual communication, visual literacy, and meaning. I love that the author does not stop at aesthetics but follows with cultural and societal values.","accuracy_rating":5,"accuracy_review":"Having studied art for the last 30 years I can recognize the subject in reference and it appears to be accurate.","relevance_rating":5,"relevance_review":"Very relevant. I loved the introduction to the text because it makes it relevant to current and future generations of students, linking image use to cultural context and meaning.","clarity_rating":5,"clarity_review":"Very clear and easy to follow and understand.","consistency_rating":5,"consistency_review":"I like the sequential consistency of the text.","modularity_rating":5,"modularity_review":"Very easy to pick up were left off.","organization_rating":5,"organization_review":"The book is very relevant in the progression of topics. I love how is organized. The organization logic could help teachers focused on specific topics.","interface_rating":5,"interface_review":"Beautiful interface put together and easy to follow. Very well documented with images and captions.","grammatical_rating":5,"grammatical_review":"No grammatical errors that I found.","cultural_rating":5,"cultural_review":"The text is very inclusive culturally. I liked how it helps the reader travel through continents with different styles, modes, histories, and artists.","overall_rating":10,"overall_review":"I would recommend this book not only for its relevance to art history or fine art students but also to use with graphic design students. The many topics touched such as art structure, materials relevancy, communication, art analysis, and design formalities are more needed in design now more than ever, especially in face of the open cultural globalization our youth is experiencing.","created_at":"2022-05-08T07:14:19.000-05:00","updated_at":"2022-05-08T07:14:19.000-05:00"}],"url":"https://staging.open.umn.edu/opentextbooks/textbooks/introduction-to-art-design-context-and-meaning","updated_at":"2025-12-15T02:31:42.000-06:00"},{"id":407,"title":"Understanding Music: Past and Present","edition_statement":null,"volume":null,"copyright_year":2015,"isbn10":null,"isbn13":null,"license":"Attribution-ShareAlike","language":"eng","accessibility_statement":"","accessibility_features":[],"description":"Understanding Music: Past and Present is an open Music Appreciation textbook co-authored by music faculty across Georgia. The text covers the fundamentals of music and the physics of sound, an exploration of music from the Middle Ages to the present day, and a final chapter on popular music in the United States.","contributors":[{"id":4016,"contribution":"Author","primary":true,"corporate":false,"title":null,"first_name":"Alan","middle_name":null,"last_name":"Clark","location":"Middle Georgia State University","background_text":"Dr. Alan Clark is currently Director of Bands at Middle Georgia State University. He has taught and conducted at all levels from middle school through high school to professional military bands. While teaching High School in Lakeland, Florida he also served as an adjunct music faculty member at Florida Southern College and as an instructor with the Suncoast Sound Drum and Bugle Corps."},{"id":4017,"contribution":"Author","primary":false,"corporate":false,"title":null,"first_name":"Thomas","middle_name":null,"last_name":"Heflin","location":"Abraham Baldwin Agricultural College","background_text":"Tennessee-born jazz trumpeter Thomas Heflin has been hailed as “a fluent trumpeter with a bright tone and a forward-looking style” by jazz writer Scott Yanow. In 2005, he placed second in the Carmine Caruso International Jazz Trumpet Solo Competition in Seattle, WA and has since been featured or mentioned in Italy’s Jazz Magazine, The Pittsburgh Tribune Review and The International Trumpet Guild Journal among others. Heflin has released three albums as a leader on Blue Canoe Records, the last of which was a collaborative CD with Ron Westray, former lead trombonist with Wynton Marsalis and the Lincoln Center Jazz Orchestra. He has performed in a professional capacity with the likes of James Williams, Vincent Herring, Donald Brown, and Lou Rawls. Heflin has served as an instructor at the Manhattan School of Music Summer Music Camp, The Jefferson Center Jazz Institute, the University of Texas, the University Outreach and Continuing Education Program at the University of Tennessee and Roane State Community College. He also served as the Central Greenough Artist-in-Residence in Western Australia as well as an artist-in-residence the Always on Stage Festival in Charlottetown, Prince Edward Island, Canada. In 2009, Heflin received his doctorate in Music Performance (Jazz Emphasis) from the University of Texas, Austin. Shortly after, he moved to New York City and served as Program Manager and jazz faculty at the Manhattan School of Music Precollege Division for five years. He now lives in Tifton with his wife Danica and his daughter Anna Bree and is proud to serve as Assistant Professor of Jazz at ABAC."},{"id":4018,"contribution":"Author","primary":false,"corporate":false,"title":null,"first_name":"Jeffery","middle_name":null,"last_name":"Kluball","location":"Darton State College","background_text":"Originally from Valdosta, GA, Jeff Kluball earned a bachelor’s degree in music education in 1980 from Valdosta State College (currently Valdosta State University), and a master’s degree in music education in 1983 from the VanderCook College of Music in Chicago where he studied conducting under Victor Zajec. He continued his study in music conducting and band repertoire with Dr. William D. Revelli and received his Music Education Specialist Degree from Troy State University in 1990. Jeff completed his Doctorate of Education in Curriculum and Instruction at the University of Sarasota on February 6, 2001. His extensive research revolved around the influence of music study on academic achievement and brain development."},{"id":4019,"contribution":"Author","primary":false,"corporate":false,"title":null,"first_name":"Elizabeth","middle_name":null,"last_name":"Kramer","location":"University of West Georgia","background_text":"Elizabeth Kramer, PhD, Associate Professor of Music History and Associate Dean, Department of Music, College of Arts and Humanities, University of West Georgia."}],"subjects":[{"id":29,"name":"Arts","parent_subject_id":6,"call_number":"N85","visible_textbooks_count":56,"url":"https://staging.open.umn.edu/opentextbooks/subjects/arts"},{"id":6,"name":"Humanities","parent_subject_id":null,"call_number":null,"visible_textbooks_count":418,"url":"https://staging.open.umn.edu/opentextbooks/subjects/humanities"}],"publishers":[{"id":449,"url":"https://ung.edu/university-press/books/understanding-music-past-and-present.php","year":null,"created_at":"2018-09-07T12:22:39.000-05:00","updated_at":"2018-09-07T12:22:39.000-05:00","name":"University of North Georgia Press"}],"formats":[{"id":770,"type":"PDF","url":"https://web.ung.edu/media/university-press/Understanding%20Music-Past%20and%20Present-082817.pdf?t=1510261279926","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":2297,"type":"Hardcopy","url":"https://www.amazon.com/Understanding-Music-N-Alan-Clark/dp/1940771331/ref=sr_1_1?keywords=Understanding+Music%3A+Past+and+Present\u0026qid=1554994005\u0026s=gateway\u0026sr=8-1","price":{"cents":0,"currency_iso":"USD"},"isbn":null}],"rating":"4","textbook_reviews_count":14,"reviews":[{"id":906,"first_name":"Jonathan","last_name":"Chenoweth","position":"Professor","institution_name":"University of Northern Iowa","comprehensiveness_rating":4,"comprehensiveness_review":"To assemble a comprehensive survey of Western art music in a single introductory volume of modest size is an impossible task, and I applaud the effort to make such a text available in a format that avoids the usual sticker shock. But in its present form, this attempt is jargon-heavy and moves at a breezy pace with little time for reflection or subtlety.\n\nAs is the case with many music appreciation texts, the title makes no mention of the book’s focus on Western classical tradition(s). The brief excursions into popular music, folk music, and world music are exceptions that only reinforce the Western orientation.\n \nThe introductory chapter is unavoidably superficial as it attempts to incorporate the perspectives of physics, physiology, and psychology, while touching briefly on Western conventions of culture, notation, timbre, form, and instrumentation, as well as building a vocabulary to describe dynamics, articulation, intervals, pitch names, electronics, and recording. The important matter of calling attention to the immediacy of the listening experience is sidelined in this well-intentioned effort to be inclusive of multiple academic disciplines, and to be rather detailed about terminology specific to literate European musical traditions.\n\nThe text provides convenient links to listening opportunities — the majority curated from YouTube — but at times these amount to an avalanche of hastily examined examples. In the exploration of folk and world music, these examples are weighted towards the commercial side of things.\n\nSome mention of performers (and performance practice) and listeners (and reception history) would be helpful additions to the historical narrative focused on composers and styles.\n\nThe book (and each individual chapter) provides a glossary, but it lacks an index or page references attached to the definitions that would connect back to relevant passages in the text.\n","accuracy_rating":3,"accuracy_review":"Too often, technical terms are introduced without definitions, or the definitions lack precision. For example, on p. 16 the term “tri-tone” is used without definition and it does not appear in the glossary, nor again later in the book. The paragraph on p. 17 about key and scale is an example of vagueness and imprecision. \n\nThe reference on p. 57 to Gutenberg’s press misses the significance of his invention (movable type), and I question the accuracy of subsequent claims regarding the “decline of the church in the arts as well as music,” the idea that Luther ushered in the Renaissance, and the notion that the humanist movement produced “art and music for the vast middle class population.” Nearby, there is also a confused reference to “edge bounding.” (?) On p. 74 the authors claim that 18th c. opera stars were followed by paparazzi!\n\nThese are examples of a carelessness that too often creeps in to the narrative, and I am concerned that students will be led astray or muddled.","relevance_rating":3,"relevance_review":"The approach taken by this text is a familiar and enduring one, but many institutions and faculty are looking for alternatives to teaching music appreciation as a \"music history lite\" course. The legitimacy of being (or aspiring to be) \"comprehensive\" is also under scrutiny.","clarity_rating":2,"clarity_review":"Musicians, like any specialists, can easily become unaware of the specialized vocabulary that they routinely use, or of the specific meanings they attach to commonly used words. For example, in this book the terms “sharp” and “flat” are introduced without explanation, and musical notation is routinely used to make points that will be lost on any students lacking aural skills grounded in musical literacy. \n\nI am concerned that most students (even experienced musicians) would be confused by the diagrams on pp. 5-6; here, visual representations of a piano keyboard and of fractional string vibrations appear adjacent to verbal descriptions that can easily lead to misconceptions. (The seven letters of the “musical alphabet” are introduced next to a diagram illustrating the first seven partials, but these are completely different sets of pitches. The text reads: “Our musical alphabet consists of seven letters repeated over and over again in correspondence with these overtones.” The meaning here is unclear, but it is certainly misstated. Additionally, the term “partial” is incorrectly defined in the glossary; the fundamental is the first partial, whereas the first overtone is an octave above the fundamental. Unfortunately, the text uses the terms “overtone” and “partial” interchangeably and uses rather detailed (intimidating) musical notation to present them.\n\nOther potentially confusing presentations include the blues progression diagram and accompanying text on p. 19, which doesn’t indicate the fact that the progression returns to the tonic because it is repeated. The language on p. 122 offers a few more examples of obscurity, in that “antecedent/consequent phrasing” is undefined, the description “flexible deployment of rhythm and rests” is rather too nuanced, and the terms “crescendo/decrescendo” and “opus” are used without explanation.","consistency_rating":2,"consistency_review":"I think the book lacks a coherent lens, unless it is the frequently stated idea that music composition is grounded in its historical context. But this perspective is not pursued with any systematic integrity or rigor. For example, an extensive section at the beginning of the Baroque chapter outlines contemporaneous developments in science, philosophy, visual art, literature, politics, exploration — but the claimed influences of these subjects are never integrated into the musical discussion. The introductory pages to the Classical chapter do a better job of integration, but they include some over-simplifications and distortions. The discussion of Romanticism includes a summary of philosophy that is too breezy and jargon-laden to be meaningful, or to shed light on musical experiences.\n\nA simple but helpful addition to the text would be to insure that the names of historical figures are consistently accompanied by their dates at first mention.\n","modularity_rating":4,"modularity_review":"The book is presented in sections of reasonable length, with clear headings and subheadings to delineate the structure. Listening guides are formatted consistently, although they often lack index timings.\n\nThe book would benefit from cross references to passages where essential terms and topics are addressed elsewhere in the book.","organization_rating":4,"organization_review":"The conventional chronology of a historical survey is adhered to. Although this approach limits the possibilities for a broader examination of musical genre or function, it has its definite merits in coherence.","interface_rating":3,"interface_review":"Some of the Internet links may have copyright or longevity issues; for instance:\n\np. 23— Ellington video has been taken down\np. 215—a link intended to take us to La Traviata goes to Hildegard instead\np. 221—the intended clip begins 14’ into the linked video\np. 293—Ravi Shankar video is blocked\np. 295—Indonesian gong music is unavailable. \n\nThe links on p. 16 to a collection of videos produced by the authors do not work. ","grammatical_rating":3,"grammatical_review":"The quality and tone of the writing is uneven, and there are frequently misspellings, poor constructions, and opaque sentences. Introductory books demand a high level of precision, and all texts should model exemplary writing.","cultural_rating":3,"cultural_review":"I applaud the inclusion of popular music, but it is presented in an avalanche of superficially examined examples that do not give enough attention to matters of race, class, and gender. For that matter, the text as a whole avoids discussion of these topics. \n\nThe appendix that addresses world music seems remarkably out of touch with the international nature of most contemporary music with which many students are already familiar. Also, the distinctions between folk, pop, and art music that are presented at the beginning of the text are missing here. Instead, the music in this section is all lumped together as music of “others,” without acknowledging that the examples intersperse commercialized, modernized, vernacular, and traditional versions. \n\nIt may not qualify as a matter of inclusivity/exclusivity, but the text offers a rather unsympathetic presentation of avant-garde languages, including atonality, serialism, and music that the authors describe as “noise” vs. “harmonious sounds.”","overall_rating":6,"overall_review":"I respect the effort that went into putting this extensive book together, including locating numerous open source images and diagrams. I value the contribution that the authors have made in providing a no-cost alternative to commercially published texts. My comments are intended to direct the attention of would-be adopters to aspects that they may (or may not) want to addressor supplement or modify as they prepare their courses.","created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":1000,"first_name":"David","last_name":"Mulcahy","position":"Associate Professor","institution_name":"University of Arizona","comprehensiveness_rating":4,"comprehensiveness_review":"The book's main chapters provide a overview and history of music in the western world; starting with an introductory chapter about the 'fundamental' of music and proceeding chronologically from the music of the middle ages through popular music in the US in the 20th century.\n\nWork outside the western canon is briefly notated in appendix entries. ","accuracy_rating":5,"accuracy_review":"The provides a reliable guide to the musical periods and movements, personalities and forms it covers.\n\nIt may be served with a chapter that details the beginning of western music and it's history prior to the Middle Ages.","relevance_rating":5,"relevance_review":"Given that the provides a historical overview of western music form from the Middle Ages onward, the book has relevance and longevity. While new research might lead to new understanding of specific aspects, the book is a useful text with little danger of obsolescence.","clarity_rating":5,"clarity_review":"Newcomers to the field will certainly find the style of the book clear and accessible; the book makes excellent use of hypertext examples to illustrate the ideas and concepts discussed. More advanced students will find much to appreciate in the book's clarity and depth.","consistency_rating":5,"consistency_review":"The book employs a framework that successfully blends the work of its four editors into a coherent, consistent whole.","modularity_rating":5,"modularity_review":"Chapters are organized with sub-sections; it effectively breaks up the larger chapter topic into smaller, more 'digestible' units that can be easily assigned and/or focused on.","organization_rating":5,"organization_review":"Understanding Music begins with an introductory chapter guiding the reader through the major components of music; melody, harmony, etc., then proceeds with a historical, chronologically examination of western music from the Middles Ages onwards. The organization of the book is thus straightforward and familiar.","interface_rating":5,"interface_review":"The book utilizes a familiar and effective method of presenting information; chapters begins with a listing of objectives and vocabulary. Illustrations are presented clearly, along with hypertext links to materials on thew web.","grammatical_rating":5,"grammatical_review":"The book employs standard academic syntax and grammar.","cultural_rating":4,"cultural_review":"The book's focus is on western music and culminates in a final chapter on pop music in the United States. It is inclusive to the extent that the music  of the places and periods covered is connected to \"music\" as a whole. \n\nNon-western music is briefly included in the extensive appendix.\n\nReaders looking for an overview or comprehensive treatment of music from the rest of the world would be best served by other books ","overall_rating":10,"overall_review":"Understanding Music is a comprehensive and useful examination of the music of the western world.","created_at":"2017-02-08T18:00:00.000-06:00","updated_at":"2017-02-08T18:00:00.000-06:00"},{"id":1176,"first_name":"Steven","last_name":"Ashby","position":"Instructor","institution_name":"Virginia Commonwealth University","comprehensiveness_rating":3,"comprehensiveness_review":"I found the text covered all the musical time periods of Westen Classical Music very succinctly. I found the discussion of Popular music forms in the final chapter to be a fine choice, as it can be overlooked and is often a good jumping off point for discussing musical elements since it is the style which students are most familiar with. We can then backtrack to the preceding generations of music.  The text includes a nice glossary at the end of the book, and also at the end of each chapter. The chapter glossary should prove to be immediately helpful for students.  There is no index to speak of, which is disappointing. As an online/digital resource, the text needs a table of contents containing links to each chapter, so the reader does not have to scroll through many pages to find the neccesssary material. Same goes for a proper index.","accuracy_rating":4,"accuracy_review":"In reading the content, I found the material to be accurate, coinciding with my background of knowledge and other commercial text books I've read.MyI only wish is that there was further discussion on the style and ways in which each composer exploited specific music elements in their works.","relevance_rating":4,"relevance_review":"Being a history of music text, the facts and musical styles presented are laid in stone. Continuing research may find new angles and artifacts to provide new perspectives, but Beethoven's music will not change, Gregorian chant will still have the same appeal. If neccessary, I'm confident the text could easily be updated as needed. Mainly, I'm thinking of the final chapter on popular music.","clarity_rating":3,"clarity_review":"The text has been written in a very fluid, legible manner. Occassionally, there are areas that are short in their layout, feeling like necessary definitions where crammed into a paragraph. The highlighting of new vocabulary, or important facts are presented so the reader's attention is easily drawn to them. The summary charts comparing musical periods, ie. Barique v. Classical, are very clear and helpful.\nThe presentation of listening guides for the works presented is, for the most part, clear and easy to follow. An exception would be the guides for Beethoven's Fifth Symphony. The guides for each of the four movements where squished together in one run on chart. I'd like to see separation, so students may clearly follow along with the music they are listening to and studying.","consistency_rating":2,"consistency_review":"The layout and flow from chapter to chapter was very consistent: an introduction to historical and cultural events that happened during time period being discussed, follow by discussion of the musical style of the time, and then specific composers. What I found inconsistent were the discussions of the composers. Some were only a timeline of life events. Some only a list of prominent pieces. Some with a brief discussion of the composer's specific musical style. If I were to use this text, I would incorporate further discussion on each composer's use of musical elements so we can discuss why Mozart sounds like Mozart, and Beethoven sounds like Beethoven.","modularity_rating":4,"modularity_review":"Each chapter of the text is easily divided into the sections described above: historical/cultural context of time period being discussed, overview of musical style during the time, and discussion of prominent composers. Where need be, it would be easy to pick and choose composers to discuss, or leave out. As the development of musical styles is based on what has preceeded, reference to styles of previous generations cannot be avoided - you can't discuss Mozart properly without making refrence to Vivaldi, Bach, or Haydn's influence.","organization_rating":5,"organization_review":"The clarity, connection, and overlap of summarized material presented from chapter create an effective, and logoical progression from one musical period/style/composer to the next.","interface_rating":2,"interface_review":"The interface of this text is minmalistic, yet clear. \nAddition of chapter links in the table of contents would be very helpful. Necessary.\nA handful of the links to youtube videos for pieces being discussed are broken. Also, I'd prefer to use links that direct students to the specific piece or movement being discussed. Several links lead to a performance of the entire symphony when only a specific movements is discussed. I see this as a cause for confusion in studying the piece. External links to interviews, like the links to Khan Academy are a nice addition that give first hand insight to certain pieces. \nExamples of visual art created during the discussed time period need the ability to enlarge, so we can see the details discussed. Tiny thumbnail inserts are not very helpful. Google Art might be a good option.\nAgain, the biggest issue are broken links to listening examples.","grammatical_rating":4,"grammatical_review":"Though I noticed an occassional misspelling, or awkward turn of phrase, the grammar and presentation of language are clear and easy to follow.","cultural_rating":3,"cultural_review":"The text show no offense nor insensitivity to any background, race, or ethnicity. There are a couple occassions were it is clear the book was written by US citizens for use in a US course that could take away from it being used in other countries.\nThe appendix with an overview of different music from around the world is a nice touch.","overall_rating":7,"overall_review":"Overall, the text is clear and concise presentation of the evolution of Western Classical Music across recorded history. If I were to use this text, I would spend more time discussing specific musical elements (rhythm, melody, harmony, texture, and form) to create a character and understanding towards each composer's style and legacy to the genre. I would also rework the choice of pieces explored for certain composers, as the ones presented feel more obscure, and not always their \"greatest hit\". As a survey course, the text should focus on the most obvious choice for discussion and identification.","created_at":"2017-04-11T19:00:00.000-05:00","updated_at":"2017-04-11T19:00:00.000-05:00"},{"id":1319,"first_name":"Thomas","last_name":"Garcia","position":"Associate Professor","institution_name":"Miami University","comprehensiveness_rating":5,"comprehensiveness_review":"This book is a comprehensive look at music history.  It covers music from the Middle Ages through the Twentieth Century and beyond, and includes a look at Popular music in the United States.  It includes a glossary of terms and a discussion of music fundamentals","accuracy_rating":4,"accuracy_review":"This book is accurate for the most part, but covers so many topic in a short space that it lacks depth in any area.","relevance_rating":4,"relevance_review":"The book is up to date, and covers over a thousand years of music. Updates will be easy.","clarity_rating":3,"clarity_review":"This book is clear in terms of accessible prose, but covers so many issues and topics in a small space that clarity is not in service of learning.  It packs too much material in a 300-page book; it seems to cover topics superficially.","consistency_rating":3,"consistency_review":"This book is consistent in terminology, scope and breadth throughout the topics.","modularity_rating":5,"modularity_review":"This book is completely modular, in terms of historical periods and the division of topics in these historical periods.","organization_rating":4,"organization_review":"The book is well organized, with each historical period clearly delineated.  It is logical in terms of structure, but the there is a lack of depth in any given topic, trying to get too much material in each section.","interface_rating":4,"interface_review":"There are no significant issues in terms of images, etc.  This review had a paper copy of the book, which is far less useful than an online or digital version, especially since all of the musical examples are youtube video or audio.  This is another issue in terms of interface, since youtube presents both copyright issues and is inconsistent because of material pulled for copyright violations.","grammatical_rating":4,"grammatical_review":"The are no obvious grammatical errors.","cultural_rating":2,"cultural_review":"This book covers all music periods in Western music from the Middle Ages to the Twentieth Century, with a small section on this century,  and a section on Popular Music in the United States.  This is an issue in terms of cultural relevance.  The title is Understanding Music, which is misleading.  The title indicates that it could be about music history, theory, ethnomusicology, or any other large-scale musical topic.  It is exclusively about Western music history for most of the book, and the popular music section is only about American music.  This assumes that Western music is the only music that counts; it should have been titled Understanding Western Music, or something of this sort.  Since it seems to aim for inclusivity and cultural relevance, perhaps this should be rethought.","overall_rating":8,"overall_review":"I find this book to be problematic for a number of reasons, some of which are cited above.  The overarching problem with the book is that it uses a Swiss Army Knife or Leatherman multi-tool approach to music.  Either of these tools is useful in the short term to turn a screw or many other tasks, but will never replace a screwdriver, which is good for accomplishing a single task. This book bites off more than it can chew.  I think it might be useful for some courses, and would be a good study guide preparing students for a comprehensive exam, but do not think it would be a strong choice for a music history or a popular music course.  There is simply no depth to any one topic.  It covers many topics, and would not lend itself to a rigorous study of music history.  I think it would serve for a music appreciation text, but I would probably cut out some of the modules, especially the popular music section, which seems tagged on to a classical music text book.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1351,"first_name":"Lillie","last_name":"Gordon","position":"Lecturer","institution_name":"University of Tennessee","comprehensiveness_rating":2,"comprehensiveness_review":"This book covers all of the areas generally included in similar WAM textbooks, although late 20th and early 21st century composers are not engaged thoroughly. The introduction includes more focus on the science of music than most other options, which might increase students’ understanding and interest in the material, particularly non-majors. One nearly insurmountable flaw is the inclusion of the inaccurate and highly problematic “Popular Music of the United States” chapter and “Music of the World” appendix, both of which the authors seemed ill-prepared to tackle in a way consistent with contemporary scholarship and pedagogy (see below). Additionally, even within the WAM chapters, the authors often fail to engage difficult but ethically important topics. For example, “primitivism” is not problematized or discussed, though the term is used.","accuracy_rating":2,"accuracy_review":"As mentioned above, major inaccuracies and omissions occur in the last chapters, including the conflation of bluegrass and old time music (called “hillbilly” music, without discussion of that term). Rap is “traced back to Africa.” Worse yet, the minstrelsy section is horrifyingly under-discussed.","relevance_rating":2,"relevance_review":"Since the majority of the book deals with the past and a fairly established canon, most of it will remain relevant. Some of the links, however, are already obsolete. This is particularly problematic when those links are attached to listening examples, whose timings are listed in the helpful listening charts. It is worth noting that this book only nods towards pushing again the WAM canon. For example, the section on Felix Mendelssohn and Fanny Mendelssohn Hensel is titled “Music of the Mendelssohns,” but only one paragraph and no listening examples are a devoted to Fanny.","clarity_rating":4,"clarity_review":"The writing in the opening chapters is clear and comprehensible.","consistency_rating":2,"consistency_review":"This book, as mentioned above, is inconsistent in terms of its content, with the contextual information being much more thorough in some chapters as compared to others. The musical examples are also treated with more care in the earlier chapters compared to the later ones. It seems to be fairly consistent in terms of terminology, although the explanations of words like “homophony” in the introduction should more clearly match the way they are used throughout the book.","modularity_rating":2,"modularity_review":"Professors may find the subdivisions within chapters of this book difficult to use. Compositions are grouped by composer rather than genre, which would make teaching in coherent and cohesive units a challenge, and might reinforce the “great men” style of teaching WAM history.","organization_rating":2,"organization_review":"Given that the chapters’ internal organization is by composer, it is surprising that those composers are not presented in birth order or order of composition. For example, John Philip Sousa is presented before Giuseppe Verdi, even though the featured composition from Sousa dates from 40 years after the Verdi composition, and Sousa knew Verdi’s compositions. This mode of organization could be very confusing for students.","interface_rating":3,"interface_review":"The interface for this textbook is fine, aside from the outdated links. Refreshingly, there are very few side bars, so the narrative flows smoothly. It being an online textbook, this book would have benefited from links to videos for the opera examples, among others.","grammatical_rating":4,"grammatical_review":"I didn’t see any grammatical errors, but did notice one issue with capitalization.","cultural_rating":1,"cultural_review":"Cultural relevance is an area in which this book is severely lacking. Despite the welcomed inclusion of Martin Luther and Koji Kondo, composer of the music from The Legend of Zelda, the book did not highlight any composers of color or women in the WAM tradition in the 20th and 21st centuries (of which there are many). As mentioned earlier, terms like “primitivism” and “minstrelsy” are left woefully underexamined, and the discussion of popular music and world music border on racism.","overall_rating":5,"overall_review":"One major advantage of this book in the WAM chapters is the broad discussion of historical context. Compared to other books of its type, this one takes a considerable amount of time setting up the political and artistic context of each period discussed, at least in the chapters on the music before the 20th century. I also appreciated the timelines listing historical and musical events.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1409,"first_name":"Jason","last_name":"Heald","position":"Associate Professor","institution_name":"Umpqua Community College","comprehensiveness_rating":4,"comprehensiveness_review":"Understanding Music: Past and Present is a conventional survey of Western European Music for non-music majors. The information is, for the most part, presented chronologically, and the authors provide detailed historical context for each musical period and specific compositions. The book’s presentation of “popular music” seems pasted into the text and could be more integrated into the history of common practice music. World music is discussed briefly in the Appendix and would serve as a “teaser” for other college music courses, but is not presented with any real substance.","accuracy_rating":5,"accuracy_review":"Overall, this text is factually accurate and provides students with reliable information.","relevance_rating":4,"relevance_review":"With the exception of a handful of the popular music references, (which reflect current trends that might be less relevant in the near future), this text should have a long shelf life.","clarity_rating":4,"clarity_review":"This book is written in a style and structure that should be intelligible to most college students.  Beware that the authors’ use of musical terms and jargon goes far beyond what a non-music student is likely to understand. The instructor will have to prioritize the terms and concepts that are most important for the student to master.","consistency_rating":4,"consistency_review":"The book’s presentation of Western European “Art music” is quite thorough and presented in a fairly uniform manner. However, the distinction and definitions given to “Folk music” and “Popular music” are very problematic. The authors may want to consider if, for example, Handel and Mozart, (who endeavored to write popular music), really thought that their music would not “stand the test of time”, which is implied in the authors' definition of popular music. The Venn diagram used to illustrate the authors’ point seems to defy all music history, and creates inconsistencies within the book, e.g. John Phillip Sousa is presented as a composer of Western European art music, while Scott Joplin is presented as composer of popular music.","modularity_rating":5,"modularity_review":"This book is divided into logical sections that can easily be designated for specific class assignments, courses, or course sequences.","organization_rating":5,"organization_review":"The book is very conventional in its organization, presenting an introduction to the elements of music followed by a detailed historical overview.","interface_rating":5,"interface_review":"The book presents clear illustrations and diagrams, and provides audio and video links for musical examples.","grammatical_rating":5,"grammatical_review":"The book employs good grammar throughout.","cultural_rating":5,"cultural_review":"The book provides a detailed look at Western European music, but also supplies a human and historical context for the music. At a time when students have access to an unbelievable wealth of music, but have fewer historical references through which to understand the music, this book provides an invaluable lens to allow the student greater understanding music from the past and in the present.\n\nThe book makes an effort to be inclusive, both in musical examples and language used in the text.","overall_rating":9,"overall_review":null,"created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1721,"first_name":"Matthew","last_name":"Donahue","position":"Lecturer","institution_name":"Bowling Green State University","comprehensiveness_rating":4,"comprehensiveness_review":"This book (Understanding Music Past and Present) does a good job of covering a variety of Western musical styles for the non-music major student.  Keep in mind that this book is only an introductory textbook and is not meant to go in depth into the topics covered. The variety of musical styles covered is beneficial for someone teaching a course on music that is broad and for non-music majors, as it allows for a variety of topics to be taught in a course.  Also helpful is that there is a glossary of terms, illustrations and photographic material in an effort to engage the non-music major student.  Additionally, the Youtube links are also helpful to students who likely are not too familiar with many of the artists and styles included.  While this textbook may seem basic, it is ideal for an introductory course.  The book's index also is effective, additionally as mentioned above, this book has numerous photos and illustrations, and Youtube video links which help to convey information for the reader as well.\n","accuracy_rating":4,"accuracy_review":"This book is accurate and through its broad topics covered manages to be inclusive.  This textbook covers not only the fundamentals of music, but also music though the ages.  Particularly interesting is the Popular Music in the United States chapter as it covers the ways in which American popular music rose to prominence.  There is certainly ample room for this chapter to be expanded as this topic will likely be of interest to the non-music major who might be familiar with some of the styles included i.e.. blues, jazz, rock and roll, rap etc....\n","relevance_rating":4,"relevance_review":"The content is up to date and this book does cover the history of the various topics covers.    This allows the student to cover this material from a historical point of view, the inclusion of illustrations and video links is also helpful in terms of introducing the non-major student to the artists and or musical styles mentioned in each chapter.  I like how the book did cover the relevance of music from different eras, including the Middle Ages, the Renaissance, the Classical Period, right through popular music in the United States.  I feel that the section on American popular music was good, the authors should consider expanding on this chapter to include a wider array of popular music styles as this section might likely be more relevant and of interest to the \nnon-music major student.\n","clarity_rating":4,"clarity_review":"This book is very clear in its writing.  This book  covers a broad area of topics related to Western music.  In doing so, this book helps in serving a broad group of students particularly non-music majors.  This book is a basic introductory textbook and for non-music majors. The Youtube links that are included in the book are helpful as they allow the student to gain more familiarity with the artists that are included in the chapters, many of whom they are likely unfamiliar with.  The glossary of words coupled with the terms in bold in each chapter helps to bring this book as a better learning experience and something that the student can be tested on.  Keep in mind that this book is best for students who are not majors in music as it is a basic introductory textbook only.\n","consistency_rating":4,"consistency_review":"As mentioned above, this book does a good job of conveying information by including a glossary which is connected to the terms in bold for each chapter.  This is a plus as it allows for a way to test students and forces the students to learn the terminology.  Additionally, the color illustrations are also of interest to the learner and allows for further learning to take place.  This could be another way in which students could be tested on this material.  To not only test them on terminology, but also the illustrations presented and the video links allow for additional ways of testing students.\n","modularity_rating":4,"modularity_review":"There are no problems with the books modularity.  The book is divided in such a way that it does allow for each chapter to be discussed in detail in one lecture sitting.  Also the authors did a good job of presenting a variety of topics in each chapter that could be examined further in a lecture or as a starting off point for that topic etc....  Keep in mind that this book seems to be designed for non-music majors.","organization_rating":4,"organization_review":"There are no problems with the organization and flow of the textbook.  ","interface_rating":4,"interface_review":"The interface of this textbook is quite good.  The authors inclusion of illustrations, photographs and also video links will be helpful to the non-music major student.  The video links in particular, as students are likely not familiar with many of the artists who are presented in this textbook.  The video links will be helpful to students who are new to this field of study and musical styles and will allow them to get a further understanding tot he approach of the performers included.  This is directly related to the section on American popular music.  The problem with Youtube links is that they are here today and gone tomorrow.  However, if this portion of this book is regularly maintained, it should not be an issue.","grammatical_rating":4,"grammatical_review":"There are no major grammatical errors in this textbook.","cultural_rating":4,"cultural_review":"This book does take up a variety of different topics in music through the ages.  I do think that the section on American popular music could be expanded as this will likely be of most interest to the non-music major..  This book is a basic introductory textbook, which is appropriate for non-music majors.  The authors have attempted to be inclusive in their approach to cover a variety of topics to reach broad audience of non-music majors.  The inclusion of video links will also be helpful as it will provide examples for students who are likely unfamiliar with some of the artists and styles presented.","overall_rating":8,"overall_review":null,"created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1872,"first_name":"Alexandre","last_name":"Beliaev","position":"Lecturer","institution_name":"University of California, Berkeley ","comprehensiveness_rating":4,"comprehensiveness_review":"This book contains a glossary of musical terms at the end of each chapter, as well as an extensive general glossary for the whole textbook as an appendix. The book does not contain an index for those who want to find where specific terms or topics are discussed. Given the electronic interface, it would not be difficult for readers to use the Ctrl+ Find function to do so, but a written index would have still been helpful. \n","accuracy_rating":5,"accuracy_review":"There were no noticeable errors in this text. The authors are clearly experts in their fields, and presented informed and balanced explanations of the material.","relevance_rating":3,"relevance_review":"A significant shortcoming of this text is its limited attention to popular music that it’s undergraduate readers would likely already be listening to. Only a few songs of the post-WWII period are analyzed. Discussion of rap and R\u0026amp;B is included, as well as Broadway musicals, but much more could have been done to connect the trajectory of Western music with the immense of variety of genres and artists that would already be familiar to this textbook’s readers. However, it would not be difficult to fill these lacunae in future editions. ","clarity_rating":5,"clarity_review":"This is a highly accessible text. Undergraduates of any level would have no difficulty understanding this material; the text assumes no previous knowledge of either music or European or Western history. Key terms are clearly explained in the introductory chapter, and are given enough context and explanation in the body chapters as to be easily understood on their own. Over the course of the textbook, students learn to develop a nuanced musical vocabulary without relying on unnecessary jargon. Each chapter dedicates space to providing adequate historical context. \n","consistency_rating":5,"consistency_review":"This is a highly consistent text. Each chapter follows a set format: objectives, key terms, an introduction and historical context, thematic sections with links to representative musical compositions and performances, listening guides for select pieces, a chapter summary, and a chapter glossary.\n","modularity_rating":5,"modularity_review":"This text is comprised of clear chapters and sub-chapter sections that could be easily assigned over the course of a semester. The text is not overly self-referential, so single chapters can be used independently at the instructor’s discretion.","organization_rating":5,"organization_review":"This text had a clearly historico-linear structure, beginning with a chapter on musical terminology and theory, then taking readers from each stage of the development of Western music from the Medieval period to the 20th century. ","interface_rating":5,"interface_review":"Each chapter includes helpful illustrations, diagrams, and links to audio and video performances that illustrate the technical and historical content discussed. The ease of accessing the clips directly from the internet, as opposed to a separate CD, makes this a very enjoyable reading experience. The detailed listening guides are a wonderful resource for students analyzing music for the first time.  The authors should note that several of the links were not functional at the time of this review. \n","grammatical_rating":5,"grammatical_review":"There were no noticeable grammatical errors.\n","cultural_rating":3,"cultural_review":"This text is titled “Understanding Music Past and Present”, yet the vast majority of the book is devoted exclusively to Europe and the West. The rest of the world’s music is primarily confined to a short appendix (including single paragraphs on China and Japan each). Concentrating on the West is not an issue in itself, but a more appropriate and accurate book title would have made this focus explicit. This text would have benefited from greater discussion of why the book concentrates on Western music, even by means of discussing what makes Western music distinct. Discussion of the influence of non-Western music could have been more extensive (including, for instance, the influence of Moorish music on the troubadour genre, and the Arabic origins of the guitar and the do-re-mi Solfeggio syllables).To its credit, the influence of African music on American folk music is given several pages. Accompanying issues of cultural appropriation would have made this text more relevant to contemporary issues around the politics of music. Indeed, the controversial and political dynamics of music would be an excellent way of engaging today’s undergraduates.\nGreater sensitivity should also have been considered when including a link to a YouTube video performance of \"Camptown Races\" sung by Al Jolson, which includes singers in blackface. This can be triggering for many students. The authors reference the racism of the genre of minstrelsy, yet warning of the offensive content, or including an audio-only clip, could have been more appropriate. \nLack of attention to contemporary world music is a significant shortcoming.\nLastly, this text uses the first person plural “we” as the narrative voice throughout, referring specifically to an American point of view. For example, the last sentence reads  “Although America was not yet discovered during much of the early development of Western art music, we have contributed much to the culture of the world in a relatively short span of time.” (p 284, emphasis added). This kind of language risks alienating international and multicultural students. It also limits the text’s intended audience to the United States, as opposed to any other part of the English-speaking world. ","overall_rating":9,"overall_review":"Chapter objectives are a helpful resource, but no post-reading discussion questions or expansion activities are provided. ","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1879,"first_name":"Ingrid","last_name":"Gordon","position":"Associate Adjunct Professor","institution_name":"LaGuardia Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The book is a comprehensive survey of the history of Western Classical Music (including a chapter on music fundamentals), and has a good table of contents and a very good glossary. It also covers Popular and non-Western musics, but these are given much shorter shrift.","accuracy_rating":5,"accuracy_review":"The book appears to be accurate and well-researched, but is biased towards Western Classical Music versus other forms of music.","relevance_rating":3,"relevance_review":"The theoretical and historical content is good, but the twentieth century chapter is flimsy and the 21st century is virtually ignored. Additionally, the book relies on YouTube videos to provide the audio content, and this reviewer found that several of the links that were tested are already out of date/broken.","clarity_rating":5,"clarity_review":"The text is clear and well-written. In fact, it seems less jargony than other texts.","consistency_rating":5,"consistency_review":"The book has several authors, but it seems consistent and well-coordinated between the chapters.","modularity_rating":5,"modularity_review":"The chapter is divided into clear chapters and sub-chapters, and lends itself well to breaking into smaller chunks of reading. Most pages also have images and other illustrations, which break up the text flow through good visual design.","organization_rating":4,"organization_review":"The organization is clear and logical: theory-historical survey-other styles of music, but also shows a bias in what is featured first and given most time.","interface_rating":4,"interface_review":"I printed this book to review it, so I can't say. It came to me as a PDF file. As far as I know it doesn't function as an eBook.","grammatical_rating":5,"grammatical_review":"No problems there.","cultural_rating":3,"cultural_review":"This is the greatest weakness of the book. I teach an urban, culturally mixed student population, who may feel alienated by the emphasis on the history of white European music. If that's not a problem for you, this book is fine. It would be suitable for a course that presents the history of Western Classical music, but less suitable for a course with a more broad mandate.","overall_rating":9,"overall_review":"It would be nice if this book were somehow editable and updatable by the community. That way the broken YouTube links could be continually updated and a single professor wouldn't have to waste their time researching all of the dead links. An online book with streaming audio examples would be great.","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":2207,"first_name":"Lewton","last_name":"Jones","position":"Graduate Student/PSU/Music Teacher/Community Ed","institution_name":"PCC","comprehensiveness_rating":5,"comprehensiveness_review":"The book reads like a text book in its tight order. It covers the beginning of music, sound, acoustics in a very comprehensive way. At the end of each chapter is a Glossary and Summation which is very helpful because of the volley of information the reader is exposed to.It is well organized and appropriate to the subject of music as an abstract idea. The objectives of its origins and history are accurate and helpful.","accuracy_rating":5,"accuracy_review":"The accuracy is quite compelling as the reader is slowly lead from musical jargon to examples of music historically and emotionally. The first section on acoustics and how sound works is exact and well researched. The terminology is defined well, the history is accurate, even giving a nod to the Beatles and Elvis, in a segue from Ragtime, Jazz, Country, Blues and Rock and Roll.","relevance_rating":5,"relevance_review":"The last chapters reveal the connection of monophony to polophony to electronica, Rap music,Grunge, all from a timeline of sound. It is a great example of relevance and that as music morphs it creates its own longevity.","clarity_rating":5,"clarity_review":"The glossary and the diagrams were clear. The physics implied are not easy reading, it requires a context of focus.\nTerms like definite pitch and indefinite pitch albeit harmony versus noise has be clear and it was written well.","consistency_rating":4,"consistency_review":"The structure of the template used was repetitive like a school book. This is not a philosophical book. It is a factual look at music yet alludes to abstract perceptions and origins and effects of change. The index and glossary helped to associate with the narrative ie. the original essence of linguistic geography/bird sounds to the phonic vernacular via church, tyranny and the modernization of mimetic sound exploration. It is consistent throughout the chapters, perhaps a little formulaic.","modularity_rating":4,"modularity_review":"The book was written in second person using Chapter headers, subject points and sub sections. I liked the in depth description of key points followed by connecting sub headings yet always leading to the glossary and summation. Association of concepts showcase its modularity regarding disruption in the reading sections. Some topics could have been whole chapters instead they were integrated into the musical lexicon.","organization_rating":5,"organization_review":"The strongest aspect of the book is its organization. The way it guides the reader historically all the while injecting music theory.\nThe flow of the book is really in its linear directive which is to affirm and prove how things like Gospel became soul, how Ragtime became Jazz, or how the Ballad was a moral tale. Classical music was touched on by the literate examples of composers and how different instruments were needed in the timbre and color of a piece. It began with discovery of modes and showed how these modes became the notes to symphonic possibilities.","interface_rating":4,"interface_review":"The wave length and Hrtz charts were kind of small, things like overtones and intervals are hard to present with images. Sometimes it was too condensed possibly requiring more imagery/ related symbols of imagination.The Dummy Books many times show how static textbooks are to read and comprehend information. It is not a confusing book.","grammatical_rating":5,"grammatical_review":"The grammar is on a college level, I saw no mistakes.","cultural_rating":5,"cultural_review":"This is a great book for diverse musical idioms. The cultural timeline really helps to see music in a democratic way. Its obviously western in its semantics, we travel from churches in Europe to Wood Guthrie and the Blues in America. The book begins in Grecian geometry/Pathagoras, to chanting, Duke Ellington, Elvis, The Beatles and Bebop to fulfill our primeval intuition to enunciate sound.","overall_rating":9,"overall_review":"It is less than 400 pages which makes it a good read in class or as a reference book. I will recommend it to my students.","created_at":"2018-06-19T19:00:00.000-05:00","updated_at":"2018-06-19T19:00:00.000-05:00"},{"id":3240,"first_name":"Jonathan","last_name":"Kulp","position":"Director, School of Music and Performing Arts","institution_name":"ULL","comprehensiveness_rating":4,"comprehensiveness_review":"This book actually covers more content areas than I do in my own class, since it includes also popular music and non-western music. The glossary is extensive but not always accurate--read carefully! The embedded table of contents is practically unusable (see below). There's no index, but in an electronic text this is not a problem because it is easy to search through the text.","accuracy_rating":1,"accuracy_review":"The book is riddled with typographical errors, broken links, and some factual inaccuracies. For example, on p. 237 it states that Stravinsky's Rite of Spring was choreographed by Sergei Diaghilev. Diaghilev commissioned the ballet, but it was choreographed by Nijinsky.","relevance_rating":1,"relevance_review":"In terms of content, it's fine in this respect, but the publishers will not share the source files so it's extremely difficult to **update** the content. It is only available as a PDF. This is why I made my own edition of the text so that I can easily update it, fix broken links, and so forth.","clarity_rating":2,"clarity_review":"The writing is very uneven in this book. Some chapters are well written, while others are almost unreadable and need to be completely rewritten. This is probably because there are four authors. There was at least one chapter that I could not use at all and had to substitute in content from another source.","consistency_rating":5,"consistency_review":"The format of the book is very consistent and predictable, giving a nice list of terminology at the beginning of the chapter, then the main content of the chapter, followed by a summary and glossary.","modularity_rating":3,"modularity_review":"Yes and no. There are copious section headings and subheadings to lead the reader along and keep things on track, so in this respect it's actually pretty good, but because the publisher would not share source files, it's difficult to extract sections and reuse in different contexts. This is another reason I made my own edition, for ease of extraction.","organization_rating":5,"organization_review":"All good here.","interface_rating":2,"interface_review":"It's a fairly large PDF, which in itself can be problematic but is sometimes mitigated by a good table of contents. The Table of Contents of this file is a mess. Something went wrong when they were generating the PDF. The TOC has direct links to four or five pages of the front matter, and then the next link is to chapter 6, then chapter 7, and then the appendices. None of the other chapters can be accessed from the embedded table of contents. \r\nACCESSIBILITY PROBLEM: My biggest problem with it is that the book does not meet my basic accessibility requirements, since the PDF cannot be viewed comfortably on a mobile device. This is yet another reason I made my own edition in HTML, EPUB, and Kindle formats. Apart from the kinds of accessibility concerns that relate to disabilities, any modern electronic textbook should be FLEXIBLE, and viewable comfortably on devices of any size. Further, it should be possible to **change the font size** and not just zoom in and out, which usually leaves parts of the page off the side of the screen. PDF doesn't seem to bother most people as much as it does me, but I can't use it at all for a textbook.","grammatical_rating":3,"grammatical_review":"Related to the comment about writing above, some chapters are good and some are very poor. Not surprising in a multi-author work, but it could use the eye of a single editor going over the entire thing.","cultural_rating":5,"cultural_review":"This part is fine.","overall_rating":6,"overall_review":"GOOD FEATURE: One really good thing about the book is that it is full of well-chosen, high-quality images, properly credited, from Creative Commons sources.","created_at":"2019-10-31T14:29:17.000-05:00","updated_at":"2019-10-31T14:29:17.000-05:00"},{"id":4287,"first_name":"Evan","last_name":"Kirk","position":"Instructor of Music","institution_name":"Community College of Aurora","comprehensiveness_rating":5,"comprehensiveness_review":"This text is very thorough. I enjoyed seeing so much depth on every topic from the basics/fundamentals all the way through western musical history.","accuracy_rating":5,"accuracy_review":"The content matches up with all biographical research I have conducted on the subject.","relevance_rating":4,"relevance_review":"I love the diversity of the examples used to demonstrate the topics early in the book. I'm also a huge proponent of the use of modern pop songs (example: \"All I Do Is Win\" marching band excerpt). However, those modern examples will need to be updated occasionally to keep with the pop culture zeitgeist that engages new sets of young college students every few years.","clarity_rating":4,"clarity_review":"There are, at times, sentences, paragraphs, and even whole pages that sound a bit wordy for an audience largely composed of 'new' listeners. It's not that there is a ton of technical jargon being used- just that there are sentences that even this experienced instructor had to reread. Again, there isn't anything wrong with a long-winded book, but a consideration of the audience might call for the occasional edit.","consistency_rating":5,"consistency_review":"Probably my favorite aspect of this text. Each subject is thoroughly dissected and emphasis is directed not just to the most popular historical characters and artistic movements, but to some of their colleagues and counterparts as well.","modularity_rating":3,"modularity_review":"The visual nature of the pages within this text does not lend itself well to stops and starts, pauses, review, etc. It seems like there might be difficulty in easily dividing the text up for use by a class that won't need to go through all of the topics presented by the authors.","organization_rating":5,"organization_review":"No comment is really even needed here. The order of topics presented is identical with how most textbooks introduce them. To read this book from cover to cover would mean a near-perfect musical journey, provided one actually stops for each youtube clip and audio example.","interface_rating":5,"interface_review":"The PDF of this text is compatible with both a Windows PC and Apple iPad.","grammatical_rating":5,"grammatical_review":"There were no grammatical errors that stood out.","cultural_rating":5,"cultural_review":"I return to an earlier comment made on the excellent diversity of musical examples used to introduce the base topics outlined in the first unit. I saw nothing wrong with what was included in this text.","overall_rating":9,"overall_review":null,"created_at":"2020-08-03T23:14:14.000-05:00","updated_at":"2020-08-03T23:14:14.000-05:00"},{"id":4924,"first_name":"Kate","last_name":"Bergman","position":"Clinical instructor and academic advisor","institution_name":"Emporia State University","comprehensiveness_rating":4,"comprehensiveness_review":"No index, but excellent glossary at conclusion of each chapter and at the end. Covers classical music history, plus last chapter of popular music and world music.","accuracy_rating":4,"accuracy_review":"I've been teaching music appreciation for fifteen years, and most of the standard classical repertoire was included here.","relevance_rating":4,"relevance_review":"It's nice to have the listening links handy, which is something I know I have to check every semester to make sure they are still available.","clarity_rating":4,"clarity_review":"Lots of information included, but fairly easy to read. The beginning fundamentals chapter is very inclusive. I especially appreciated the instrument sounds link.","consistency_rating":5,"consistency_review":"I LOVE the set up of objectives, key terms and introduction at the beginning of each chapter, and the summary and glossary at the end of each chapter.","modularity_rating":5,"modularity_review":"Very clean and definitely helpful and needed in the popular section that includes SO much information, from jazz, rock, rhythm and blues, rap, folk, country, Broadway, and then the different sections of world music too: Native American, European folk, Celtic, Norway, Russia, Asian, African, etc.","organization_rating":5,"organization_review":"From the Middle Ages to Renaissance, Baroque, Classical, Romantic, Twentieth-century and beyond, this flows one right into the next very smoothly.","interface_rating":5,"interface_review":"Layout is very clean and easy-to-read, and some pictures of architecture and art to aid context is helpful.","grammatical_rating":5,"grammatical_review":"If I hadn't been a music teacher, I would have been an English teacher. I didn't find any errors.","cultural_rating":5,"cultural_review":"A lot of classical music appreciation textbooks are primarily western European, so it's nice to include the popular and world music chapters to be more multicultural and inclusive.","overall_rating":9,"overall_review":"My institution has changed to focus specific areas of music, such as different music appreciation classes for popular music, film music and rock 'n' roll. I wish I could find sources for these, more than just individual chapters. If it wasn't for budget cuts, I would have hoped to still be teaching a classical music appreciation section and would seriously look into this text.","created_at":"2021-05-14T13:31:24.000-05:00","updated_at":"2021-05-14T13:31:24.000-05:00"},{"id":33688,"first_name":"Joel","last_name":"Vinson","position":"Director of Bands","institution_name":"Dodge City Community College","comprehensiveness_rating":5,"comprehensiveness_review":"This text book provides an excellent breakdown of the basics behind the science of music, as well as a brief but comprehensive look at all musical periods.","accuracy_rating":3,"accuracy_review":"The subject matter is fairly accurate.  When it gets into discussing composers, some composers who many consider as important or influential are not discussed.  None of the 20th century composers are listed or discussed.","relevance_rating":5,"relevance_review":"This but has great relevance, including using musical examples from 21st century popular music, and discussing Jazz and its creations of Rock, Country, etc.","clarity_rating":5,"clarity_review":"The text is accessible to all students, whether they have a music background or not.  Each chapter includes a glossary of important terms that assists comprehension of the subject matter.","consistency_rating":5,"consistency_review":"The text is consistent throughout.","modularity_rating":5,"modularity_review":"Each chapter is broken down into sub-categories, making it easier to assign readings and to study.","organization_rating":5,"organization_review":"Beginning with a brief explanation of music theory and the science of music helps the reader understand what they are getting ready to learn and discuss.  Every subsequent chapter is chronological.","interface_rating":2,"interface_review":"All of the graphics are helpful to the reader.  Many of the internet links to examples are broken or no longer exist.","grammatical_rating":5,"grammatical_review":"Grammatically, this text is fine.","cultural_rating":2,"cultural_review":"Getting into 19th and 20th Century American music, topics, such as Minstrel shows, are glossed over and discussed for only 1-2 paragraphs.  Other derogatory terms- such as Hillbilly Music- are used.","overall_rating":8,"overall_review":"This text is perfect for a 100 level general education music course.","created_at":"2022-02-14T09:43:20.000-06:00","updated_at":"2022-02-14T09:43:20.000-06:00"}],"url":"https://staging.open.umn.edu/opentextbooks/textbooks/understanding-music-past-and-present","updated_at":"2025-12-15T02:31:42.000-06:00"},{"id":446,"title":"Music: Its Language, History, and Culture","edition_statement":null,"volume":null,"copyright_year":2015,"isbn10":null,"isbn13":null,"license":"Attribution-NonCommercial-ShareAlike","language":"eng","accessibility_statement":null,"accessibility_features":["unknown"],"description":"Welcome to Music 1300, Music: Its Language History, and Culture. The course has a numberof interrelated objectives:1. To introduce you to works representative of a variety of music traditions.These include the repertoires of Western Europe from the Middle Agesthrough the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas (Africa, Asia, Latin America, the Caribbean, the Middle East, Indian subcontinent).2. To enable you to speak and write about the features of the music you study,employing vocabulary and concepts of melody, rhythm, harmony, texture, timbre,and form used by musicians.3. To explore with you the historic, social, and cultural contexts and the role of class, ethnicity, and gender in the creation and performance of music,including practices of improvisation and the implications of oral andnotated transmission.4. To acquaint you with the sources of musical sounds—instruments and voices fromdifferent cultures, found sounds, electronically generated sounds; basic principlesthat determine pitch and timbre.5. To examine the influence of technology, mass media, globalization, and transnationalcurrents on the music of today.The chapters in this reader contain definitions and explanations of musical terms and concepts,short essays on subjects related to music as a creative performing art, biographical sketchesof major figures in music, and historical and cultural background information on music fromdifferent periods and places.","contributors":[{"id":4153,"contribution":"Author","primary":true,"corporate":false,"title":null,"first_name":"Douglas","middle_name":null,"last_name":"Cohen","location":"CUNY Brooklyn College","background_text":"Douglas Cohen is an intermedia composer and often collaborator with film, performance and folk artists. He was an early advocate for digital media on the Internet. He organized the NewMusNet Conference of Arts Wire with Pauline Oliveros and later was arts wire systems coordinator. Cohen is a specialist in American experimental music and pays particular attention to the work of John Cage, Morton Feldman and Pauline Oliveros. He co-created and produced the evening=length intermedia work imusicircus at Experimental Intermedia in New York and LACE Gallery in Los Angeles (later with the California EAR Unit at the L.A. County Museum of Art) as City Circus events for the John Cage exhibition Rolywholyover a Circus. He received a bachelor of fine arts and a master of fine arts from the California Institute of the Arts, and a doctorate from the State University of New York at Buffalo."}],"subjects":[{"id":29,"name":"Arts","parent_subject_id":6,"call_number":"N85","visible_textbooks_count":56,"url":"https://staging.open.umn.edu/opentextbooks/subjects/arts"},{"id":6,"name":"Humanities","parent_subject_id":null,"call_number":null,"visible_textbooks_count":418,"url":"https://staging.open.umn.edu/opentextbooks/subjects/humanities"},{"id":89,"name":"Music","parent_subject_id":6,"call_number":"M1-5000","visible_textbooks_count":18,"url":"https://staging.open.umn.edu/opentextbooks/subjects/music"}],"publishers":[{"id":363,"url":"http://academicworks.cuny.edu/bc_oers/4/","year":null,"created_at":"2018-09-07T12:22:39.000-05:00","updated_at":"2018-09-07T12:22:39.000-05:00","name":"CUNY Academic Works"}],"formats":[{"id":618,"type":"PDF","url":"http://academicworks.cuny.edu/cgi/viewcontent.cgi?article=1002\u0026context=bc_oers","price":{"cents":0,"currency_iso":"USD"},"isbn":null}],"rating":"3.5","textbook_reviews_count":17,"reviews":[{"id":1278,"first_name":"Alice","last_name":"Clark","position":"Professor of Music History","institution_name":"Loyola University New Orleans","comprehensiveness_rating":3,"comprehensiveness_review":"The title and table of contents of this book appear to be comprehensive, but much of the contents are far too abbreviated to fulfill that goal.  It might well be able to write a book of this type in just over 100 pages (really only 64 if the appendices are pushed aside), but this to my mind is not that book.\n\nThe historical chapters consist of only a few paragraphs for each style period (which makes it hard to get beyond sweeping generalizations), followed by long lists of people and events (mostly outside of music—for the ninteenth-century section, nineteen “major figures in music” are listed, and over sixty “other historic figures”).  Not a single piece of music is discussed, or even named.  A separate chapter is given for western art music since 1900, where two pieces of music are mentioned (one a nineteenth-century symphony), but even here a page-long list of “major figures in music” (which is balanced mostly toward jazz, blues, folk, and rock musicians) is dwarfed by longer lists of “historic context” and “other historic figures.”\n\nThe chapters on “American vernacular music” and jazz are more substantial, but if they are the true focus of the book, then arguably too much space is given to the opening chapters.  Why bother with a cursory discussion of the history of western art music, or its instruments and ensembles, if that is the case?  \n\nThe world music chapter returns to the cursory discussions of the western art music chapters.  Nearly two pages are given to Africa, with a list of generally shared elements (such as the importance of music and dance), but no actual examples.  Similarly brief discussions are given to the music of northern and southern India, Indonesia, and China.  The Caribbean receives more attention, with some discussion of specific genres of music from Puerto Rico and Trinidad (including Trinidadian music in Brooklyn).  The chapter ends with a brief discussion of music in South America, a separate section on the Argentinian tango, and Klezmer music.\n\nA large appendix (over 30 pages, so over 25% of the entire book) gives musician biographies, and a short glossary defines terms, but neither is connected to the text.  I don’t understand why terms like “ritornello” or “tutti” need to be defined in a text that gives no examples of baroque music.\n\nI don’t see a good audience for this book; certainly it is not a book I could use even as a skeletal foundation for any class I teach, either for majors or non-majors.  The level of information it would take to make this book make sense for someone who didn’t already know the material would be equal to that required without it, so the book is of no help whatsoever.","accuracy_rating":3,"accuracy_review":"The book is general enough that it is hard to find large-scale errors, but there are many small errors and potentially confusing moments.  To give just a few examples:\n\n* The first phrase of “Jingle Bells” does not end with a half cadence (though the second one does), and a contratenor (not contra tenor) is not the same as a countertenor (not counter tenor).  \n\n* It is fair to say that the fact that the modern flute is made of metal but classified as a woodwind instrument, but it’s confusing to leave that statement without explaining that there are in fact historical reasons for that classification—without that, the reader is left wondering why such a classification error exists.  \n\n* The so-called “Heiligenstadt Testament,” a letter Beethoven wrote to his brothers in 1802 when he realized his growing deafness would not get better, was not a will.\n\nI am also troubled by the fact that the biographies in the appendix include substantial quotations for which no source is given.  This encourages students not to cite sources in their own work.","relevance_rating":2,"relevance_review":"The excessively cursory nature of much of this book makes it difficult to use.  If the focus is on “American vernacular” music and jazz, then much of the rest is not relevant, while even those sections are too telegraphic to be useful.\n\nAs I've said elsewhere, I don't see how I could use this text in any class I teach.  The amount of work it would take to make the book make sense to a reader who did not already know the subject would be the same as that required without the book--which means it effectively serves no purpose.  It's not so much that what is here is truly bad, as that it is not helpful.","clarity_rating":3,"clarity_review":"What prose there is is not bad on the whole, but it’s too sketchy to be clear to a reader who doesn’t already know the topic.\n\nThe lists of dates in the historical chapters are not always in chronological order, and there are catch-all categories with wide date spans (such as the “establishment of major European cities” in the medieval section, which goes from c. 450 to c. 1250), which makes them very difficult to use.","consistency_rating":2,"consistency_review":"Much of the opening chapters are entirely focused on western music (such as the introduction of the elements of music, save only a mention of the pentatonic scale), including a section on “western categories of instruments” with no mention of other instruments, which makes it seem out of place when, for instance, the gamelan is brought in as an example of an ensemble.  This is followed by the historical chapters, again focused on western art music but so cursory as to make them appear insignificant.\n\nIt becomes clear that “American vernacular music” and jazz are the real interest, but that makes the opening sections make less sense—and the final chapter on world music again doesn’t seem to fit the true focus.","modularity_rating":3,"modularity_review":"The book is suitably modular, but the modules are often too cursory to be helpful.","organization_rating":3,"organization_review":"The basic organization is typical (elements, western art music, jazz and popular music, world music), but they are not well balanced.  It would be more effective if it were better focused on the apparent true interest, which is jazz and popular music, preceded with a chapter (or set of chapters) on the elements of music that is better focused toward the true goal.\n\nOpening with physics rather than music I expect is offputting to many students; the material is adequate, but I think it would work better to draw in the reader with music, then provide the physical explanations.  I also find that opening chapter out of balance:  half a page on rhythm (treating rhythm and meter as different elements, not meter as one aspect of rhythm), followed by slightly more on pitch (which seems to include harmony, though the term appears as part of texture), melody, and texture.  That means the entire discussion of the elements of music gets about 3-1/2 pages, which I think even music majors would find too telegraphic, unless they already knew the material (and therefore did not need the book at all).","interface_rating":1,"interface_review":"The potential problems created by pictures and links in an electronic text are not an excuse not to have them.  This book has no links, and no pictures beyond those opening chapters—even when specific instruments are introduced.  After the opening section on physics, there are no diagrams or figures, only plain text.  That would be difficult to justify for a print book on music; for one that lives on the internet, it is unacceptable.","grammatical_rating":4,"grammatical_review":"The writing is generally decent.","cultural_rating":3,"cultural_review":"The book does not include any examples of cultural insensitivity.  By trying to do too much in too little space, however, it does not give sufficient value to any culture.","overall_rating":5,"overall_review":"I think this book is simply trying to do too much in too little space.  A book on US vernacular musics, with an appropriately pitched elements section, would have room to discuss specific styles and examples, and it appears this author would be able to do such a thing.  In this form, however, I don’t think it works—certainly it could not work for any class I teach.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1369,"first_name":"Lew  (Lewton)","last_name":"Jones","position":"PT Faculty","institution_name":"Portland Community College","comprehensiveness_rating":3,"comprehensiveness_review":"This book is a timeline of terminology, historical facts, and music genres. It reads like several books albeit four authors. By the time the glossary shows up the reader has traveled through different periods such as The Renaissance, The Baroque or Romantic period and modern music with a nod to Bartok and others in the Classical movement. Initially the book talks about audiology, linguistic phonics and electronic sound.. It 's comprehensiveness is in its peripheral narrative and its bibliographies after chapters end. You can buy a dictionary type glossary at book stores better than at the end of this book however. The composers of high merit  mentioned seems to be  historically bias. The Beatles are never mentioned , jazz great Chet Baker or Bill Evans, Jimi Hendrix, The Doors etc As a beginner's book Music:Its Language, History and Culture works.One of the best chapters is on the American Vernacular A strange line from the book however is: \"The sentimental and tragic themes of Anglo American ballads, along with the high-pitched, \"whiney\" vocal style, have survived and flourished in 20th century popular country music.\" \n      Religion and its roots in Blues , Classical and Jazz is delved into but Jazz gets most of the ink. The idiosyncratic nature of composers like Duke Ellington and Beethoven are nice novelties to explore. I found the book a little fragmented and seemed to rely on here say as much as historical truth.","accuracy_rating":4,"accuracy_review":"The accuracy about language, audiology and historical influence is accurate. The need to express music and how it was invented to fit each period was well researched. The footnotes are accurate. It leans towards certain players as vanguards of a certain sound but really misses people like Les Paul, Chet Atkins, Robert Johnson, Lightning Hopkins to name a few. For a freshman who is curious about music there is an accuracy to details regards ensembles, instrument choice and World Music which pentatonic scales versus diatonic. Knowing this and information on syncopation and how modern music came to be is an accurate description of the human timeline regarding sounds and how form came to be. I thought doing a biopic of Handel and never mentioning his most famous religious piece \"The Messiah\" was a red flag regarding accuracy.","relevance_rating":3,"relevance_review":"The fact that this is a historical narrative keeps it open to addition or a second improved pressing. THe second book could address many musicians not mentioned and could talk about the business side of music and the bands who maintained quality despite being commercialized. The freezing of time can be a problem for the book's relevance because Jazz has moved far away from the icons they gush over. The generalization of music as genre, nativity and intentional posturing is out of step with Rapp, Punk, Electronica. The book is a bit old timey in its clarion call to the arts.","clarity_rating":4,"clarity_review":"The explanations of sound waves and pitch was easy to understand. The stories about the composers was good human history and its clarity to the common vernacular. It explained how many of the greats improvisers and not magicians. A young reader interested in the arts should  find this book inspirational by merit of its organized trajectory. Using bold print before explaining terms like Wave Form makes it clear rather than obscure.","consistency_rating":3,"consistency_review":"The first half of the book was very consistent while the World Music and Appendix/ Biography sections could have been more concise. To never mention Reggae after going on about Calypso was not consistent with the  terminology and framework is one example.","modularity_rating":4,"modularity_review":"The use of four writers make for groups of four in a classroom to explore the ideas. Math people will like the chapters on sound, while humanities people should enjoy the stories of the composers and their artistic drive that echoes on the timeline that leads up to their moment of fame and epiphany. World Music should create inclusion for those who are not in the western lexicon and its sounds and life expressions.","organization_rating":5,"organization_review":"In regards to organization the book basically looks like four manuscripts glued together to make a book. The topic is very dense and if it was a graduate class would need a book just for annotation. Luckily for the writers this is appropriate for early college students.","interface_rating":3,"interface_review":"The historical context lists really should be in the back rather than after the chapters due to their very long lists. \nIts good to let chapters flow easily for comprehension.","grammatical_rating":5,"grammatical_review":"I saw no grammatical erors.","cultural_rating":4,"cultural_review":"The World Music chapter and the discussion of primordial sounds gave this book a cultural relevance. The PC correct need to patronize or exoticize other cultures actually was a little odd. Music is a very opinionated forum if you start declaring who the real genius's were etc. The idea that John Cage was so profound and never mention Derrida, James Joyce or DuChamp made the book seem a little naive at times.","overall_rating":8,"overall_review":"The book is excellent for history buffs and curious beginners.","created_at":"2017-06-20T19:00:00.000-05:00","updated_at":"2017-06-20T19:00:00.000-05:00"},{"id":1711,"first_name":"Christopher","last_name":"Witulski","position":"Instructor of Ethnomusicology","institution_name":"Bowling Green State University","comprehensiveness_rating":2,"comprehensiveness_review":"Deciding what goes into a music history class or textbook is a great struggle. This book is a cursory approach to many topics and, at roughly 100 pages, could serve as a starting point for a music appreciation course. The chapters on musical elements at the outset may be sufficient to support a class lecture or series of activities, but on their own (without examples) they may remain abstract. The waveform images certainly aid in this, however. I would worry about using it for online courses (which do not appear to be the goal of this reader) because of the lack of engagement with terminology once it is introduced. The discussion of rhythm and meter, for example, could prove to be so brief as to cause more confusion than they alleviate without in-class examples or, at least, specific references to listening from a playlist. (The use of written poetry makes an effort here, but forces a student to imagine rhythm and meter in a purely linguistic sense, for example.)\n\nWithin the historical chapters, brief outlines are followed by listings of important dates, both musical and otherwise. These do not always appear within the narrative, leaving the student or teacher to discern their relevance within the authors' described musical history. Genre listings and major historical figures appear within this listing as well, though they are formatted and read much like a glossary. Contemporary alternative textbooks focus on these narratives, wrapping the arts and history of a period into the musical innovations of the time while this reader appears to act as a reference point for students, though without the types of references that could prove more useful. In this sense, the text operates more as a study guide.\n\nThe move to non-classical genres appears to lean more readily on the authors' interests, or perhaps the course content. A chapter on \"American vernacular music\" covers \"folk music,\" ballads, African American sacred forms, the blues, rock and roll, and rap. These sections are roughly one page each, though the rap section is split into two halves (old and new school). Here the timeline and figure listings are gone, though I imagine that students would benefit from placing American musical history within a social, economic, and political context.\n\nA chapter on world music is similarly brief, with single pages addressing full regions and continents. Not unlike working through centuries within paragraphs, these have a tendency to overview (and flatten) deep individual styles under strident generalizations. The authors note this, mentioning the \"vast range of musical practices found throughout\" Africa, for example. Again, this may serve a live course well but would not effectively stand on its own as a comprehensive textbook. Each world region is covered in three to six paragraphs, though a segment on carnival in Brooklyn leaves the reader interested in how a book like this (an open textbook) could effectively localize a music appreciation class for a specific course in a specific place.\n\nThe narrative history concludes after 64 of the book's 100 pages. The remaining section is a listing of musical biographies. These range in length and depth but focus on major historical computers (Bach, Beethoven, etc.) and jazz performers (Coltrane, Armstrong, Ellington). There are occasional popular and world musicians mixed in as well (Shankar, Dylan). These appear to work in conjunction with the chapters as a reference for students to flip back and forth between. The final pages include a glossary.\n","accuracy_rating":4,"accuracy_review":"The book is largely accurate, though general. There are few (if any) citations to further reading for students or lecturers who are interested in stepping beyond the page-length discussions of musical eras or genres.\n","relevance_rating":3,"relevance_review":"The book is relevant and clear with sections on issues like music technology and globalization. Expansion would be a welcome addition that would help improve the relevance outside of its role as a reader for a specific class and allow it to stand on its own as a textbook.\n","clarity_rating":3,"clarity_review":"The brief overviews that comprise most of this text make for quick, clear reading. The lack of detail, however, can make certain leaps or generalizations more opaque.\n","consistency_rating":2,"consistency_review":"The text is largely consistent within chapters, though the treatment of western classical eras and more contemporary genres are quite different. It feels like two different twenty page introductory papers.\n","modularity_rating":2,"modularity_review":"The brevity really prevents any significant modularity. With European history covered in twenty pages, reading for an individual period (on the Middle Ages, for instance) would only take a student a few minutes.\n","organization_rating":2,"organization_review":"The organizational logic is clear, just brief. Musician biographies might better serve the book within the chapters and narratives instead of (or in addition to) timelines would help to tell the history.\n","interface_rating":2,"interface_review":"There is little \"interface\" other than the text, lists, and a photo at the opening of individual chapters. The study guide-like formatting of the classical music chapters could help or hinder readers, depending on how they are used in conjunction with the lectures.\n","grammatical_rating":5,"grammatical_review":"The material is well written.\n","cultural_rating":3,"cultural_review":"The authors work to incorporate world music into a general music history text. The chapter on instruments, for example, includes examples from outside of the Western classical or American popular music traditions. The chapter on world music, however, is quite superficial.\n","overall_rating":6,"overall_review":null,"created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1778,"first_name":"Dorothy","last_name":"Bryant","position":"Associate Professor","institution_name":"Ohio University","comprehensiveness_rating":4,"comprehensiveness_review":"Covering music history requires a subjective selection of artifacts that represent the time period, genres, cultural context and significant composers and performers.  This collection of essays is not comprehensive but does touch upon the stated objectives of the work.  A glossary is included.\n","accuracy_rating":3,"accuracy_review":"I agree with another reviewer, Lew Jones:  “The book is general enough that it is hard to find large-scale errors, but there are many small errors and potentially confusing moments. To give just a few examples: * The first phrase of “Jingle Bells” does not end with a half cadence (though the second one does), and a contratenor (not contra tenor) is not the same as a countertenor (not counter tenor). * It is fair to say that the fact that the modern flute is made of metal but classified as a woodwind instrument, but it’s confusing to leave that statement without explaining that there are in fact historical reasons for that classification—without that, the reader is left wondering why such a classification error exists.”  The appendix includes several biographies that should have sources documented","relevance_rating":4,"relevance_review":"The text is segmented so would be easy to update.  The historical aspect would not need to be updated while more contemporary information may need to be enhanced or modified to represent changing times.\n","clarity_rating":3,"clarity_review":"This text requires that the reader have basic understanding of music and history in order to comfortably read through the information.  Due to this, readers may not consistently have adequate context for the information.\n","consistency_rating":5,"consistency_review":"The collection is consistent with use of terminology.  Music terms are in bold and preceded or followed by a brief explanation.","modularity_rating":3,"modularity_review":"The topics are treated separately so could be used in sections to enrich another course in music appreciation.  However, some topics may need additional text to provide complete treatment of the topic.  \n","organization_rating":3,"organization_review":"The organization does not flow or seem logical.  Chapter Four has a short paragraph related for each historical period; then contains 5 lists:  Historic Context, Milestones in Music, Musical Genres, Major Figures in Music, and Other Historic Figures.  The Historic Context sections have a plethora of listed items, some of which have little relevance to music.  Examples: “Pineapples imported into Europe, 1514.”  “Coffee introduced to Europe 1517.”   “Tobacco planted in Virginia, 1812.”  The Other Historic Figures section also has an extensive list for each time period, many of them listed would not be relevant to music.   \n","interface_rating":3,"interface_review":"The navigation layout is confusing.  Example:  Handel’s biography does not mention The Messiah but the work is mentioned in other sections of the text.  For example:  A performance of The Messiah is listed in the “Milestones in Music” in the Baroque and Classical time periods.\n","grammatical_rating":5,"grammatical_review":"I found no grammatical errors\n","cultural_rating":4,"cultural_review":"I would say that, in general, cultural relevance was met.  One omission was Hildegard van Bingen as a female composer in the Renaissance.  I consider her a significant early female composers and leader in the Catholic Church.  The text does address the cultural reasons for a lack of women as composers in Clara Schumann’s biography.","overall_rating":7,"overall_review":"This collection of essays was clearly designed for a specific course and would not serve as a textbook for my classes.  Parts of it could be used to supplement or enhance information.  ","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":2062,"first_name":"Jeffery","last_name":"Hutchins","position":"Artist/Teacher","institution_name":"Virginia Tech","comprehensiveness_rating":2,"comprehensiveness_review":"This book aims to be quite comprehensive but is far too broad and general in its scope, with quite shallow chapters and arduous lists. While it was designed for a specific course, it would difficult to use this text in another setting as is and would require significant supplemental material to be effective in any sort of basic survey course. ","accuracy_rating":4,"accuracy_review":"This text is accurate, yet brief, and seems to be error free.","relevance_rating":3,"relevance_review":"The text is up-to-date with historical information, and given the way the material is divided would be very easy to update over time. Given the brief nature of the material, any expansion would be a welcomed addition. ","clarity_rating":3,"clarity_review":"This book is clear in its prose, but the formatting makes it difficult to read as each page is filled with nothing but text. Additional graphics would allow for better understanding of the material. ","consistency_rating":3,"consistency_review":"The book seems quite consistent in both format and material within chapters, however the material in the appendix would be better integrated into the chapters themselves. ","modularity_rating":1,"modularity_review":"Given the brief nature of the text, this would be very difficult to use modularly. The chapter on European and American Art Music since 1900, for example, is two pages of prose, followed by four pages of lists only. This would not suffice on its own at all. ","organization_rating":3,"organization_review":"The material is well organized, yet brief and very general. The formatting is not great and would be better with incorporated graphics or pictures to enhance the material. ","interface_rating":1,"interface_review":"There is no interface with this book. Given the short nature of the work, any links or pictures would definitely improve the quality of this work. ","grammatical_rating":5,"grammatical_review":"The prose is well written and grammatically accurate. ","cultural_rating":2,"cultural_review":"This book is inclusive of various kinds of music from around the world, but is far to short to be inclusive in any meaningful way. There is nothing offensive. ","overall_rating":5,"overall_review":"This book would be very difficult to use for any other class except the one for which it was created without significant additional material or revision. ","created_at":"2018-05-21T19:00:00.000-05:00","updated_at":"2018-05-21T19:00:00.000-05:00"},{"id":2292,"first_name":"Michelle","last_name":"Lucia-Ingle","position":"Music Instructor","institution_name":"Northland Community and Technical College","comprehensiveness_rating":3,"comprehensiveness_review":"The text covers all areas and ideas of the subject, but because of the enormity of the subject, each area is shortened. The entire book is only 110 pages of a survey of music, including classical, American vernacular, jazz and world music.There are too many types of music spanning a large period of time to discuss much detail. The book does contain a comprehensive and helpful glossary featuring common musical terms.","accuracy_rating":5,"accuracy_review":"I found the book to be very accurate in the content, error-free and unbiased. The author presented the facts in a easy to understand and readable format.","relevance_rating":5,"relevance_review":"This text will not be obsolete because much of the information is historical. Of course, as time goes on and music continues to evolve, additional updates will be necessary to stay current. The text is arranged in such a way in chronological order that updates will be relatively easy and straightforward to implement. I believe continued updates to the book will help it remain relevant and usable for music survey type classes.","clarity_rating":5,"clarity_review":"The book's clarity is good. The author explains musical terms in a clear and concise manner with examples that help understanding and makes the technical terminology easy to grasp. Adequate context is also given historically and the prose is lucid and interesting to read.","consistency_rating":5,"consistency_review":"The book is consistent and every chapter is set-up in the same manner. After the genre of music is presented, historic context is presented which includes non-musical events from all over the world. This helps to put into perspective where the music fits into world history. After that, milestones in music are presented, which highlight the most important musical events or creations during the time. Musical genres are then featured. And finally, major figures in music and other historical figures are given. This consistent format helps to keep the information organized and to make the broader connections between music, history and culture all over the world.","modularity_rating":5,"modularity_review":"The text is easily and readily divisible into small reading sections. Assignments, lectures and discussions could be easily created within the subheadings. A couple of the chapters could even be taught in a different order without disruption to the student.","organization_rating":4,"organization_review":"The organization, structure and flow of the book are good. Music seems to lend itself to organization. Most music survey books start with fundamentals and then proceed in a chronological order. This makes sense because the music evolves and builds on the previous periods. I have two small suggestions in this area. First, the classical/art music from 1900 until the present is lumped into one chapter, which I have seen in many music survey books. Now that we have entered the 21st century, I believe a new chapter starting in 2000 would be better. There is too much music and too many changes for it all to be in one chapter. Second, the author places the Musician Biographies at the end of the book right before the Glossary. All musicians are lumped together here - Bach, Bessie Smith, Bob Dylan, etc. It's a bit weird. I believe it would be more helpful if a Musician Biographies section was added at the end of each chapter. This way the students can be familiar with them within their genre or time period.","interface_rating":5,"interface_review":"The interface of the book is straightforward and accurate. The images are in the correct spots and add to the reading and understanding of the text. They are also clear of any distortion.","grammatical_rating":5,"grammatical_review":"There were no grammatical errors that I saw. The text flowed in an understandable manner.","cultural_rating":5,"cultural_review":"The cultural relevance of the book was not insensitive or offensive in any way. The author was respectful of the cultures,races and ethnicities that were referred to throughout the text. There are so many cultures covered in this text and they are discussed with dignity with respect to their musical contributions.","overall_rating":9,"overall_review":"I believe this book would be an excellent resource for a general music survey class at the collegiate level.","created_at":"2018-08-02T19:00:00.000-05:00","updated_at":"2018-08-02T19:00:00.000-05:00"},{"id":2373,"first_name":"Dawn","last_name":"Farmer","position":"Assistant Professor","institution_name":"Augustana College","comprehensiveness_rating":3,"comprehensiveness_review":"With a title including the words \"language, history, and culture,\" one might expect to have the text focus on those points. With this text, however, the authors fail to adequately address that content. For example, there are only two paragraphs on the Romantic Era, and there is a much longer list of important (non-music) Romantic Era figures. Major components of content for a Music Appreciation course are glossed over.","accuracy_rating":3,"accuracy_review":"I do not think the book is inaccurate. I do think it is missing some important details about significant musical figures and events.","relevance_rating":4,"relevance_review":"The text could be updated, yes. Content is shallow, but up to date. ","clarity_rating":3,"clarity_review":"Different authors have different tone. While not cumbersome, I did not find the theory-related chapters to be as clear as I would desire in a text like this. There is too much given to the student in a distilled manner, with no chance to develop more than a cursory and temporary understanding.","consistency_rating":3,"consistency_review":"For most of the chapters pertaining to musical eras, the framework is similar. The other chapters, however, have more substantial content. The chapters on American Vernacular Music, Jazz, and World Music have significantly more content and more detail. The subchapter on \"Old School Rap,\" for instance, is longer than the section on the Romantic Era. While I have respect for those who teach vernacular music, one would think this text would be more equitable for all time periods, and it is not.","modularity_rating":5,"modularity_review":"I do like this part of the text - I might use the \"chapter\" on Romantic Era as a pre-reader for more in-depth study. Also, the Jazz chapter is longer and more detailed than most Music Appreciation texts allow, and I would use this as a way to expand on another text. I like the possibilities this text has in pieces, just not as one single whole or solo text use.","organization_rating":5,"organization_review":"The chronological order of time periods followed by other topics makes sense.","interface_rating":5,"interface_review":"The text is easy to navigate and scroll through. I do not like the font, personally, but I had no issues navigating the document or finding my way through the text.","grammatical_rating":5,"grammatical_review":"I did not find any errors.","cultural_rating":5,"cultural_review":"I do appreciate that the text highlights music from different parts of the world and spends time describing and explaining those musics. It is not cursory and is respectful to those cultures.","overall_rating":8,"overall_review":"Depending on what the focal point of a Music Appreciation course is, this book may cover information you would like to use. It seems to be quite limited in actual detail regarding the history of Western art music, but does cover the bases of multiple other musics.","created_at":"2018-11-09T13:56:35.000-06:00","updated_at":"2018-11-09T13:56:35.000-06:00"},{"id":2507,"first_name":"Cynthia ","last_name":"Blough-Retana","position":"Lecturer in Music","institution_name":"Oakland City University","comprehensiveness_rating":4,"comprehensiveness_review":"The text covers all areas of the subject, but not in as much detail as I would want in a primary course text.  I do, however, think this text would provide enough material to be used as a secondary reference text.","accuracy_rating":5,"accuracy_review":"This text is accurate.","relevance_rating":4,"relevance_review":"I believe this text can be easily updated.  It tends toward many lists and biographies, to which material can easily be added.  ","clarity_rating":4,"clarity_review":"The text is written with clearly accessible language.  Chapters provide easily understandable composition, some almost to the point of seeming to be meant for a younger reader.  ","consistency_rating":3,"consistency_review":"The text is not consistent in its framework.  Some chapters are lengthy, yet meaningful.  Other chapters afford only a brief overview, not allowing the reader more than a glimpse into the subject matter.","modularity_rating":4,"modularity_review":"The text is easily divisible so as to be read in small sections.","organization_rating":3,"organization_review":"For the most part, the text topics are presented in an organized fashion.  I do not think the long lists that appear throughout the book are necessary.  Some of the items in the lists do not even follow the topics.","interface_rating":5,"interface_review":"The text is free of display issues and, as a result, is extremely easy to navigate.","grammatical_rating":5,"grammatical_review":"I found no grammatical errors.","cultural_rating":5,"cultural_review":"The text is inclusive and free of examples that would be insensitive or offensive to any race or ethnicity.","overall_rating":8,"overall_review":"I would not use this text as the primary textbook for any of the courses I teach.  I would, however, recommend it as a very good supplemental reading source.","created_at":"2019-01-09T20:47:00.000-06:00","updated_at":"2019-01-09T20:47:00.000-06:00"},{"id":3060,"first_name":"Austin","last_name":"Okigbo","position":"Associate Professor","institution_name":"CU Boulder","comprehensiveness_rating":3,"comprehensiveness_review":"Ideas of the subject are covered, albeit without enough on non-western cultures. The text may be useful for introduction to musical styles and ideas, but not for world music.","accuracy_rating":3,"accuracy_review":"Although the title of the text bespeaks of the general ideas about music, it privileged music of Western Europe and the United States. Information on other non-western music are scanty, and often did not add to knew knowledge about those other cultures. ","relevance_rating":3,"relevance_review":"The content is mostly direct, and simple. I would say accurate in regards to American and Western European traditions. However, the author relied on old information that are erroneous with regards to African music. E.g. \"Western idea of sitting silently while a performance is taking place is an anathema\nto these traditions.\" This is a misleading sweeping statement about music in West Africa.","clarity_rating":4,"clarity_review":"It serves well for a high school introduction to musical styles and ideas; I am not so sure it fits as a college textbook.","consistency_rating":4,"consistency_review":"The text is clear enough and used simple language.","modularity_rating":4,"modularity_review":"The text is easy to adapt.","organization_rating":4,"organization_review":"They are logical enough and clear.","interface_rating":5,"interface_review":"Images and diagrams are original and clear.","grammatical_rating":5,"grammatical_review":"No grammatical errors noted.","cultural_rating":3,"cultural_review":"The text is neutral at least overtly on cultural sensitivities, however, the use of sweeping and biased statements that are based on old ethnomusicolgical conjectures such as that Africans privilege rhythm over melody and harmony where the reverse is the case in the west shows lack of understanding on the history of racial ideology that informed that claim when Eric von Hornbostel first stated in early 20th century.","overall_rating":8,"overall_review":null,"created_at":"2019-07-01T12:58:58.000-05:00","updated_at":"2019-07-01T12:58:58.000-05:00"},{"id":3130,"first_name":"Tony","last_name":"Oliver","position":"Associate Professor","institution_name":"Augustana College","comprehensiveness_rating":3,"comprehensiveness_review":"The goals for the text, as stated in the introduction and implied by the table of contents, are comprehensive and ambitious for an appreciation-type text; however, at only 64 pages for the main body of the text, and with very few examples, the ability to deliver much depth is limited. \r\n\r\nThis lack of depth makes it feel like reading an outline or notes that someone has taken during lectures on the subjects presented. The broad strokes are there and it could be a great refresher or study guide for someone who already knows the material, but any examples and further context that might make it come alive for the reader new to the material have been stripped away. \r\n\r\nOne would need to add many, many examples to reinforce the concepts and people introduced in the text. If you like the flexibility to add a lot of your own material in addition to the text, this might be useful. If you need things complete with a lot of built-in examples, this book wouldn’t be for you. It would be difficult for the text to stand on its own for the average college-level general education student. Perhaps in its original context at Brooklyn College, the text was used by several sections of the same course, with each teacher able to add examples and further discussion to the basic text. \r\n\r\nIt contains a glossary of basic music terms and no index.\r\n","accuracy_rating":3,"accuracy_review":"There are likely to be fine details where some would quibble, but all of the broader, basic information would fall within the spectrum of “correct.” Because of the summary nature of the writing with few or no examples, it sometimes isn’t that things are inaccurate, but rather that it seems like things are missing or simplified in order to keep things pared down. This can be okay if everyone knows what is going on and a little risky if they don’t.\r\n\r\nOne glaring issue is the lack of documentation for any of the quotations in the biographical sketches. The rest of the book similarly lacks documentation or bibliography, but there we are at least dealing with stock information for the most part—it’s a textbook. But in this cut-and-paste age, I worry that students using the sketches would learn bad habits from what is modeled. (I had to lower my score from a four to a three because of this.)\r\n","relevance_rating":3,"relevance_review":"The main text was written in 2006 with updates in 2007, 2008, and 2014, and there don’t appear to be any topics where the substantive discussions go past the mid 1990s. For example, the discussion of “rock-and-roll” stops in the 1960s with a trailing sentence letting us know that there were later developments. Similarly, the discussion of jazz stops in the 1980s, and the discussions of rap, R\u0026B, and world music stop in the 1990s. This isn’t atypical for textbooks, which have a lag time in publication, but don’t expect discussions of the latest, greatest happenings within these areas. The text tends to focus on origins, and one would need to supplement a lot if recent trends were important. The chapters on musical elements and Western art music are a little more timeless.","clarity_rating":4,"clarity_review":"Generally clear with some technical terms here and there that could be explained better by example or more in-depth writing than by having to look them up in the glossary. ","consistency_rating":2,"consistency_review":"There is a big difference between chapters in tone and substance. They are unbalanced. For example, we have the first three chapters (elements, instruments, performance traditions) that read like normal prose with complete, if basic, discussions of the topics at hand. We then move to “outline mode” when we hit European and American art music. We get relatively brief and broad introductory paragraphs of each time period (Medieval, Renaissance, Baroque, etc.) followed by shopping lists—no details or examples—of events, places, musical developments, and people. Then when we get to chapters on American vernacular music, jazz, and world music, things dramatically slow down again with more depth to the prose.","modularity_rating":5,"modularity_review":"Although brief, the individual segments of the book can stand on their own without needing to refer to other sections of the book. The sections could be assigned as individual units. The individual chapters could also serve as supplemental, alternative, or study-guide material for an existing course instead of serving as core texts. (The latter is how I would likely use the material in the book.)","organization_rating":4,"organization_review":"The presentation of topics follows a reasonable plan and anyone who is familiar with appreciation-type courses will be able to navigate what is a fairly traditional method of organization. The only oddity here is the appendix of musician biographies at the end of the book. At thirty pages, it is roughly a third(!) of the entire book. I really like that it mixes the people without regard to time periods or styles—one finds Mozart next to Presley—and I enjoyed the sketches, but I’m not sure what one does with it. ","interface_rating":3,"interface_review":"If one is looking for plain text without examples or interactive features, then this would rate a five (5), because that is all it is. It is a PDF with clean and readable text. If one is looking for lots of color images, examples, interactive links, and other similar features, then this would rate a one (1). Given those two extremes, I’ve averaged it out to a three (3). ","grammatical_rating":5,"grammatical_review":"The prose is fine in terms of grammar. It is readable.","cultural_rating":4,"cultural_review":"On the plus side, by giving a large amount of space to rock, rap, jazz, and world music, it elevates discussions of vernacular music and world music, which tend to include more discussions about persons of color, to the same level as discussions of Western European derived art music, which do not. However, the text is so spare overall in this book that any substantive discussion of the various cultures presented isn’t possible. Everything is overview without many details. There isn’t a problem so much with a lack of cultural sensitivity as there is with a lack of cultural depth. As I’ve stated elsewhere, one could add many examples to give context and content to support the text, and maybe this is the intent. ","overall_rating":7,"overall_review":"My overall reaction to this book is that it comes down to what you need this textbook to do for you. If you need something very pared down to act as a scaffolding that you then add a lot of your own material to, it is short and flexible enough for you to do that. If you need something with everything wrapped up and complete that could stand on its own without much needed from you, then you won’t be happy with it.","created_at":"2019-07-31T09:32:16.000-05:00","updated_at":"2019-07-31T09:32:16.000-05:00"},{"id":3548,"first_name":"Christopher","last_name":"Cook","position":"Lecturer in Music","institution_name":"Oakland City University","comprehensiveness_rating":3,"comprehensiveness_review":"The book is fairly comprehensive, but its length is relatively short. This keeps the text from diving too deep into any one topic well enough to be considered comprehensive.","accuracy_rating":5,"accuracy_review":"I noticed no errors in accuracy. ","relevance_rating":3,"relevance_review":"There are large sections of music history that occurred in the last 20 years, in many genres, which are not covered at all. While earlier sections of music history are covered, as well as information from areas around the world, the currency of the information keeps a relevance score low. ","clarity_rating":4,"clarity_review":"This text isn't too dry, which can be an issue with some music history texts. Rather, it felt pretty reasonable, with information presented alongside terms in an easy-to-read, flowing style. ","consistency_rating":5,"consistency_review":"I saw no issues with consistency in this text. ","modularity_rating":4,"modularity_review":"I believe portions of this text can easily be divided into smaller sections. However, the beginning of the text throws so many terms at the reader all together that it would be difficult to go through those besides doing it all at once. Later sections resolve this issue. ","organization_rating":5,"organization_review":"I saw no issue with the organization of the text. All topics flow logically from one to another. ","interface_rating":4,"interface_review":"There were a few blank pages between a couple chapters. I would have thought the extra page separating chapters was intentional, but I don't believe it was uniform throughout the text. ","grammatical_rating":5,"grammatical_review":"I noticed no glaring grammatical errors.","cultural_rating":4,"cultural_review":"The book does a good job at trying to present the information from as broad a perspective as possible. However, the book doesn't describe itself as a Western Music History text, but its inclusion of large sections such as the Renaissance, the Baroque, Classical, and Romantic periods, and overall slant toward European music history can't quite keep it as broad as it seems to wish. ","overall_rating":8,"overall_review":"I think this text would be an excellent supplemental material text for a course. However, as a main text, I believe it falls short. I do not believe it contains enough information in great enough detail to warrant an entire semester's course. ","created_at":"2020-01-29T11:50:26.000-06:00","updated_at":"2020-01-29T11:50:26.000-06:00"},{"id":3889,"first_name":"Jonathan","last_name":"Harvey","position":"Assistant Professor","institution_name":"Fitchburg State University","comprehensiveness_rating":3,"comprehensiveness_review":"It is difficult to assess the comprehensiveness of this text as a whole, because it seems to be four differently-functioning texts that were later compiled. The first three chapters are quite thorough, although one could quibble about categories (for example, “rhythm” and “meter” are discussed as separate characteristics, but “scale” is only considered under the heading of “pitch”) and definitions (for example, “chorus” is defined as “twenty or more singers grouped in soprano, alto, tenor, and bass sections,” which is very precise but inaccurate), and the bias is unmistakably Western European. Chapters 4 and 5 are a breakneck race through Western art music history, with summary prose sketches of each period followed by lists of historical events, figures, and genres. These seem to function as a study guide or a review for students with previous thorough knowledge of the material. Chapters 6, 7, and 8 are well-organized discussions of genres outside of the Western art music tradition, but they are quite brief (although longer than the earlier Western period sections), and sometimes don’t do what they say they will (for example, the introduction to Chapter 8 states that it will discuss music of “Africa, India, Indonesia, and the Caribbean,” and then proceeds to also address music from China, Argentina, and Eastern Europe). Finally, the appendices include a long list of musician biographies, only two of which might be considered non-Western, and the glossary. There is no index (not as much of a problem with a searchable PDF).","accuracy_rating":4,"accuracy_review":"The information is generally accurate, but partial. There is a broad bias toward Western traditions, which is to be expected from a course like this, although the course objectives in the introduction do not make that explicit.","relevance_rating":4,"relevance_review":"Very little after the 1990s is discussed, although the most recent publication date is 2014.","clarity_rating":3,"clarity_review":"The prose is generally understandable, although there is often significant missing context. It would seem to be a difficult read for anyone who isn’t already familiar with the subject matter.","consistency_rating":1,"consistency_review":"This book seems to be four differently-functioning texts that were later compiled. The first is a prose discussion of music “fundamentals” (Chapters 1-3). The second is a study guide for Western art music history (Chapters 4-5). The third is a prose discussion of several musics outside of the Western art tradition, variously divided by geography, chronology, or genre (Chapters 6-8). The fourth and final section is a long list of musician biographies and musical term definitions (Appendices 1 and 2).","modularity_rating":5,"modularity_review":"This text could absolutely be divided without any trouble - that actually seems to be the original context, since different sections of the book function very differently from each other.","organization_rating":3,"organization_review":"The topics proceed as one would expect in an introductory appreciation course like this one. The internal organization of each topic is less logical - sometimes genre based, sometimes chronologically based, and sometimes geographically based.","interface_rating":2,"interface_review":"There are no technical display failures, but the visual layout consists solely of large blocks of text, with one photographic image per chapter. Not a varied or engaging interface.","grammatical_rating":5,"grammatical_review":"There are no significant grammatical errors.","cultural_rating":4,"cultural_review":"The inclusion of vernacular and international music discussion leads to more discussion of musicians from underrepresented groups, and there don’t seem to be any overtly offensive passages.","overall_rating":7,"overall_review":"This text could function as a very effective review tool or study guide. It could also be excerpted as supplemental readings. I would have a hard time using it as the textbook in an introductory music appreciation course, which seems to be the intent.","created_at":"2020-06-01T15:41:27.000-05:00","updated_at":"2020-06-01T15:41:27.000-05:00"},{"id":3936,"first_name":"Paul","last_name":"Dube","position":"Adjunct Faculty Visual and Media Arts","institution_name":"Bunker Hill Community College","comprehensiveness_rating":5,"comprehensiveness_review":"Music: Its Language, History, and Culture provides a comprehensive review of the development of musical genres through the ages from early periods through the classical, baroque, romantic, folk, jazz and hip hop eras with historical references in each era to provide a better understanding of cultural timeframes.","accuracy_rating":5,"accuracy_review":"This text is well research and accurate in it's description of musical styles, providing a basis in musical theory such as time signatures, diatonic scales, and thematic development without being too technical. It is readable for the novice delving into music appreciation for the first time, but dense enough to attract the accomplished musician. Chapters provide historical context without opinion as to validity of musical style or cultural acceptance.","relevance_rating":5,"relevance_review":"Music: It's Language History and Culture separates musical genres by historical timelines up to the present day and can therefore be added to and updated without having to edit previous content.","clarity_rating":5,"clarity_review":"Text content is well written and informative without being too technical, but the content and historic references would be more entertaining with the inclusion of more imagery. Each chapter opening provides only one visual image to set the tone of the genre-historic images of noted composers, musicians and cultural figures would provide more comparative context.","consistency_rating":5,"consistency_review":"The book's format and presentation of matter is consistent throughout and can therefore be easily researched and referenced by the reader.","modularity_rating":5,"modularity_review":"Each chapter is easily readable and follows on the style and presentation of previous chapters with good flow and narrative. The reader can pick and choose a genre or style to study without have read all previous sections for a complete understanding of a musical style or theoretical study, such as counterpoint, percussive effects, etc.","organization_rating":5,"organization_review":"All topics covered are presented in a consistent fashion without deviance from presentation. Historical references are clear and the inclusion of brief composer's biographies and a glossary or musical terms provides benefit to the reader when completing research.","interface_rating":5,"interface_review":"Each section is easy to navigate and research without the inclusion of the use of too much technical jargon or sub texts.","grammatical_rating":5,"grammatical_review":"The text contains no grammatical errors and is well written with good punctuation.","cultural_rating":5,"cultural_review":"Each musical genre studied is respectful of the cultural norms of the time without providing judgement as to tastes, ethnicities or geographical regions.","overall_rating":10,"overall_review":"As stated previously, the graphic style of the book is a bit dry and would be greatly benefitted by the inclusion of more imagery to entertain the reader and keep him or her focused on the content. Other than that, it is very readable and I enjoyed it enormously.","created_at":"2020-06-10T08:03:19.000-05:00","updated_at":"2020-06-10T08:03:19.000-05:00"},{"id":4352,"first_name":"Elizabeth","last_name":"Macy","position":"Assistant Professor of Ethnomusicology","institution_name":"Metropolitan State University of Denver","comprehensiveness_rating":3,"comprehensiveness_review":"The overall text provides very basic, introductory context for an introduction to music. The goals are broad and comprehensive, but the actual breadth feels limited (and the text is quite short). Some of the sections are more comprehensive than others, with a final chapter on \"World Music\" feeling tacked on.","accuracy_rating":4,"accuracy_review":"The information contained within this text is generally accurate and error-free, though there is definitely a demonstrated Western bias.","relevance_rating":3,"relevance_review":"The text has been updated (most recently in 2014), but discussions of popular music and more contemporary composers end in the 1990s.","clarity_rating":4,"clarity_review":"The text is relatively clear and accessible overall.","consistency_rating":3,"consistency_review":"The individual sections vary greatly in terms of consistency, with some chapters providing explicit explanations of terminology and musical examples, while others are lacking in details.","modularity_rating":5,"modularity_review":"This text could be easily adapted and divided for a variety of purposes.","organization_rating":4,"organization_review":"The organization is clear, though I wonder why the musician biographies at the end (roughly one third of the text) weren't integrated into the text itself.","interface_rating":3,"interface_review":"The text is easy to navigate, as it is simply a PDF document. Images are clear, though they are unlabeled and need contextual clues.","grammatical_rating":5,"grammatical_review":"No noted grammatical errors.","cultural_rating":3,"cultural_review":"While the text embraces an introduction to music from a broad stance (and sections are devoted to American vernacular music, rock, rap, jazz, and world music), the approach gives rather surface-level information on music outside the Western cannon. It isn't culturally insensitive, but rather lacks depth.","overall_rating":7,"overall_review":null,"created_at":"2020-09-04T18:14:34.000-05:00","updated_at":"2020-09-04T18:14:34.000-05:00"},{"id":4907,"first_name":"Heeseung","last_name":"Lee","position":"Adjunct Professor","institution_name":"University of Northern Colorado","comprehensiveness_rating":4,"comprehensiveness_review":"This text attempts to cover a wide range of music-historical areas, from European art music, through America’s folk, popular, and classical, to world music. As a strength, it provides brief outlines for all these areas within 60 pages, with an emphasis on America’s music including jazz and latter-day musical traditions around New York City where the authors are based. Scholarly efforts are found in viewing music as language, articulating the practice of wind music as significantly as those of keyboard and orchestral music, and drawing particular attention to the intricate relationship of composer, performer, and audience in a separate chapter. However, with no detailed discussion about musical repertoire that would otherwise help greatly clarify the authors’ points in the text, from the musical elements to the characteristics of composers and genres included, this book alone falls short as a self-sufficient textbook in college-level introductory music courses. It roughly lays out historical and cultural contexts that surround numerous musicians, with a mere mention of their names only. It neither identifies the titles of the musicians’ representative works, so that the students could look them up for themselves, nor does it explain musical terms and concepts within a specific piece of music. It would allow the instructor freedom in choosing his/her/their own repertoire, if well-versed in all the areas of music. On the other hand, this book fails to encourage students to become independent learners and critical thinkers on their own. Without the instructor’s guidance, or without supplementary sources, it would be challenging for them to follow the text and retain its contents in a constructive way. Especially, those who do not have any institutional affiliation of higher education but want to learn about music at a similar level would not find the text of great use – missing out on a substantial part of the Open Educational Resources mission.","accuracy_rating":3,"accuracy_review":"Historical facts in the text are mostly accurate. However, due to the authors’ overarching principle of generalization, and the avoidance of analytical discussion of music that might appear taxing on the likely audience – non-music majors – some of the musical elements and composers’ styles are superficially defined, and thereby to an extent inaccurately presented. Chapter 1 (“Elements of Sound and Music”) leaves out detailed explanations about the elements of music that could otherwise prepare better the students to understand the descriptions of diverse types and styles of music found in later chapters. The first chapter particularly lacks basic details in meter and harmony. Without such foundation, the author of chapter 8 abruptly introduces 2/4 and 4/4 meters, against which 3/8 and 9/8 meters are defined as “irregular meters” (p. 64); in fact, these are still regular meters of triple division in a large scheme – the former is a simple meter with duple subdivision, and the latter a compound meter with triple subdivision. In chapter 5, the author points out Schoenberg for his conception of serial technique but fails to associate it with its distinct aesthetic – a scientific and objective attitude toward music. Without a recognition of stylistic changes in his compositional career, especially crucial to the discussion of twentieth-century musicians, the author provides a wholesale description of Schoenberg’s style as expressionist (p. 33). The subsection of rock and roll in chapter 6 (“American Vernacular Music”), assigned to one and a half pages only, needs to expand its scope and depth, at least with a short list of select repertoire in order to provide accurate outlines of its history and stylistic varieties.","relevance_rating":3,"relevance_review":"The contents of the text are up to date in general, and necessary updates would be relatively easy, especially in incorporating specific musical examples with the given general descriptions. However, the mode of presentation needs some significant change in referring to “Western European tradition” and “Western tradition” throughout the book. In many places of the book, the authors’ Eurocentric art-music-based canonic viewpoints cause them to become less specific about different spheres of music even within Western music – traditional, popular, classical, and jazz. The term “traditional” music also needs to be handled with care, with an awareness of diverse musical communities that have existed in America since its birth.","clarity_rating":3,"clarity_review":"The prose itself is accessible and easy to follow. However, generalization without musical examples and simplification of concepts with an assumption of the granted instructor’s help obscure the authors’ valuable findings and evaluations.","consistency_rating":3,"consistency_review":"The text is consistent in terms of terminology and framework, but it needs to improve coherence in content between early and later chapters. The early chapters do not lay out enough foundation for the details that follow in the later chapters. The contents of chapters 1 (“Elements of Sound and Music”) and 2 (“Musical Instruments and Ensembles”) are largely constructed around the trajectory of classical and jazz music and thus do not correspond to those of chapters 6 and 8. Also, after chapters 1 and 2, terms and concepts are no longer emboldened. Bold typeface and visual image would help greatly draw attention to the terminology of musical traditions, genres, and instruments, especially in chapter 8 (“World Music”).","modularity_rating":4,"modularity_review":"This text is readily divisible into smaller reading sections and in effect would work well in combination with other sources that include details about musical compositions and performances. It is handy to have a separate list of musicians’ biographies in appendix 1, so that the students can look up quickly and get familiar with the figures; whereas, a thorough integration of their stories, works, and contributions with the topics of the text would help the students absorb the contents better. The list is also in need of expansion to draw equal attention to musicians of rock and roll, rap, and world music.","organization_rating":3,"organization_review":"The topics in the text are presented in a logical, conventional fashion. Chapter 4, however, contains overwhelmingly long lists of historic events and figures, without direct association with the materials in discussion.","interface_rating":5,"interface_review":"No issue is found.","grammatical_rating":5,"grammatical_review":"No critical error is found.","cultural_rating":3,"cultural_review":"There is no offensive statement in the text: in effect, there is an effort detected to include as many areas of music and mention as many ethnic musical communities as possible. As the previous reviewers of this book have already noticed, nonetheless, the authors’ underlying tone and mode of presentation are heavily weighted on the canon of European classical music and American jazz. In many places of the textbook, the authors’ oversimplifying statements, if not insensitive, often mislead the reader to assume European music as Western music, and Western music as serious art music. With such Western slant of the past, some of the information merely repeats outmoded public assumptions and representations, not endeavoring to reeducate the reader with the most recent scholarly viewpoints and subtlety. The author(s) of chapters 1 and 2 limit the element of pentatonic scale to “music from China, Japan, Korea, and other Asian cultures” (p. 6) and a tight, nasal tone of vocal timbre to “many Asian and Arabic traditions” (p. 11). The inclusion of Asian and Arabic music traditions in the narrative, though in passing comments, is valid; however, the wording needs to be more accurate and nuanced, in that pentatonic scales are also found in British and other European folk songs, as the author of chapter 6 later indicates (p. 40), and blues scales are primarily based on pentatonic scales. Inclusion of non-Western music in the text and demarcation of its differences from Western music is an important step to make. Beyond this binary distinction, however, what is in demand is the author’s forthright identification of them as features not so unusual of Western music and America’s music. They also serve as stylistic choices in contemporary music-making, both regional and global. Without the author’s intervention of these renewed viewpoints, and multivalent discussions, non-Western music in general and Asian music in specific would be always viewed as “Others” to English-speaking readers. More importantly, the readers should learn better that not all music from China, Japan, Korea, and other Asian countries but music of their traditional spheres often involves pentatonic scales and nasal singing style. Non-Western musicians do operas and gospels, as well, experiment with various ideas and sounds, and create novel styles that influence other originators as much as their Western counterparts do, not separately but often collaboratively inside and outside America. Although the final, chapter 8 to an extent reaches out to multiculturalism in America and its music, after the long and firm setup on Western-European-American ground, it appears rather strategic than inclusive in a deeper level of understanding all music as fluid as language, history, and culture. There is neither mention nor passing comments on Spanish and Mexican contributions to early America in chapter 6 (“American Vernacular Music”). The text needs to articulate better that multiculturalism is not a latter-day invention but inherent in America’s history and cultural formation from its very beginning.","overall_rating":7,"overall_review":"What to include and what not to, as well as how deeply and how simply to describe and discuss, is a challenging choice for the author to make in writing an introductory music history text. Though it is understandable of the concerned authors’ editorial decision for scope and depth, the role of textbook in lower-level college music courses is to offer the readers not only historical and cultural facts in a concise manner but also various talking points that would lead to their own analytical and critical thinking, and application of it to personal aesthetic and emotional experiences outside the classroom. Music education in college can have a lifelong impact on a person’s intellectual and emotional growth not because of the memorization of isolated historical facts but because of the power of music resonating through the integration of scientific working-out of musical elements, musicians’ stories, and at times intricate discussions that would push to the limit his/her/their conceptual boundaries. Whether the students pick them up in the first place or later, or never, it is the author’s responsibility to endeavor to take them to a higher level of thinking and understanding in college-level music courses.","created_at":"2021-05-11T14:49:29.000-05:00","updated_at":"2021-05-11T14:49:29.000-05:00"},{"id":4912,"first_name":"Jeff","last_name":"Kowalkowski","position":"instructor","institution_name":"Northeastern Illinois University","comprehensiveness_rating":4,"comprehensiveness_review":"I would recommend this book for Musical Experience classes.","accuracy_rating":5,"accuracy_review":"The author covers the introduction to music and listening very thoroughly.  There are chapters on World Music and Jazz and some Musician Biographies.","relevance_rating":4,"relevance_review":"It was first published in 2006, so I think it can use an update, but as a free reference tool it is very strong.","clarity_rating":4,"clarity_review":"I enjoy the writing style, it is very concise and it covers the basic fundamentals thoroughly.","consistency_rating":5,"consistency_review":"Very consistent use of terminology, contains a glossary","modularity_rating":5,"modularity_review":"Yes, the book can be used out of sequence, focusing on the chapter of interest.","organization_rating":5,"organization_review":"Extremely clear organization.","interface_rating":5,"interface_review":"I did not notice any interface problems.","grammatical_rating":5,"grammatical_review":"Grammar is sufficient.","cultural_rating":5,"cultural_review":"Very Culturally aware text.","overall_rating":9,"overall_review":"This book was written by a composer who has taught music appreciation for decades, and that is why it is effective.","created_at":"2021-05-12T06:53:06.000-05:00","updated_at":"2021-05-12T06:53:06.000-05:00"},{"id":5069,"first_name":"James","last_name":"Reddan","position":"Associate Professor","institution_name":"Western Oregon University","comprehensiveness_rating":3,"comprehensiveness_review":"In terms of comprehensiveness, this text is comprehensive by way of the appropriate topics to be covered in a semester or quarter-long survey course in music history and appreciation. However, the chapters are not comprehensive and leave out a significant amount of important information. Rather, the chapters feel overly general and do not adequately give a decent overview of many topics leaving some to feel glossed over, but also that they needed to be \"on the page\" or at least mentioned in the chapter. Many chapters provide good points as an outline or supplement to in-class lecture instruction, but at times don't feel like they add much value to what the students really need.","accuracy_rating":4,"accuracy_review":"The content is mostly accurate throughout. Some of the information could use some updating, especially related to terminology around music outside of the Western Art Music tradition. Further development of the music outside of the western canon and linked within the canon would provide for further accuracy and relevancy (an appear less biased) than other","relevance_rating":2,"relevance_review":"In terms of relevance, this text could use some updating. This includes current unbiased cultural and gendered terminology, especially related to music outside of the western canon as previously stated. Additionally, music outside of the art music tradition could use significant development and linkage to music history to establish the relevancy and relationship of all forms, and not just forms that have been somewhat accepted into discussion of art music. Moreover, the term American Vernacular lends itself bias (unintentional) and unnecessary jargon. Generally, this book is similar to most other books on this topic that are available without the depth provided on each topic.  However, it is important to note that on the flipside of this is the fact that it would be very straightforward to use and highly supplement with more relevant an up-to-date material.","clarity_rating":3,"clarity_review":"The text is generally very clear and easy to read. Terminology and jargon are generally defined, but the use of some jargon is out of date and/or unnecessary. It is not overly technical. Some topics need further development and refinement. Examples could be made more relevant. The depth of chapter 5 I felt particularly problematic as covering 600 years of music history in 16 pages, even in a survey course, is tough. It was a bit too general and some of the terminology and concepts do need further development. I do, however, appreciate the lists and general organization outside of the general summaries of each period as starting point of reference. What would also be helpful is links to historical milestones to provide context for the students adding to the clarity of the text. Another desire is for more visual content. There is a lot of text, but this lacks engaging visual content that could help with clarity in addition to relevant links to recordings and materials that could be directly accessed by students in real time.","consistency_rating":3,"consistency_review":"The text is consistent with itself in terms of terminology and framework; however, it is not always consistent with current terminology and other considerations about different topics. Additionally, the authors have not been consistent with the amount of attention given to each topic which can unintentionally apply a perception of bias judgement from the reader. Some chapters are given considerably more depth and focus than others that try to cover many topics quickly that also have important implications for contextualization of the material being discussed.","modularity_rating":4,"modularity_review":"This text, due to both its broadness and brevity, would be easily divisible into small section and used in a variety of different ways including out of the recommended sequence if desired.","organization_rating":3,"organization_review":"The topics are presented in a logical order and in a clear fashion, though overly broad and lacking detail at times. Topics feel a bit overly and unnecessarily siloed from one another throughout.","interface_rating":3,"interface_review":"Generally, the interface has no significant issues except to say that it is not very visually engaging to the reader. There is nothing to distract the reader, but there is nothing to really draw the reader in either.","grammatical_rating":5,"grammatical_review":"The book is generally well written and free of any grammatical issues.","cultural_rating":2,"cultural_review":"The text is not intentionally culturally insensitive or offensive in any way. In the attempt to over insights about the development of music outside of the traditional emphasis of the European Art Music tradition, some of the terminology that has been used in the past and fallen out of favor as a way to enable discussion is used. The authors do try and mitigate this within their discussion of music from different countries without also appropriating (which they do not do). However, the terms \"world music\" and \"non-Western,\" while having a true utility for how to describe musics from cultures outside of Europe (and most of North America), have fallen out of favor due to the unnecessary othering of cultures without also really offering enough information regarding colonization and cultural transformation as a result further detracting from contextualization and relevancy for many readers.","overall_rating":6,"overall_review":null,"created_at":"2021-06-09T21:18:05.000-05:00","updated_at":"2021-06-09T21:18:05.000-05:00"}],"url":"https://staging.open.umn.edu/opentextbooks/textbooks/music-its-language-history-and-culture","updated_at":"2024-03-25T08:05:36.000-05:00"},{"id":468,"title":"Exploring Movie Construction \u0026 Production: What’s so exciting about movies?","edition_statement":null,"volume":null,"copyright_year":2017,"isbn10":null,"isbn13":null,"license":"Attribution-NonCommercial-ShareAlike","language":"eng","accessibility_statement":null,"accessibility_features":["unknown"],"description":"Exploring Movie Construction \u0026 Production contains eight chapters of the major areas of film construction and production. The discussion covers theme, genre, narrative structure, character portrayal, story, plot, directing style, cinematography, and editing. Important terminology is defined and types of analysis are discussed and demonstrated. An extended example of how a movie description reflects the setting, narrative structure, or directing style is used throughout the book to illustrate building blocks of each theme. This approach to film instruction and analysis has proved beneficial to increasing students' learning, while enhancing the creativity and critical thinking of the student.","contributors":[{"id":4253,"contribution":"Author","primary":true,"corporate":false,"title":null,"first_name":"John","middle_name":null,"last_name":"Reich","location":"Genesee Community College","background_text":"John Reich received a B.A. in theatre from Buffalo State College in 1976 and an M.A. in speech with a theatre and journalism concentration from Kent State University in 1979. He has been teaching Film, Speech and Interpersonal Communication at Genesee Community College since 1998. He published an article entitled “I’ll Take Education for $100”, in Innovation Abstracts in 2011, which discusses a method of teaching film in the classroom. This article was the precursor that led to formulating the idea and concept for this textbook. He also published an article, “How to Transform Fear and Hostility into Enthusiasm” in Teaching for Success in 2009 that discusses how to help students get over their nervousness when taking a Public Speaking course."}],"subjects":[{"id":29,"name":"Arts","parent_subject_id":6,"call_number":"N85","visible_textbooks_count":56,"url":"https://staging.open.umn.edu/opentextbooks/subjects/arts"},{"id":6,"name":"Humanities","parent_subject_id":null,"call_number":null,"visible_textbooks_count":418,"url":"https://staging.open.umn.edu/opentextbooks/subjects/humanities"}],"publishers":[{"id":394,"url":"https://milneopentextbooks.org/","year":null,"created_at":"2018-09-07T12:22:39.000-05:00","updated_at":"2024-04-15T13:41:32.000-05:00","name":"Open SUNY"}],"formats":[{"id":679,"type":"PDF","url":"https://milneopentextbooks.org/download/exploring-movie-construction-and-production-1499438054-pdf/?tmstv=1672257692","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":680,"type":"eBook","url":"https://milneopentextbooks.org/download/exploring-movie-construction-and-production-epub/?tmstv=1672257692","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":681,"type":"Online","url":"https://milnepublishing.geneseo.edu/exploring-movie-construction-and-production/","price":{"cents":0,"currency_iso":"USD"},"isbn":null}],"rating":"3.5","textbook_reviews_count":16,"reviews":[{"id":1538,"first_name":"Don","last_name":"Diefenbach","position":"Professor","institution_name":"University of North Carolina - Asheville","comprehensiveness_rating":3,"comprehensiveness_review":"This book in specifically targeted in its objective and thus it is not a particularly comprehensive treatment for the subject. It does not contain an index or glossary, but each chapter does conclude with a number of helpful resources.","accuracy_rating":5,"accuracy_review":"The content of the book is pretty accurate and the book does a good job in addressing its stated objectives.","relevance_rating":4,"relevance_review":"The book uses classic film examples and timeless principles of film construction and production. For these reasons, the book is one that will have a good shelf life and can be updated easily.","clarity_rating":3,"clarity_review":"I found the writing quality to be a weaker element of the project.  The author repeatedly uses the device of citing dictionary definitions of terms, something as the lead to a chapter, and sometimes many times within the same chapter. Sone of the transitions are clunky. Some of the early discussion is anecdotal in nature based on the comments from the author's own school. I really like the premise of this book, but I do think it would be stronger if reworked for style and if more scholarly citations were added.","consistency_rating":5,"consistency_review":"Consistency is good. The book utilizes a defined structure and tone and stays with this throughout","modularity_rating":4,"modularity_review":"The book is successful in its modularity. It could be generally assigned as stand-alone units by chapter, although there are some references backwards and scaffolding.","organization_rating":4,"organization_review":"I think the structure and flow of the book are both good the style and content issues already cited above not withstanding","interface_rating":5,"interface_review":"I read this book in iBooks and everything worked great. The coding of the text and links seems very good. Text boxes were set aside in shading as they should be and images looked good.","grammatical_rating":5,"grammatical_review":"The grammar is pretty good but the style could be raised a notch.","cultural_rating":3,"cultural_review":"The book is centered on three classic films that are widely available from the earlier days of cinema. The films are relatively homogenous, but the principles explored in the text are quite universal.","overall_rating":8,"overall_review":"I think this book operates from an effective premise and is a valuable resource. The author uses three classic films available for free on YouTube and a hypothetical project to take the reader through the stages of film construction and production. Leading the chapters with questions is effective. I like the formulas that illustrate the various stages of the process. The discussion of character is very good and thought-provoking. The chapters on the technical elements of production are pretty comprehensive and will give introductory students a good basis for understanding how movies are made. The \"Further Viewing\" recommendations at the end of each chapter present a range of very good suggestions. The concluding section bring the whole book together nicely. The book contains a few assignments at the end that can help students apply what they've learned. While this work lacks some of the depth and scholarly citations of other works on this topic, it does provide a great deal of useful information and a valuable structure for students and instructors in an open access format.","created_at":"2017-08-15T19:00:00.000-05:00","updated_at":"2017-08-15T19:00:00.000-05:00"},{"id":1603,"first_name":"Karen","last_name":"Wenz","position":"Adjunct Instructor","institution_name":"St Cloud Technical and Community College","comprehensiveness_rating":3,"comprehensiveness_review":"The book is not a comprehensive text about film, but then it does not claim to be.  The focus is limited in scope and depth. It first offers a simple overview of basic elements of film and story and then discusses elements of production.  ","accuracy_rating":3,"accuracy_review":"Historical references are sometimes simplistic and lack depth, particularly in the decades section, where more detail could be provided about the political and social aspects that defined each decade.  Some statements had the tone of opinion rather than scholarly research. The text overall treats film as entertainment rather than a serious art form. ","relevance_rating":5,"relevance_review":"The topics in the book will retain their relevance as much of it draws on genres and basic storytellling.  The three films included for viewing  are older, but are classics that will always be appropriate in any discussion or study of film.","clarity_rating":3,"clarity_review":"The writing style is not at the expected level of sophistication for a college course. It does not succeed in challenging the reader to promote analysis and understanding, but if offered as a textbook in a face-to-face classroom setting, the teacher could draw out more from students with the questions and prompts provided. For a course that is exclusively online, the text alone may not engage students adequately.","consistency_rating":5,"consistency_review":"The writing throughout is consistent and maintains a steady voice that does not distract the reader. ","modularity_rating":5,"modularity_review":"The topics are organized in such a way that easily lends itself to focusing on a specific topic or idea and is laid out nicely for building upon those ideas and tying them together.","organization_rating":4,"organization_review":"The book is nicely organized with a natural flow of ideas that makes it easy to follow. ","interface_rating":5,"interface_review":"Reading via ePub demonstrated a flawless interface.","grammatical_rating":5,"grammatical_review":"Grammar was accurate throughout.","cultural_rating":4,"cultural_review":"There was not a great deal of variety as far as cultural references, but there was nothing that stood out as insensitive or offensive. ","overall_rating":8,"overall_review":"The book was written in a rather simple style that did not seem in line with college/university teaching.  While it provides basic information about some aspects of film, it does not lead the reader to a depth of analysis expected at the college level. For a fundamental overview of film genres and story structure, it meets the mark. It did not address film as an art form, but treated it more as a form of entertainment.  The use of the hypothetical Jack and Suzie was not as effective as providing examples of character interaction and motivation from real films that the reader could watch, but there were relevant lists of related films after some sections. It was disconcerting to see Wikipedia as a source in the bibliography.","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1651,"first_name":"Daniele","last_name":"Fioretti","position":"Lecturer","institution_name":"Miami University","comprehensiveness_rating":3,"comprehensiveness_review":"Teaching Cinema classes myself, my expectation is a textbook that covers all the main areas of moviemaking, both thematically and technically. \nSpeaking about themes, the section dedicated to film genres should be expanded: it gives very little space to documentaries; it does not mention docudramas or biopics. It also does not include a key genre in American cinema, the social problem film. Finally, there is no mention about the fact that many art films made by directors like Fellini, Wenders, Kurosawa, Welles and others, cannot be categorized in a genre.\n\nFrom the point of view of moviemaking, Part II (Production) examines more technical aspects like Cinematography, Editing, and Sound. It is good that the text is supported by effective images, and that every section ends with a practical assignment; although, this section lacks many important technical elements. The part related to Cinematography is short and generic, and does not provide specific examples – with pictures – of use of different shots and angles; furthermore, describing close-ups and extreme close-ups the author makes reference only to faces, while there are countless examples in cinema of close-ups and extreme close-ups of objects, details, or other parts of the human body, especially hands. Movement, as well as Mise-en-scene, are included in Cinematography, without distinguishing three very different aspects of movement: the movement of the actors in the scene, the movement of the camera, and the apparent movement of the movie camera caused by zoom lenses. The author does not mention the distinction between black and white and color: therefore, he does not make any reference to the artistic use of black and white in the age of color films (for example, Woody Allen’s Manhattan), nor more complicated cases of presence of color in black and white movies (Steven Spielberg’s Schindler’s List) or movies that make use of both color and black and white for specific artistic purposes (Wim Wenders’ Der himmel über Berlin - Wings of Desire). The section about Editing is clear and includes nice explicative pictures, but it mentions only the classical style of narrative editing. Another element that is very important in Film Studies is Acting, but there is no section dedicated to this topic.\n\nIndex and glossary are good, but the Bibliography needs to be re-made from scratch; in fact, it does not make reference to actual manuals and texts of Cinema theory: it is mainly made of Wikipedia entries and definitions from Dictionary.com. If this text is aimed to college students it should also provide essential tools to help students to understand the basics of academic research. High School students are required not to quote from Wikipedia in their assignments, so it should be very confusing for a first year student to be assigned a text that relies almost entirely on these kind of sources. This is probably the most serious flaw of the entire project, and it explain its vagueness ","accuracy_rating":4,"accuracy_review":"The content is accurate but sometimes a little vague (please refer to the previous section).","relevance_rating":5,"relevance_review":"The text is sufficiently up to date, but I still think it needs to be reviewed according to suggestions I made.","clarity_rating":5,"clarity_review":"The text is clear and comprehensible, easy to access even for people who have never taken a film class before. I like the way the Introduction is focused first and foremost on the pleasure and the excitement to watch a movie. “Do you love a movie but when asked why, you can’t explain it?”, is one of the questions contained in the introduction. The focus of the author, is to give to the readers the tools to understand a little better how a movie works, and how this pleasure is generated. In this sense the introduction is effective in addressing students who have never taken a cinema class before. It is also positive that the author quotes former students; it makes the introduction friendly and mindful of the students’ opinions. ","consistency_rating":4,"consistency_review":"The text is consistent but needs improvements.","modularity_rating":5,"modularity_review":"The book is very well divided into sections that could be assigned at different times. A positive aspect is the size of the book, which is short and concise, probably rather inexpensive even in its printed form. The book is structured in an introduction, two big chapters or parts dedicated to two key aspects of moviemaking: Construction and Production, followed by a Conclusion that mainly contains two assignments, a Production Assignment and a Cinematography Assignment. ","organization_rating":4,"organization_review":"The topics are well presented logically and clearly, but several topics are missing (please see the section \"comprehensiveness\").","interface_rating":3,"interface_review":"I read the book in a printed form, so I cannot comment on the interface.","grammatical_rating":5,"grammatical_review":"Grammar is fine, as it should be expected in a college level textbook.","cultural_rating":2,"cultural_review":"The book is not insensitive nor offensive, but it is focused only on American cinema. In particular, all the references to themes are connected only to American historical events, like The Great Depression, World War II, social changes in the 1970s, etc. Given the big difference between American, European, African, and Asian cinema, if the aim of the author was to make a textbook focused only on American cinema, this circumstance should be mentioned in the title. European, African, and Asian cinema should be at least mentioned; even better, there should be a section that takes into account the cultural differences between different cinematographies.","overall_rating":8,"overall_review":null,"created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1699,"first_name":"Thomas","last_name":"Castillo","position":"Assistant Professor","institution_name":"Bowling Green State University","comprehensiveness_rating":3,"comprehensiveness_review":"The book at some level is probably more conceptually ambitious than it should be. As suggested by the title, the book covers both Construction and Production elements. Either of these topics on their own could and probably should make for a full, lengthy textbook. What's important to grasp about this textbook is that it is based in a formal framework that is more literary or theatrical rather than filmic and it really is only engaging with Classical Hollywood cinema and the according cinematic practices. Within that framework, the textbook does engage with key points reasonably well. ","accuracy_rating":3,"accuracy_review":"I think one of the main weaknesses of the text is the lack of citations, specifically in relation to film scholarship. Philosophically, I do grasp the importance of open-source and accessible material for students, however I think the book suffers from a generic, rather than a specific, discussion of theme and story elements. The \"Jack and Suzie\" device used throughout the text has value as a mental or workshop exercise, however the text leans far too much on what are hypothetical examples than examples from actual films (which would perhaps be the duty of teaching professional to locate and screen during class). The text does utilize fair definitions (even if the author does not fully acknowledge counter-arguments) but would be bolstered by supporting statements and more variety in points of view on topics such as genre. ","relevance_rating":4,"relevance_review":"The text itself is based in a framework that could be easily updated to identify or include more recent examples. ","clarity_rating":4,"clarity_review":"The book is reasonably clear throughout from a writing standpoint, though it veers a touch too far into the broad rather than the specific. For example, the discussion of theme by decade reads as way too broad and missing the specific examples that would be necessary to construct a strong argument. The text fails to acknowledge the history of the industry, the consent decree, the development of television, corporate mergers, and other industrial realities that have influenced what kinds of films are made. ","consistency_rating":4,"consistency_review":"The book is reasonably consistent and establishes a framework, though it's not a framework that I've seen in the majority of other textbooks. I think the book would be stronger if it identified more broadly as a narrative analysis handbook and cut out the production discussion, or went into more detail about how production elements connect to narrative construction. ","modularity_rating":4,"modularity_review":"The book appears to be easily broken into small parts to provide definitional foundations for novice students engaging with the academic study of film for the first time. ","organization_rating":3,"organization_review":" I think where the text suffers is in the two-part structure. Again, each could be its own textbook. Where this is a problem conceptually is that the book doesn't fully consider not just the technical aspects as technical, but also as important to filmic theme and film grammar. How does production influence construction? Does film start with the image or with the written word? I think there is more argument to be had than the text suggests. ","interface_rating":5,"interface_review":"I did not notice any distracting elements in the interface. Images and text elements were very clear. I downloaded and read the text as a PDF. ","grammatical_rating":5,"grammatical_review":"I did not notice significant grammatical errors in the text. ","cultural_rating":3,"cultural_review":"Here, the text must be understood as really only emphasizing one slice if cinematic practice. Within that slice (culturally Western, Hollywood films), the text makes a fair introduction to basic film and storytelling elements.The book elides issues of cultural diversity and takes a firmly non-critical approach to the influences of Capitalism and cultural assumptions in Hollywood film. ","overall_rating":8,"overall_review":"This book has some value for introductory film studies courses and perhaps comparative literature courses. Specific segments of the text provide very clear, easily communicated definitions for the student who is just beginning to approach film from an analytical perspective. The exercises are easily manageable and offer good starting points for assignments or classroom discussion. I would be unlikely to structure an entire course in the way that the text is organized, but it does provide some strong sections that could be incorporated into a course. ","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1722,"first_name":"Lucas","last_name":"Ostrowski","position":"Assistant Professor","institution_name":"Bowling Green State University","comprehensiveness_rating":2,"comprehensiveness_review":"The writer covers broad aspects of the movie making process but paints each concept in very broad strokes.  Although many different ideas are covered, it seems to be missing a great deal of information.  For instance, there is no discussion regarding \"film form\" or \"what makes a film,\" instead the information is often times presented as opinion first with \"facts\" to back up the idea.  It seems that this is the start of a good entry level text but there has to be more visual content and examples to back up concepts/claims. \n","accuracy_rating":2,"accuracy_review":"Although the content had a good general idea about the construction of films, it seems that the text was very biased toward the writers opinion.  For instance, he states that an audiences enjoyment of a film is solely based on its \"theme\" as opposed to to a variety of other elements.  I found this comment to not be factual and instead was of the author's opinion regarding the audience's film experience, ultimately leading the reader to view it as fact.  There were other moments that his opinion created very reductive concepts regarding much deeper and conceptual elements (i.e. narrative, characters, direction, genre, etc.)  I also found these concepts  were not on par with other available texts that cover similar material. ","relevance_rating":3,"relevance_review":"The books use of available, copyright free, and public domain material was rather interesting and I appreciate its use, however one of the bonuses of taking a film studies class is watching a variety of movies from different eras, cultures, and content.  Using mostly films from the first half of cinema's history worked (and stuck with the open source idea) but a better variety of required films would help the author better develop the content and explain concepts/ideas better.  He did offer additional (optional) films to view but ultimately these were not required and had only a limited description with the author's biased opinion on its content.  Perhaps not limiting the films could broaden the text's appeal and relevance. ","clarity_rating":3,"clarity_review":"The concepts were fairly clear to me as a reader, but some of that could be prior understanding of the content.  For a first time reader, some ideas could be incorporated better.  For example, he often used fake (unproduced) film narratives to explain particular terms and concepts but as a reader this made it much more confusing.  Ultimately, this got in the way of the text informing the reader about the idea, and instead focused on an illusion of a non-existent film that did not clearly explain the concept.  Oftentimes, these explanations were so wordy that the text became difficult (and at times dull) to read.  ","consistency_rating":3,"consistency_review":"The author defined many of the terms  consistently but the explanations became a bit muddy.  He would often use a perceived equation to better explain some concepts but these were never fully realized and made the text more confusing as opposed to simplify the idea.  Also, these equations appeared to be formulated by the author's personal opinion as opposed to more commonly understood views of each concept. Possibly explaining why this equation was being used could help its incorporation. ","modularity_rating":3,"modularity_review":"Overall, each section was divided appropriately but many times there were large, uninterrupted chunks of text.  Since film is a visual medium, a few sample photos/stills/frames could help the reader better understand the ideas presented.  This is a perfect example of how a picture could be worth a thousand words. ","organization_rating":4,"organization_review":"The strength of the text is how its structure follows a narrative film's production process (pre-production followed by production and ending with post production.)  The author even hints at this near the end but the text could stand a few more edits to better incorporate and streamline the material. ","interface_rating":4,"interface_review":"The interface was clear and one page easily followed the other.  The main issue revolves around the incorporation of images that appear to be buried at the end of the text and could be better used throughout the content as opposed to an afterthought left at the end of the text. ","grammatical_rating":4,"grammatical_review":"The book appeared use appropriate grammar.  ","cultural_rating":2,"cultural_review":"The use of dated examples did not provide the most diverse or culturally relevant text.  As stated in other comments, the use of additional, more modern and diverse examples could better influence and inform the readers regarding new concepts and ideas regarding filmmaking as an art form. ","overall_rating":6,"overall_review":"This text is a good starting point but does need some work.  It is a little too subjective and leaving out a definition/explanation of film form keeps the text from moving forward.  Finding additional material and not being so reductive could also help the text.  \n\nIt should be noted that I found the title very odd and misleading, when I think \"movie construction\" it leads me to believe this is about set building and not film craftsmanship. ","created_at":"2018-02-01T18:00:00.000-06:00","updated_at":"2018-02-01T18:00:00.000-06:00"},{"id":1980,"first_name":"Annie","last_name":"Berke","position":"Assistant Professor","institution_name":"Hollins University","comprehensiveness_rating":3,"comprehensiveness_review":"The book explains at the start that it is an “aid to anyone who does not have a good background” in film and is most useful in a film appreciation course. While I see why this book is focused on students’ personal interests and reasons for watching film, I think that using hypothetical film plots with characters Jack and Suzie – rather than using real film examples – is a misstep. Film appreciation courses seem like an opportunity to introduce students to films major and minor and to invite them into the discipline. That won’t happen with hypothetical examples. Why make up a slapstick plot when you can just summarize one of the great moments from Marx Bros, Chaplin, or something? I am happiest reading about the actual films, like the massively underrated example Detour or the story breakdown of The Front Page, which the author includes as two of the three main examples. I appreciate the “Further Viewing” section as well.\n\nI also think the historical notes about the Production Code, Great Depression, and Paramount Decision are all apt, but the film studies vocabulary comes from Merriam-Webster and Urban Dictionary. Why not use accessible definitions from film scholars? \n","accuracy_rating":2,"accuracy_review":"Some of the analysis of the historical periods is a bit simplistic – for example, there were plenty of surprising and challenging female characters in the 1920s, not to mention some more conservative or traditional gender roles later. For more on this topic, see “Cultural Relevance.”\n\nI was also struck by some of the generalizations that the author makes, be they the reason people go to the moves (what about experimental film?) or that all comedy is either slapstick or satire, period. I understand that this is a product of trying to make the material accessible for students. That said, these kinds of simplistic distinctions can cause two kinds of problems: first, students might bring in counter-examples with films of their choice, or, second, students will cling to these strict definitions and refuse to entertain more complex or intellectually challenging counter-examples. \n\nThe second section of the book on Production provides a litany of terms that are mostly defined clearly and properly. (That said, is a sequence a string of scenes? I never heard that before. Counterpoint: I like the author’s definition of continuity editing very much.) The average score is a 3, if this section is a 4 out of 5 and the previous one a 2.\n","relevance_rating":5,"relevance_review":"This seems very easy to update in terms of its chronological history of film at the beginning. This is also an example of how the hypothetical film examples (with Jack and Suzie) prevents the book from becoming dated. The film examples the author has chosen have withstood the test of time as “important films.”","clarity_rating":4,"clarity_review":"The language is clear and easy to understand. If anything, it can be too simple, such that any sophistication or nuance between something like genre gets lost. I particularly admire the discussion of how story is built: this seems particularly useful for aspiring screenwriters (see “Consistency”).","consistency_rating":4,"consistency_review":"I think this book belongs in a film appreciation class, but the discussion of story and theme makes me wonder if this even better suited to a screenwriting class (or, at least, the first section is). My concern, as I have addressed above, however, would be that future screenwriters should be looking at classic film examples, not hypotheticals. The second section of the book focuses on Production and asks students to imagine themselves as different professionals. I appreciate how, in this unit, terminology like cinematography and mise-en-scene are introduced to the student.\n\nThat said, while a screenwriter and a filmmaker have complementary skills and work, this attention to \"theme\" is not sufficiently medium specific for my tastes. It seems more useful for a screenwriter, not a film studies student.\n","modularity_rating":5,"modularity_review":"This seems very easily divisible. I can also see professors assigning parts, but not all of, this text. For example, I am intrigued by the section about jobs in film (Production) but would want to use existing film studies scholarship to introduce my students to historical trends using real film examples.","organization_rating":4,"organization_review":"\nI think the flow is logical, but I think “Construction” here really means Screenwriting, Production meaning Making. This is more than an appreciation textbook: this is for majors who are primarily interested in filmmaking. Otherwise the trajectory is clear and appropriate.\n","interface_rating":5,"interface_review":"I downloaded it as a PDF and had no problems with navigation or graphics. I like how the author refers the reader to YouTube videos, in addition to providing images and illustrations of conceptual and cinematographic concepts.","grammatical_rating":5,"grammatical_review":"I might like to add a few commas where there aren’t any, but this reads as clean and clear.","cultural_rating":3,"cultural_review":"While race comes up in the chapter about character, it is missing from the capsule history of film, which focuses overwhelmingly on gender. The lack of real-world film examples means that are minimal representations of diversity. The gender angle is very productive and present here, but let’s get some intersectionality in here! \n\nThe focus here is exclusively American cinema, no world cinemas.\n","overall_rating":8,"overall_review":null,"created_at":"2018-05-21T19:00:00.000-05:00","updated_at":"2018-05-21T19:00:00.000-05:00"},{"id":2291,"first_name":"Andrea","last_name":"Wood","position":"Associate Professor","institution_name":"Winona State University","comprehensiveness_rating":2,"comprehensiveness_review":"The provides a fairly general introduction into the study of film that would be accessible to community college learners but a bit too simplistic for students taking a film class at a four year college or university. While the book covers some key terms in film studies, as well as genres and narrative structure in film, it offers relatively scant historical context and little to no engagement with key figures and movements within film history (i.e. the Lumiere Brothers, Georges Melies, Soviet Montage, French New Wave, Italian Neorealism, etc.). Similarly, film examples used in the book are largely American or Western European. Diverse and important film cultures from places like Japan, India, Scandinavia, and Eastern Europe are largely absent, which is problematic. While there is some discussion of film terminology, I found much of this pretty limited (apart from narrative and genre terminology). More emphasis on and analysis of mise-en-scene, editing, cinematography, sound design, and acting would be needed for this to be a useful Intro to Film textbook for undergraduate students. Finally, as far as I could tell, there was no glossary for terms.","accuracy_rating":3,"accuracy_review":"The book has adequate accuracy, but relies quite heavily on online sources that are not always backed up by scholarly materials. There are occasional errors (i.e. saying the Musical is not a genre—many film scholars would disagree with that!) in the book but none that are so deeply problematic as to make the book unusable. I think the bigger issues is what is missing in the book in places. This affects the bigger historical accuracy of the picture the author is painting of film history and the evolution of cinema.","relevance_rating":2,"relevance_review":"The book includes some helpful, embedded videos on Youtube to orient the reader. Some of these, especially a few of the tutorials, are quite useful (I’ve used some of them in my own film classes before). However, the book tries to focus most of its analysis on only three films (there are embedded Youtube videos for them) and I find this strategy, and the film choices, problematic. First, three films cannot remotely reflect the long and diverse history of cinema. None of the films are from the silent era, so that seemingly gets bypassed despite its significance. All of the films feature white casts and are made by straight, white men. Women directors are not represented. People of color are not represented. These selections provide a view of cinema that reinforces problematic inequalities within the industry that in our current #MeToo moment is not an effective teaching strategy in my opinion. I think this would also be fairly off-putting to contemporary, diverse student populations who might be excited in new developments taking place in the film industry (i.e. more women directors making high profile films, films made by and for people of color like the recent Black Panther film, etc) but end up disappointed that the class erases difference via its central three film examples. These are some of the biggest reasons why I would not use an open source book like this in my class.","clarity_rating":4,"clarity_review":"On the whole, the author writes clearly and concisely with an aim of being accessible to an average reading audience. Some students might find the writing style to be too simplistic and/or repetitive in places.","consistency_rating":4,"consistency_review":"The book is generally consistent in its terminology and framework, the latter of which is set up in the Introduction.","modularity_rating":2,"modularity_review":"I did not find the chapters would be easy to break up into segments for reading (and I certainly wouldn’t assign the book to be read in a linear fashion). While the structure might work for some instructors, I found it incompatible with how I typically teach my Intro to Film classes.","organization_rating":3,"organization_review":"The book is broken up into a number of chapters, some of which work better in terms of structure and organization than others. A few of the chapters have a lot of written text with no visual imagery to break it up or illustrate ideas. These would be less accessible and engaging to students. In contrast, the chapters that incorporate more visual images or embedded videos achieved a better structural balance. I still feel like the book is missing some necessary chapters to make it a comprehensive textbook for an Intro to Film class at the undergraduate level.","interface_rating":4,"interface_review":"There were no real problems with the interface, and as mentioned before, an advantage of an open source electronic textbook like this is the ability to include embedded streaming videos to illustrate ideas and information presented in the chapters.","grammatical_rating":4,"grammatical_review":"The book has a few noticeable typos and some awkward, choppy sentences but is otherwise decently edited to ensure grammatical accuracy and consistency.","cultural_rating":1,"cultural_review":"As I mentioned in a previous comment, engagement with cultural diversity is far too limited in this book. The three main films the book revolves around feature white casts and are made by straight, white men. Women directors are not represented. People of color are not represented. These selections provide a view of cinema that reinforces problematic inequalities within the industry that in our current #MeToo moment is not an effective teaching strategy in my opinion. I think this would also be fairly off-putting to contemporary, diverse student populations who might be excited in new developments taking place in the film industry (i.e. more women directors making high profile films, films made by and for people of color like the recent Black Panther film, etc) but end up disappointed that the class erases difference via its central three film examples. These are some of the biggest reasons why I would not use an open source book like this in my class. Similarly, other tangential film examples used in the book are largely American or Western European. Diverse and important film cultures from places like Japan, India, Scandinavia, and Eastern Europe are largely absent, which is problematic. Finally, I had problems with the author’s recurring use of hypothetical genre and narrative scenarios involving a fictional “Jack” and “Suzie”. The author consistently refers to these two characters in gender essentializing and heterosexual terms. This erases the possibility for LGBTQ+ identities in cinema and reinforces heterosexuality as an expected dominant status quo. This framework would not be culturally relevant to or supporting of a diverse student population.","overall_rating":6,"overall_review":"So far this is the only available open textbook on film available in the library. It’s not yet up to a standard that would be appropriate to replace the current textbook that I use but I hope the library will get some other open textbooks on film in the future that might be a better fit for me and my students.","created_at":"2018-08-02T19:00:00.000-05:00","updated_at":"2018-08-02T19:00:00.000-05:00"},{"id":2919,"first_name":"Kevin","last_name":"Smith","position":"Instructor","institution_name":"Chemeketa Community College","comprehensiveness_rating":2,"comprehensiveness_review":"The basics are here, but in what is a running theme throughout the text, that's about it. One example would be the chapter on cinematography (Chapter 6), which give the reader a decent overview. Having said that, there are few illustrations in this chapter (but, to be fair, there's a decent assignment at the end of the book asking students to discuss the topic that does include images), factual inaccuracies (you don't need a tripod to pan or tilt a camera, you can't \"zoom\" by walking close to the subject), and omissions (lens focal lengths and their effects, depth-of-field, etc.).  Unless, there's more than enough detail (such as the discussion of the various sub- and hybrid-genres of comedy which occupy almost 1/5 of the book). This section is extensive, but it leads one to wonder why the author, who seems to be heavily invested in the topic, didn't just focus his energies on a solid book on comedy rather than this flyover of film. Industrial issues are left almost entirely unmentioned (more on this below); film is an industry based on specialized technology...how can this not be included? No discussion of iconography in the genre chapter? ","accuracy_rating":2,"accuracy_review":"Again, some of this is just not correct: the above-mentioned issues in the cinematography chapter are just a few examples, but also probably the most egregious. The whole \"films can be categorized by the decade they were made in\" thesis has been thoroughly debunked by now, so why perpetuate it here? The 1960s are both part of the 50s and the 70s? So does that mean they don't constitute a coherent decade as is stated? Is there bias? I can't say for sure, but one unusual observation I made was that in the discussion of how social context is the most important determiner of movie themes, the section on the 1960s makes no mention of the civil rights movement, but it does point out the dangers of \"corporate management.\"  Huh. ","relevance_rating":3,"relevance_review":"It's hard to find fault with this book by saying it doesn't discuss recent developments in digital technologies because it doesn't really discuss technology much at all (I think \"computer advances\" are mentioned once as part of the social context of the 21st century. In its own basic outline style, it can't lose its relevancy because it never establishes it. Production techniques have changed  a lot since the dawn of cinema, but the coming of sound, widescreen and widespread use of color are glossed over. ","clarity_rating":1,"clarity_review":"The story-plot distinction (in Chapter 3), which, for example, discussions of genre (Chapter 2), character (Chapter 4) and theme (Chapter 1) are predicated on, comes too late. Why not define these key terms (especially when they're included prominently in bold-type 'formulas' for various aspects of film) at the beginning so that readers can scaffold as they go rather than read this in a non-linear manner? I'm unclear about how the author intended to describe these two terms as being different (stating that they both have a beginning and an end isn't particularly helpful). I wrote a dissertation on narrative film theory, and I'm still confused about how and why these terms are being deployed here. Never mind that the author seems to ignore the standard literary and film theory definitions of the terms that have been inherited from Russian Formalism. The formulas also seem inconsistent and are tossed aside when they don't fit (as with the discussion of editing in Chapter 7, which include a series of less-than signs that are different from the book's previous arithmetic). ","consistency_rating":1,"consistency_review":"Again, the formulas are used inconsistently, there doesn't seem to be a clear rationale for the use or neglect of images (which a book about film should include plenty of, imho). The central conceit of themes coming from sociohistorial context seems to be tossed out in the second half of the book, which deals with the technical or stylistic aspects of film (e.g. editing and sound). The two parts of the book could probably be used separately and no one would notice. ","modularity_rating":1,"modularity_review":"One must read this book in order, at least in Part I, but as I indicated above, these chapters seems to have been presented in a manner that doesn't follow logically. The fact that the text is so short (80 pages of reading for an entire semester) would seem to indicate that nothing would be taken out. The too-brief discussions of mise-en-scene could be expanded and added to Part II in order to improve the modularity of that portion. ","organization_rating":1,"organization_review":"Other than the sections on theme, 'narrative,' genre, and character (Part I) being separated from the standard stylistic categories in Part II. I lost track of how may references (but not explanations) there were to important concepts in Chapter 3 contained in Chapters 1 and 2. The brief and inaccurate section on film history seems out of place in Chapter 1, as the unsupported generalization that movies are always products of their social context (unless, as the author follows up with, they're not) doesn't necessarily help explain why \"theme\" is crucial to this text and one's ability to understand and enjoy movies. ","interface_rating":3,"interface_review":"More images would be helpful. The author seems to have found royalty-free images for some of the sections and the cinematography assignment at the end (which is perhaps the best part of the book), so why not include more? Again, this is a book about a visual medium (which the author points out), but we're given few visuals. The 180-degree rule and lighting diagrams are appreciated, but the use of publicity stills instead of screengrabs is unfortunate, as we all know my now that the studio photographers usually staged these under different set conditions and don't accurately represent what the movie actually looks like. ","grammatical_rating":2,"grammatical_review":"Overall, it's solid, but there are some typos (mostly punctuation issues with quotation marks and commas) and grammar issues with sentence structure (unnecessary commas prove to be a stumbling block in terms of arranging clauses and phrases accurately). ","cultural_rating":2,"cultural_review":"There's hardly any mention of diversity. The author should be given credit for making some notable examples of discussing women working in the film industry and assuming more prominent roles within films as social norms changed. The civil rights thing still bugs me. There's also a pattern throughout the book where \"Jack\" and \"Suzie\" are the main characters in the imaginary film scenarios. It seems a little heteronormative to me. ","overall_rating":4,"overall_review":"I might use some of this in my own community college film courses because of the nature of the Creative Commons license (i.e. I could make a derivative work that adds what I feel is missing and excludes what I feel is inaccurate), but it seems more appropriate for a high school audience. The author has his own ideas about film, but there's scant evidence to support most of them and many non-sequiturs. I did appreciate the acknowledgement that, and brief discussion about how, films are products that are made by people and not just artworks sprung fully formed from Zeus' forehead and ready for critical theory to be applied to. I realize this review probably seems harsh at times, but there are some gems in here, that, polished up and collected together with a few more from other OER sources, could make for a decent Intro to Film textbook. The alternatives are expensive, so it's high time somebody does so. I give John Reich a D overall, but a B for sincerity and effort.  Someone please write the second version of this textbook: it's desperately needed in film studies programs at community colleges where students can't pay $150 for a textbook, nor will I ask them to no matter how brilliant Bordwell/Thompson or Stephen Prince are. ","created_at":"2019-05-16T22:02:01.000-05:00","updated_at":"2019-05-16T22:02:01.000-05:00"},{"id":3204,"first_name":"Gabriel","last_name":"Vanover","position":"Assistant Professor of Theatre","institution_name":"Hanover College","comprehensiveness_rating":3,"comprehensiveness_review":"The book is very limited in its scope, and as a result leaves out many important and standard concepts of film studies, including film production basics. ","accuracy_rating":4,"accuracy_review":"What is included in the text, while limited, is accurate.  ","relevance_rating":3,"relevance_review":"The book is very basic, and while it might be suitable for a introduction to film studies concepts, I wouldn't use this course for a college level course.  It also uses few-to-no modern films to explore the presented concepts, which might make the relevancy to students difficult. ","clarity_rating":3,"clarity_review":"Film is a visual media, but the text utilizes very few images or diagrams to explain and clarify its concepts.  Much of the terminology, while defined through standard dictionaries, are left without a contextual basis because of the lacking visual elements. ","consistency_rating":2,"consistency_review":"Each chapter does not seem to follow a consistent layout, which I found confusing as the reader. ","modularity_rating":3,"modularity_review":"The book, especially in its second half, lacks modularity characteristics. ","organization_rating":2,"organization_review":"The organization of the text is highly lacking and could be made stronger to allow logical flow and structure for the reader. ","interface_rating":4,"interface_review":"The text is crisp and images clear.  Some random hyperlinks are in the text, making it difficult for a hardcopy reader to understand the context and resources being presented. ","grammatical_rating":4,"grammatical_review":"Overall it free of grammatical errors. ","cultural_rating":4,"cultural_review":"While it isn't insensitive or offensive, the text does tend to focus on American films of the 1940-1960s, which are predominately white.  ","overall_rating":6,"overall_review":null,"created_at":"2019-10-22T11:15:25.000-05:00","updated_at":"2019-10-22T11:15:25.000-05:00"},{"id":3214,"first_name":"Stacy","last_name":"Barton","position":"Assistant Profeessor","institution_name":"Metropolitan State University of Denver","comprehensiveness_rating":2,"comprehensiveness_review":"The introduction to the textbook makes clear its intention, and I think that for a community college film appreciation course this resource could suffice.  Having taught that very class at the community college level myself and comparing my own curriculum to the content within, the scope of this text I find too narrow where it counts. That said, if common film themes and genre are the major focus of course design, this is a good resource since the longest chapter by far focuses solely on film genres. Dramatic structure and character are also given sufficient treatment here.\r\n\r\nWhere the text falls short for me is in its discussion of production, spending on average less than 5 pages each on directing, cinematography, editing, and sound.  In my experience, these production concepts and the scope of the work itself are far are more alien to most students than film genre, where we Americans are pretty versed through pop-culture in what differentiates a crime film from a sci-fi from a horror, etc.  In becoming an informed viewer and learning to talk about film meaning, production concepts are where students need expanded explanation and example.  Here, the pages are dominated by some concepts I don’t feel need labored over to comprehend.","accuracy_rating":2,"accuracy_review":"The textbook is in some places inaccurate I'm sorry to say, particularly with terminology in the production section.  One example that stuck with me was the repeated use of the term 'ambient noise' to describe the ambience track that defines a location.  While this is terminology often used by the greater public, it's fundamentally inaccurate in audio production since 'noise' describes undesired sound that an audio crew would avoid recording, or alternately the term 'noise' refers to the presence of all audible frequencies such as that makes up 'white noise'. The chapter on sound is titled 'What is Sound?', but the accurate question to ask is instead, 'What is a Soundtrack?' in my opinion, the term for all mixed sound in a movie.  While there are many factual assertions contained within, there are a few too many inaccuracies for me to recommend using this in its current form.  Perhaps the shortcomings here stem from the fact that 54% of the bibliography cites Wikipedia.","relevance_rating":4,"relevance_review":"In writing this text, which like all film studies books uses movie examples to clarify the points it makes, the author focuses on three diverse films in film history to reference.  In fact, the book's introduction explains that the resource was specifically created to counter the standard practice in film textbooks of referencing too many films as examples, new and old, most of which students haven't seen.  Since time has still not rendered these particular three examples irrelevant many years later, I think the author made a great choice that benefits students and makes comprehension easier and less time consuming.  In fact, I can see this text maintaining its relevance for a good while.","clarity_rating":4,"clarity_review":"I found this text to be approachable and a fairly pleasant read, there is plenty of information to glean and I can see students easily grasping the material.  The language is clear, and concepts are defined, often by dictionary definition. Two confusing elements that I feel should be revised for clarity's sake are the use of the term 'expanded hypothetical examples' which is unnecessarily convoluted, and the various formulas presented as \"easy to remember\", which I didn't find to be the case.","consistency_rating":3,"consistency_review":"The author writes in a consistent tone and as a whole the chapters integrate well together, with the exception of chapter length, which varies greatly.   The first section titled 'Construction' covers writing concepts and is weighted much heavier, and the second section titled 'Production' feels rushed.  As stated in 'Comprehensiveness', the production section warrants more content and discussion, with perhaps less explanation offered in some areas of the first section. Additionally, imagery content is inconsistent, with very little in the first half and most of it near the end of the book.","modularity_rating":5,"modularity_review":"Even the longer chapters here are divided into smaller sections by topic, making for easy assigned reading. I could see working through each genre individually, or each time period in American film history, and thus making the two longer chapters more digestible and spread-out.  Beyond that, most chapters are short and to the point, logically dividing the material up for distribution among the multiple weeks that make up a college semester.","organization_rating":4,"organization_review":"Overall the book is logically organized, and I like how it ends with two big assignments, one related to writing and one to production.  While a book modeled after my own course design would separate some concepts into their own chapter that are presented together here, it does make a lot of sense to start with writing concepts like theme, genre, dramatic structure, and character when approaching film literacy.  It is, after all, story and character that appeal to viewers, and thus their entry point to movie meaning. It also makes sense to end with production, since as I mentioned I find these to be the hardest concepts for students to comprehend.","interface_rating":5,"interface_review":"The book text and graphical elements are laid out logically and uniformly, there are no formatting issues.  All display features including bibliography navigate as expected.","grammatical_rating":3,"grammatical_review":"The text is fine grammatically but not perfect, particularly in the area of sentence structure, where sometimes the order of ideas confuses sentence meaning.  At times, language incorporates off-putting universals, attributing various aspects, elements, and filmic situations definitively to a specific circumstance or position.  In multiple scenarios presented throughout the book as definitive, I was able to disprove with well-known examples and/or using experiential knowledge from working on film sets.  In this era of multiplicity and unconventionality, in art and media especially, it’s no longer realistic to apply one old rule to all modern films and filmmakers.","cultural_rating":5,"cultural_review":"The three film examples utilized in the book do span cultures and lifestyles, and the few images contained within do visualize diversity.  The text itself doesn't talk much about broader culture, focusing on literary concepts, specific movies, and film writing/production techniques, but I didn't find the hypothetical examples to be tilted to one demographic or another and as such the book appeals to a wide and diverse target audience.","overall_rating":7,"overall_review":"Overall the author has innovative ideas, a fresh perspective on how best to teach film appreciation through limiting the number of film examples discussed and is clear on his target audience. I really like how he incorporates his students' quotes in the introduction. The book has a strong authorial voice and point of view and I see this is a great supplement to this professor's course, but to incorporate it into my own course would take some expansion and language modification. I'm glad it's out there and part of the larger body of film education literature.","created_at":"2019-10-24T22:03:41.000-05:00","updated_at":"2019-10-24T22:03:41.000-05:00"},{"id":3508,"first_name":"Stephen","last_name":"Rust","position":"Film Studies Instructor","institution_name":"Linn-Benton Community College","comprehensiveness_rating":3,"comprehensiveness_review":"Any reader of this book, should come away with a good sense of how movies are constructed and produced. The title of the book is rather misleading because rather than focusing solely on film production, what we have is an introductory level film studies textbook intended for first-year college students or high school students.  Like any other textbook on the market, there are chapters on theme, genre, and narrative along with chapter on cinematography, editing, and sound. Many introductory level film studies textbooks reference so many old films that only the writer has seen or shown in their own classes that students get very confused. This book avoids direct references to famous or current films and instead the author writes out short examples that could come from any movie of the time.  For example the chapter on theme that starts the book features two characters named Jack and Suzie that are used to provide examples of different themes that might have emerged over various decades of US history.  This approach may help students who have very little sense of film history understand the concepts; however, readers of this book will learn far less about film history than a reader of most other textbooks of this type.","accuracy_rating":4,"accuracy_review":"While certainly accurate in the use of film terminology - the author's own students are clearly receiving an outstanding education - the author has a nagging tendency to make generalizations about film producers, film audiences, and film history.  For example, in the opening chapter on theme, the author claims, \"The theme is the heart of the movie. The movie is regulated by the theme. The theme is why people go to the movies. It is not because of the characters, story, plot, cinematography, or genre. All of these elements are regulated by the theme.\" Now anyone, who's spent time around people who watch movies or makes movies knows that theme is by no means the driving focus of all productions or viewers expectations.  Did people across the world flock to see AVATAR ($2.9 billion in global ticket sales) in 2009 because of the movie's theme or because of it's pioneering use of 3-D cinematography? Did fans of TRANSFORMERS really care more about the theme than the special effects, let's be real here.  ","relevance_rating":4,"relevance_review":"Since the author avoids references to many movies this makes sure there is not a sense that things are going out of date.  However, more information on digital cinematography needs to be added to that chapter. Video tutorials embedded in some chapters are great additions.","clarity_rating":5,"clarity_review":"Very easy, clear read. Well-suited to a first year audience.","consistency_rating":5,"consistency_review":"Very consistent organization. I strongly suggest folks read the book online as that format works very well for this book.","modularity_rating":5,"modularity_review":"Great organization of modules; particularly the online pressbook version. The book is well edited so avoids any needless repetition. The discussion/homework activities at the end of each chapter would work well in class.","organization_rating":4,"organization_review":"Topics are presented in logical, clear fashion. Chapters/modules of the book would work well for a 10-week course with one chapter each week. Organization covers basic elements of understanding movies as a viewer in part one (theme, genre, narrative, and characters) and covers basic elements of film production in part two (directing, cinematography, editing, sound).","interface_rating":4,"interface_review":"Fun to read in the pressbooks format, easy to navigate, embedded videos add to interest level; more images would be great","grammatical_rating":5,"grammatical_review":"Very well edited","cultural_rating":4,"cultural_review":"Needs more overt discussion of culturally sensitive issues in film ","overall_rating":9,"overall_review":null,"created_at":"2020-01-14T13:12:09.000-06:00","updated_at":"2020-01-14T13:12:09.000-06:00"},{"id":3535,"first_name":"Michael","last_name":"Meindl","position":"Assistant Professor/Co-Director","institution_name":"Radford University","comprehensiveness_rating":3,"comprehensiveness_review":"This book broadly covers appropriate subject areas/topics. However, sometimes the book fails to go deep enough. For example, there is no discussion of diegetic vs. nondiegetic sound in the audio chapter, which prevents students from using some standard vocabulary. The discussion of mise-en-scene could be developed a lot more. I really would like to see this book go at least one more level deeper into the material. I also somewhat disagree with the author in their claim that the hypothetical situations are better than specific film examples (I think there is value in both, but I think a film textbook needs a bit more grounding in actual films than this one provides). No index is provided.","accuracy_rating":4,"accuracy_review":"For the most part, the book is accurate. I do disagree with the author's description of how a film comes together (that is, a producer starts with a theme and then goes from there). Also, at the end of the book, the author describes a number of films as \"being considered the number one\" film within a particular genre and the choices are definitely debatable. I also do not always think the \"equations\" the author uses to define some material are useful/accurate. Sometimes the definitions the author uses from Wikipedia and Dictionary.com confuse rather than clarify.","relevance_rating":5,"relevance_review":"The book pretty much avoids specific technology and the concepts the author talks about are ones that don't necessarily go out of fashion.","clarity_rating":4,"clarity_review":"The writing is clear and tends to present things in a straight-forward way.  Though, as mentioned elsewhere, the \"equations\" are not always helpful and I found the use of Wikipedia and Dictionary.com quotes/definitions confusing and distracting.","consistency_rating":5,"consistency_review":"The book has a predictable structure throughout the book.","modularity_rating":5,"modularity_review":"While I think sometimes the author provides too many of their hypothetical situations or examples within different genres, an instructor could easily tell students which they should read. The individual chapters can be rearranged as needed.","organization_rating":5,"organization_review":"The topics are presented in a logical manor.","interface_rating":5,"interface_review":"Free of interface issues.","grammatical_rating":5,"grammatical_review":"No grammar issues.","cultural_rating":3,"cultural_review":"Though the author includes women's rights in some of their hypothetical situations, they fail to connect with some other social/cultural events/topics. The pictures the author does include does not show any real diversity. Lots of missed opportunities to be inclusive here.","overall_rating":9,"overall_review":"As anyone who teaches film studies knows, film textbooks are often not cheap. I think this book could be used as an alternative, but I would see it more as something to be used as a jumping-off point and that instructors would have to provide additional terms/concepts for a well-rounded intro to film course.","created_at":"2020-01-24T19:04:09.000-06:00","updated_at":"2020-01-24T19:04:09.000-06:00"},{"id":3624,"first_name":"Ian","last_name":"Nolte","position":"Instructor","institution_name":"Marshall University","comprehensiveness_rating":3,"comprehensiveness_review":"I was attracted to this text because of its comprehensive table of contents. With its focus on production, it covers the major areas of areas of film form I cover in my film-as-literature courses. It also has chapters covering concerns of story as they relate to film production. On the whole it, discusses all of the major topics I am concerned with when trying to get students to think critically about film stories as texts. The chapters provide a good broad overview of each subject and I feel meet their stated purpose of serving students without an extensive background in film. However, I do feel the chapters were brief and lacking in depth. Most discussions are brief and to-the-point. While certainly not overwhelming for students new to the study of film, I feel most chapters would need to be supplemented in some form or fashion.","accuracy_rating":3,"accuracy_review":"This book has accurate information about film stories and film production. However, the discussion on film history and genre are very general with no real specific details. I believe this is due to the philosophy of trying not to overwhelm students with references to movies they may have never seen.\r\n\r\nI found the chapters in Part II: Production to be particularly useful for providing useful and accurate definitions and examples of the principles of film form. The embedded videos, photos, and diagrams are useful for illustrating those concepts. However, the discussion of key concepts is brief. For example, the illustration of three-point-lighting is excellent, but the discussion of effects that can be generated with that light set up is a few brief sentences.\r\n","relevance_rating":4,"relevance_review":"I think building the examples in this text around three films available on YouTube is very useful. Having three readily accessible example films that anyone with the text can quickly and easily view is very useful. I can imagine that updates will be easy to implement as replacing an example film and editing relevant segments does not seem too daunting.","clarity_rating":3,"clarity_review":"The beginning chapters on film stories (Part I: Construction) rely heavily on hypothetical examples to discuss film genre and film history. The introduction states that is to avoid alienating students who may not have an extensive knowledge of film history (for example, they cannot understand a discussion of crime films if they have not seen many crime films). Perhaps it is more useful than an example-heavy overview of these topics as the author claims. However, I found discussing film history and genre in this way to be a little vague.\r\n\r\nThis text does provide a useful overview of key terms and terminology related to technical aspects of film production. The easy to follow visual examples in the \"What is Cinematography?\" chapter are very clear and easy to understand. Pictures, diagrams, and embedded videos help cover the content.","consistency_rating":5,"consistency_review":"This text is internally consistent. Each chapter connects logically to the next, and the similar formatting of each chapter aids the reader in making sense of the content. It is easy to view and understand the layout of each chapter, and it is easy to engage with.","modularity_rating":5,"modularity_review":"This text seems to be designed with modularity in mind. I can easily imagine how each section could be used separately as part of a unit in a variety of courses. Is your course more focused on responding to films as stories? Any of the chapters in Part I could be useful. Are you more interested in exploring film production? The chapters in Part II split up nicely for units related to those subjects.","organization_rating":5,"organization_review":"This books logical organization is a strength. While asking us to think critically about film stories, the text book works us through the stages of film production in sequence. Readers move through \"big picture\" story concerns like theme and genre through constructing plots and characters. Then readers work through the stages of production from directing the story and designing the mise-en-scene through shooting and editing the picture and sound elements. It is a useful framework for thinking through the creation of film texts.","interface_rating":5,"interface_review":"This text is easy to navigate. I felt oriented during the reading, and navigating from chapter to chapter was clear and logical. All embedded elements functioned well and did not disrupt the reading experience. Images and diagrams were clear and worked well in the text. (I interacted with this book in Google Chrome.)","grammatical_rating":5,"grammatical_review":"I encountered no grammatical issues that impeded my understanding.","cultural_rating":4,"cultural_review":"I did not find this text culturally insensitive in any way. Its list of suggested viewings in each chapters \"Further Viewings\" does not present a particularly diverse roster of directors, but that is a small feature of the text. There did not appear to be a meaningful inclusion of a variety of races, ethnicities, and backgrounds.","overall_rating":8,"overall_review":null,"created_at":"2020-03-06T15:33:15.000-06:00","updated_at":"2020-03-06T15:33:15.000-06:00"},{"id":33486,"first_name":"RJ","last_name":"Miller","position":"Director of Music Technology, Instructor of Scoring for Film \u0026 TV","institution_name":"Metropolitan State University of Denver","comprehensiveness_rating":2,"comprehensiveness_review":"This text is not a college/university-level text and is by no means comprehensive. It lacks depth, contains multiple inaccuracies, and appears to be assembled mostly from Internet sources, predominantly Wikipedia. In fact, over half of the references listed in the bibliography are Wikipedia references. There are no professional/industry sources cited, no professional interviews (or excerpts thereof) included, and the text contains no index.\r\n\r\nWhile the writing style is unsophisticated, it is accessible and would likely appeal to students just embarking upon their college experience. The first part of the text (Part I: Construction) could certainly serve for an entry-level introduction to film class, assuming some corrections, modifications, and expansions were made.\r\n\r\nPart II: Production is fraught with inaccuracies and missed opportunities. In chapter 8 (What is Sound?) the author states, “Music is a very important element for a movie.”  He then dedicates five very brief paragraphs to the subject, none of which actually address the process of creating music for film or the post-production process. In the four brief paragraphs on sound effects the author mentions a character (Al) playing piano which is the perfect opportunity for a discussion of diegetic and non-diegetic music. Neither term is mentioned in the text. The only reference to Foley in the text is a link to a YouTube video entitled, “Introduction to Foley and Sound Effects for Film.” The author addresses ambient “noise” inaccurately. He discusses dialogue without the mention of ADR – automated dialogue replacement. The lack of depth and understanding in Part II of the text is profound.","accuracy_rating":2,"accuracy_review":"Part I of the text, for the most part, is fairly accurate. Part II is not. There are also places that are subjective instead of objective. The author includes a list of films considered to be the “number one film” in their respective genres without data or references to support such assertions. There’s likely a subjective list somewhere on the Internet that includes these references. However, if these listings are the author’s choices, they should be stated as such.","relevance_rating":2,"relevance_review":"Using three “evergreen” films as primary references is a safe way to start. These are fine films and excellent examples of their respective genres.  But, they are only a start. There’s so much more to the history of cinema than provided in Part I of this text. The films and genres encompassed will definitely stand the test of time, however there is so much more to consider. \r\nLongevity will be an issue as no contemporary issues are addressed.  There are no female directors or female composers represented. There are no people of color represented in creative or production positions. No LGBTQ+ representation and the use of the “Jack and Suzie” characters for examples place this text firmly in the past.","clarity_rating":2,"clarity_review":"The writing is fairly clear, simplistic, and brief to a fault. It lacks the sophistication expected in a college-level text. There is so much more that could be added to virtually every aspect of this text that would provide a more in-depth and well-round approach to the subject.","consistency_rating":2,"consistency_review":"There is consistency of tone within Part I of text. While there is also a consistency of tone within Part II, it is vastly different from the tone imparted in Part I.","modularity_rating":3,"modularity_review":"The overall construct would lend itself to modularity. The chapters proceed in a fairly logical manner and each chapter is divided smaller sub-sections. The instructor could pick-and-choose the elements to be included in each module and expand, correct, or delineate as needed.","organization_rating":3,"organization_review":"The premise of the organization is fairly logical. A few of the chapters and subsections should be re-ordered to improve the flow.","interface_rating":3,"interface_review":"I used a downloaded PDF to access this text. I was able to access all the referenced YouTube videos without difficulty.","grammatical_rating":3,"grammatical_review":"The text is acceptable grammatically. Sentence structure occasionally presents conflicting or confusing ideas. There are some typo/punctuation issues.","cultural_rating":2,"cultural_review":"While nothing is presented in an offensive or insensitive way, it would seem that little, if any thought was given to cultural diversity in this text. It’s simply avoided.","overall_rating":5,"overall_review":"As someone who spent 30+ years in the post-production side of film, television, and recording (as a composer, orchestrator, arranger, conductor \u0026 producer) and who now has the good fortunate to instruct scoring for film and television at the university level, I was appalled by Part II of this text. It was blatantly obvious that the author had no professional background in film production. This suspicion was confirmed when I accessed the author’s curriculum vitae on the Buffalo State College website.","created_at":"2021-11-27T17:09:10.000-06:00","updated_at":"2021-11-27T17:09:10.000-06:00"},{"id":34291,"first_name":"Lakshmi N.","last_name":"Tirumala","position":"Assistant Professor","institution_name":"Drake University","comprehensiveness_rating":2,"comprehensiveness_review":"The textbook covers various topics of film production but doesn't really discuss them beyond the surface-level ideas. It's good material for a single-credit \"understanding film production\" type class.","accuracy_rating":4,"accuracy_review":"Most of the material is accurate but slightly outdated in terms of how film production and storytelling have evolved over the past ten years. The sections on genre and plot structure need to be updated. A few","relevance_rating":2,"relevance_review":"It's the perfect \"quick guide\" for students who are new to the area of film production. Since the content is not up to date, it will be difficult for students to learn beyond the basics. The text needs an overhaul, and should not focus as much on defining various subgenres.","clarity_rating":3,"clarity_review":"Yes, the ideas were written with clarity of thought. However, a few examples in the book need editing for better clarity.","consistency_rating":3,"consistency_review":"The material, though outdated, is consistent in its framework. Some of the terminologies need to be updated for contemporary filmmaking.","modularity_rating":4,"modularity_review":"Absolutely. The text is written in such a way that it is easy to divide the book into smaller reading sections and assign them to students throughout the semester.","organization_rating":3,"organization_review":"The textbook is top-heavy and spends a lot of time discussing concepts like sub-genres and very little on the pre-production process, cinematic composition, and post-production phases.","interface_rating":5,"interface_review":"The interface is easy to navigate.","grammatical_rating":4,"grammatical_review":"The text is well-written with no major grammatical issues.","cultural_rating":5,"cultural_review":"Not relevant to this text but I did not see anything that's insensitive.","overall_rating":7,"overall_review":"It's great to see at least one book on film production in the OER. I hope this encourages other film production/video production instructors to make their own material accessible to students via OER.","created_at":"2022-12-15T16:26:23.000-06:00","updated_at":"2022-12-15T16:26:23.000-06:00"},{"id":34567,"first_name":"Weiko","last_name":"Lin","position":"Associate Professor","institution_name":"Loyola Marymount University","comprehensiveness_rating":2,"comprehensiveness_review":"While it does ambitiously cover both construct (theory of movies) to actual production (directing, editing, cinematography), it only superficially touch upon those areas in minimal amount of pages. Hard to grasp a full, comprehensive understanding. Should be two separate books that dives in deeper in each part.","accuracy_rating":2,"accuracy_review":"Very much in the spirit of an art history class, the book breaks down work in relations to seeing them as themes within its social and historical context. Example, it indicates that the producer starts with themes to decide which movie to make isn't necessary standard in current industry practice.","relevance_rating":2,"relevance_review":"It is outdated with film listings from 1930's - 1980's rather than more current movies. While it recommends further viewings of movies in a list, it doesn't provide context and discussion. \n \nWhile it breaks down genres, it uses hypothetical premises rather than existing movie premise references which might connect with readers more\n\nWebster dictionary definition to start off each section  of different genres, for war, comedy, drama etc. adventure might be outdated.","clarity_rating":2,"clarity_review":"It is more academic approach with theory based rather than practical.","consistency_rating":3,"consistency_review":"It is consistent in its more surface level coverage of the topics and academic, theoretical approach.","modularity_rating":4,"modularity_review":"It is clearly divided up.","organization_rating":3,"organization_review":"The organization makes sense and is logical. But might be attempting to cover so much in short amount of pages.","interface_rating":4,"interface_review":"The interface is fine.","grammatical_rating":4,"grammatical_review":"Grammar isn't an issue.","cultural_rating":2,"cultural_review":"It doesn't explore much of inclusivity and diversity in the film listings.","overall_rating":6,"overall_review":"Might not be an ideal text adoption for college level","created_at":"2023-05-19T13:06:58.000-05:00","updated_at":"2023-05-19T13:06:58.000-05:00"}],"url":"https://staging.open.umn.edu/opentextbooks/textbooks/exploring-movie-construction-production-what-s-so-exciting-about-movies","updated_at":"2025-12-15T02:09:11.000-06:00"},{"id":582,"title":"Music Fundamentals 1: Pitch and Major Scales and Keys","edition_statement":null,"volume":null,"copyright_year":2013,"isbn10":null,"isbn13":null,"license":"Attribution","language":"eng","accessibility_statement":null,"accessibility_features":["unknown"],"description":"This collection is the first of five dealing with the rudiments of music.","contributors":[{"id":4617,"contribution":"Author","primary":true,"corporate":false,"title":null,"first_name":"Terry","middle_name":"B.","last_name":"Ewell","location":null,"background_text":"Terry B. Ewell, professor, Department of Music, Towson University Former President, International Double Reed Society B. M. University of Washington; Bassoon Performance, magna cum lauda M. A. University of Washington, Music Theory Ph.D. University of Washington, Music Theory Terry Ewell is Professor of online instruction and bassoon at Towson University Department of Music. In his 30+ years as a professional musician he has received recognition as a performer, teacher, scholar, and administrator."},{"id":4618,"contribution":"Author","primary":false,"corporate":false,"title":null,"first_name":"Catherine","middle_name":null,"last_name":"Schmidt-Jones","location":null,"background_text":"Catherine Schmidt-Jones graduated from Rice University in 1985, completing a BA in chemistry, a BA in music and a Master of Music in French horn performance."}],"subjects":[{"id":29,"name":"Arts","parent_subject_id":6,"call_number":"N85","visible_textbooks_count":56,"url":"https://staging.open.umn.edu/opentextbooks/subjects/arts"},{"id":6,"name":"Humanities","parent_subject_id":null,"call_number":null,"visible_textbooks_count":418,"url":"https://staging.open.umn.edu/opentextbooks/subjects/humanities"},{"id":89,"name":"Music","parent_subject_id":6,"call_number":"M1-5000","visible_textbooks_count":18,"url":"https://staging.open.umn.edu/opentextbooks/subjects/music"}],"publishers":[{"id":553,"url":"https://cnx.org/","year":null,"created_at":"2018-09-07T12:22:40.000-05:00","updated_at":"2018-09-07T12:22:40.000-05:00","name":"OpenStax CNX"}],"formats":[{"id":948,"type":"Online","url":"https://cnx.org/contents/iMlAzc-Y@1.10:xcqLKHh5@1/Introduction-to-Pitch-Notation","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":949,"type":"PDF","url":"https://cnx.org/contents/iMlAzc-Y@1.10:xcqLKHh5@1/Introduction-to-Pitch-Notation","price":{"cents":0,"currency_iso":"USD"},"isbn":null}],"rating":"4","textbook_reviews_count":11,"reviews":[{"id":2317,"first_name":"Jennifer","last_name":"Cruz","position":"Full Professor","institution_name":"Central State University","comprehensiveness_rating":4,"comprehensiveness_review":"I think all content was appropriate.  I appreciate the fact that there were hyperlinks to dive deeper.  At times, I think the information presented was more than necessary and pragmatic and would have been better served as information embedded in a hyperlink.","accuracy_rating":5,"accuracy_review":"Content looks good.","relevance_rating":5,"relevance_review":"The arrangement of the material is satisfactory and makes sense.","clarity_rating":5,"clarity_review":"I particularly liked the use of the terms \"twins\" and \"triplets\" to describe the groups of 2 and black keys on the keyboard.  That's an easily remembered concept and an accessible way for students to think of the keyboard.","consistency_rating":5,"consistency_review":"Consistency is found throughout the text.","modularity_rating":5,"modularity_review":"The text is divided in a way that makes sense.","organization_rating":5,"organization_review":"Topics are presented in a logical manner.","interface_rating":3,"interface_review":"The figures that involve staffs or keyboards are less than desirable, specifically the labeling of note names.  At times, the note names either overlap the stems or are placed on the keyboard in a way that isn't easy to read.","grammatical_rating":5,"grammatical_review":"There were no grammatical errors.","cultural_rating":5,"cultural_review":"The text was culturally sensitive.","overall_rating":9,"overall_review":"The content is solid, but the formatting looks ill-conceived.  In my opinion, the formatting found in a traditional textbook is superior.  ","created_at":"2018-09-14T11:31:38.000-05:00","updated_at":"2018-09-14T11:31:38.000-05:00"},{"id":2751,"first_name":"Crystal","last_name":"Kim","position":"Adjunct Lecturer","institution_name":"New York City College of Technology","comprehensiveness_rating":5,"comprehensiveness_review":"Step by step guidance from basic note reading skills to relationships between intervals, scale degrees, and key signatures are explored and showcased very well.  ","accuracy_rating":5,"accuracy_review":"I did not find any errors and all info is accurate.","relevance_rating":4,"relevance_review":"The book is up to date as it is just covering basic music theory.","clarity_rating":4,"clarity_review":"The book is generally clear if the reader follows all information closely.  Some visual aids could be done better to understand certain graphs such as the circle of fifths.  Overall, still well done in showing specific details and clarity of the subject matter.  ","consistency_rating":5,"consistency_review":"The book is consistent with the terminology as it should give the reader accurate words used in music theory currently, and methodically tools to work with.  ","modularity_rating":4,"modularity_review":"The breakdown of various subcategories were organized well for the reader so that they can thoroughly understand the relationships of the notes and key signatures.  ","organization_rating":5,"organization_review":"The book's overall organization was well done.   Just some visuals on graphs can be improved for a reader who is a beginner in music theory.","interface_rating":4,"interface_review":"No significant issues with navigating or images/charts.  The circle of fifth chart may possibly confuse a beginner if he or she does not follow the material closely.  ","grammatical_rating":5,"grammatical_review":"There were no grammatical errors.","cultural_rating":4,"cultural_review":"The book is not offensive within the Western world of music theory.  It is possible that the way music theory present in this book and among other music theory books and taught in universities, may clash with the way music in other cultures is presented.  ","overall_rating":9,"overall_review":"I highly recommend this book to many students who are looking to thoroughly understand music notation, relationships between notes and chords within Western classical music.  ","created_at":"2019-04-08T22:28:24.000-05:00","updated_at":"2019-04-08T22:28:24.000-05:00"},{"id":2909,"first_name":"Bill","last_name":"Whitley","position":"Theory and Aural Skills Instructor","institution_name":"Chemeketa Community College","comprehensiveness_rating":5,"comprehensiveness_review":"The writing is clear and concise, and is well within grasp of a first-year college student.","accuracy_rating":5,"accuracy_review":"All points presented are in keeping with standard definitions.","relevance_rating":5,"relevance_review":"The books relevance may be it's strongest feature.  Material that is often presented, in more traditional print textbooks, with unnecessary jargon, is here presented with facts and concise examples without the unnecessary jargon.  While 'necessary' jargon is explained and presented in a meaningful","clarity_rating":5,"clarity_review":"The writing is so well thought out, and precise, that it could be understood in the first pass.  There is nothing superfluous or misleading","consistency_rating":5,"consistency_review":"Each unit follows a consistent pattern.  The over-all flow is conducive to learning.","modularity_rating":5,"modularity_review":"Because of the consistent teaching patterns used in each unit, I feel that parts could be used modularly.  I don't recall seeing any self-reference.","organization_rating":5,"organization_review":"The over-all flow lends itself to a sequential presentation as well as a modular one.","interface_rating":5,"interface_review":"I appreciate that the interface does not require special software, or plug-ins.  It is entirely web-based, and the mobile version works just as well.","grammatical_rating":5,"grammatical_review":"The book is made up of concise, grammatically correct prose.","cultural_rating":5,"cultural_review":"There is a growing need for accessible music fundamentals materials, as students enter college courses to study music from a variety of backgrounds.  This is easily the most cohesive, accessible and clear textbook I've seen for music fundamentals.\r\n\r\n","overall_rating":10,"overall_review":"If I were to teach a music fundamentals course, I would use this book.  I would, however, like to have a companion workbook, as music fundamentals is as much a 'skills' class as it is a lecture class.","created_at":"2019-05-15T13:17:36.000-05:00","updated_at":"2019-05-15T13:17:36.000-05:00"},{"id":2957,"first_name":"Danielle","last_name":"Cozart Steele","position":"Adjunct Instructor","institution_name":"Earlham College","comprehensiveness_rating":4,"comprehensiveness_review":"The book is a decent general introduction to music terminology and symbols while not delving too far into complicated concepts. The Circle of Fifths is introduced, which seems unnecessary until students under stand major and minor keys, parallel and relative minor keys, completely. More exercises could be provided. This text is supplemental at best. ","accuracy_rating":5,"accuracy_review":"Accurate.","relevance_rating":5,"relevance_review":"Although there is no creative pedagogy for teaching these materials, the information itself is accurate and will remain so.","clarity_rating":3,"clarity_review":"The author runs into the perennial problem of which concept to introduce first - with so much necessary to understand to read music, sometimes it is difficult to discern whether or not to introduce scales or the concept of half-steps and enharmonic spellings first. Similarly, when do you introduce the concept of enharmonic spelling vs. major and minor key signatures? There isn't a perfect solution to the ordering of this content and the author makes a good effort, but through the eyes of a beginner, there are some concepts that are needlessly complicated which are introduced before they are useful (like the idea of a tuning system). For the most part, technical jargon is well explained, sometimes going overly in depth. I know that my first-year sight singing students would be overwhelmed and confused by portions of this text. ","consistency_rating":4,"consistency_review":"The author is consistent in style.","modularity_rating":5,"modularity_review":"This book is easily divided into short readings. There are some exercises included with some chapters. It would be more beneficial with more exercises. However, the exercises provided have a self-check available, so that is handy. For the more complex concepts, an instructor could spend a couple of weeks on these, as the book is not long enough for an entire semester.","organization_rating":4,"organization_review":"As commented earlier, some concepts are presented in a confusing order. ","interface_rating":4,"interface_review":"The interface is extremely basic. There are a few videos the students can download and these take a few minutes. Exercises within the chapters have a self-check option that they can click on without navigating to a new window, so this is convenient. ","grammatical_rating":5,"grammatical_review":"Fine. The syntax, however, can be clunky. It's as if the author is so concerned with the idea that students may know literally nothing about music that sometimes the author can be overly long-winded and a bit awkward with word choice when describing musical symbols and acoustic phenomena. ","cultural_rating":5,"cultural_review":"Fine. The author nods to non-Western notation and tuning, which is important. ","overall_rating":9,"overall_review":"I would recommend this as a supplement to my own materials if a student would like different wording in order to understand a concept (everyone learns differently, after all), but I would not make this my main text. ","created_at":"2019-05-29T11:05:58.000-05:00","updated_at":"2019-05-29T11:05:58.000-05:00"},{"id":3259,"first_name":"Wesley","last_name":"Bradford","position":"Assistant Professor","institution_name":"University of Louisiana at Lafayette","comprehensiveness_rating":4,"comprehensiveness_review":"As a “Music Fundamentals 1” text, this seems to cover expected topics, but sometimes includes extra information that doesn’t serve to improve content. Instructors would need to add explanations and examples from a repertoire of their choice to help illustrate ideas from the text.\r\nLinks to supplementary materials (“What Kind of Music is That?” “Triads” “Beginning Harmonic Anlaysis,” etc.) are only found in the body of the text. I did not find an appendix listed in the contents tab to indicate these resources as part of the text. \r\n","accuracy_rating":5,"accuracy_review":"Good information","relevance_rating":4,"relevance_review":"I felt this text generally stays on course for an introduction to theory basics, but occasionally emphasizes unexpected elements. For example, \"Introduction to Piano Keyboard\" dwells on the color of keys on a harpsichord.","clarity_rating":4,"clarity_review":"Generally good – I like the colored examples that help to distinguish between concepts such as sharp and flat signs.","consistency_rating":5,"consistency_review":"Very consistent - some unusual terms, but used consistently","modularity_rating":4,"modularity_review":"Concise sections and topics, with some issues of overlap or missing information in early chapters.","organization_rating":3,"organization_review":"Possibly because of the attempt at brevity, the organization has lots of overlap: Chapter 1 is an “Introduction to Pitch Notation,” but includes clef and the piano keyboard while Chapter 2 is “Clef,” and Chapter 3 is “Introduction to the Piano Keyboard.” Chapter 3 introduces accidentals, but they are not explained until Chapter 4. ","interface_rating":3,"interface_review":"Clicking the “PDF” link in the Open Textbook Library didn’t actually link directly to the PDF, but instead to the online copy, which then had a PDF link. This could be confusing for students.\r\nGood search function that brings up specific pages.\r\nVideo links include older formats, such as RealPlayer (some also have youtube or Windows Media versions)\r\nVisually, the quality of the examples varies greatly, though they are effective at conveying the information.\r\n","grammatical_rating":5,"grammatical_review":"Easy to read","cultural_rating":5,"cultural_review":"No issues","overall_rating":8,"overall_review":"There is an inconsistency in the materials – some chapters have interactive worksheets or exercises with the answers included, while others simply present the information. ","created_at":"2019-11-05T15:47:21.000-06:00","updated_at":"2019-11-05T15:47:21.000-06:00"},{"id":3407,"first_name":"Pamela","last_name":"Haynes","position":"Assistant Professor of Music, Director of Piano Studies, Instructor of Music Fundamentals ","institution_name":"Manchester University","comprehensiveness_rating":5,"comprehensiveness_review":"The contents of this text thoroughly explore and explain the basics of pitch, major scales and keys. Extra content is available through hyperlinks embedded throughout the chapters. Here users will find detailed and accessible information for expanded study of this subject covering such topics as \"How To Read Music,\" \"Tonal, Atonal and Modal Music,\" and \"Transposing and Non-Transposing Instruments.\" An index of key terms is only available in the downloadable PDF.","accuracy_rating":5,"accuracy_review":"The information is accurate, error-free and unbiased, except for the following: \r\n\r\nCHAPTER 1\r\n•\tBelow Figure 4 - \"Description The grand staff is used for keyboard instruments such as piano, organ, and harpsichord.\" The organ primarily uses a grand staff with three staves. \r\nCHAPTER 2\r\n•\tMoveable Clefs – The treble clef with an 8 is not used because “many people are uncomfortable reading bass clef.” This is called an octave clef and is used primarily for tenor vocal lines. \r\nCHAPTER 3\r\n•\t“But musicians usually don’t want to talk about wavelengths and frequencies.” This is a generalization and not entirely true. \r\nCHAPTER 4\r\n•\tUnder Figure 3: using the term “note” instead of “pitch” when referring to letter names for pitches.\r\n","relevance_rating":5,"relevance_review":"The text is arranged in a format that can be easily edited, amended or expanded. ","clarity_rating":4,"clarity_review":"Most of the technical terminology is adequately explained within the context of each topic. As with any presentation about the fundamentals of music, the educator is faced with the dilemma of what order to present concepts. The chosen order in this text is adequate, but sometimes provides the reader with terms that are not explained until later on in the book. For example, in Chapter 2 the description “C4” is used, but this numbering system is not explained until Chapter 6. In Chapter 3 the author refers to the arrangement of black keys on the piano keyboard as “Twins” and “Triplets.\" This could potentially cause confusion when discussing the rhythmic term “Triplet.” The following terms are also used in Chapter 3, but not defined: whole steps, half steps, sharps and flats.\r\n\r\n","consistency_rating":4,"consistency_review":"Consistency is present with the presentation and explanation of terms. The textbook is inconsistent in the incorporation of exercises and opportunities to practice or assess understanding of the information. •\tChapter 2 is the only chapter which includes a worksheet. Chapters 2, 8, 10 and 11 provide the reader with a few exercises and solutions. \r\n\r\n","modularity_rating":5,"modularity_review":"One of the best features of this text is that it can easily be divided into sub-units. This will be especially helpful when working with a class comprised of students with differing prior knowledge and experience with music fundamentals. ","organization_rating":5,"organization_review":"The organization of concepts and topics is logical and supported by numerous hyperlinks to fill in possible knowledge gaps possessed by the reader. \r\n\r\n","interface_rating":3,"interface_review":"There are several features of this text that are distracting and should and could be easily be improved upon:\r\n- In the section \"Beyond Triads: Naming Other Chords,\" Ars Nova Software – link not Found\r\n- An Index is not in the table of contents of the online textbook. In the downloaded, PDF an Index page is available. \r\n- There are hyperlinks to content in the online textbook … but no index or ability to browse through these topics\r\n- The use of color is interesting, but inconsistent throughout the text\r\n\r\nCHAPTER 1\r\n•\tBorrowed graphics that could easily be created. Citation clutters the page.\r\n•\tGraphics are pixilated\r\n•\tFigure 4. Description – colon needed\r\nCHAPTER 3\r\n•\tRed font letters are on top of note flags\r\nCHAPTER 4\r\n•\tDouble sharp is sloppy in appearance\r\n•\tDouble flat is crowded (flats overlap) \r\nCHAPTER 5\r\n•\tThe corresponding text for Figure 2, 3, 4 is further away than text for other figures = confusing\r\nCHAPTER 6\r\n•\tJagged / pixilated 8th notes Figure 2\r\nCHAPTER 7\r\n•\tHyperlink to “discussion at Opening Measures – server can no longer be found\r\nCHAPTER 9\r\n•\tFigure 3 and 4 should also have letters leading to the subdominant and sub-mediant\r\n","grammatical_rating":4,"grammatical_review":"There are a few grammatical errors: \r\nCHAPTER 1\r\n•\t“Some of the clefs used in music notation matched the names given to voices…” Matched should be replace with match: these clefs are still used today. \r\nCHAPTER 3\r\n•\t“Under Figure 4 “E to F and C to B are half step.” Step should be replaced with the plural form: steps.\r\n•\t“Not all keyboards instruments...\" Keyboards should be replaced with the singular form: keyboard.\r\n","cultural_rating":5,"cultural_review":"The text is acceptable and does not offend or treat in cultures insensitively. There is a reference to France in Chapter 1 that could be expanded to include the other \"many countries\" that employ solfege syllables to designate pitches. \r\n\r\n","overall_rating":9,"overall_review":"\"Music Fundamentals 1: Pitch and Major Scales and Keys\" can be easily adopted as a textbook for a beginning music theory class at the secondary or collegiate level. Readers can easily navigate through the online text to obtain basic and in-depth information about the topic. There is also ample opportunity for further study and research if one uses the extra content. However, the textbook is lacking in providing pre-made worksheets and exercises to use for practice and assessment. This makes it less appealing for self-study or for an instructor who is looking for a streamlined ready-made option for their class. ","created_at":"2019-12-19T16:11:14.000-06:00","updated_at":"2019-12-19T16:11:14.000-06:00"},{"id":3444,"first_name":"Sarah","last_name":"Braverman","position":"Doctoral Student/Teaching Assistant","institution_name":"James Madison University","comprehensiveness_rating":4,"comprehensiveness_review":"Overall, it does a decent job but there are a few missed explanations. The part I have an issue with is when the text all of a sudden throws in the words “interval” and “chord” without explaining what they are, nor does it bother to bold text those words. Those words don’t appear in the index either. Additionally, there are a few missed points, such as noting that pitch C4 is middle C (important) when discussing C1, C2, etc. on a piano. The text desperately needs a discussion of intervals when getting into the Circle of 5ths at the end and how that works together, and I did not feel that the explanation of keys/key signatures in the Circle of 5ths was adequate in helping someone figure that out. The index is alright but I'd like to see a glossary- students like a \"quick check\" section.","accuracy_rating":5,"accuracy_review":"It is accurate for the content chosen to include.","relevance_rating":5,"relevance_review":"There is generally not an issue with this in music theory textbooks and I did not find problems with the book in this aspect.","clarity_rating":4,"clarity_review":"Most terms are explained, but some are not (interval, chord, etc.) and runs right on from there. There are some wordy areas, while other explanations are missed (see Comprehensiveness). Not explaining terms will confuse a beginner.\r\n\r\n","consistency_rating":3,"consistency_review":"Consistency is my biggest problem with this book.\r\nTerms are sometimes bolded, in quotation marks, or nothing, but it is not consistent amongst all terms. I found this to be inconsistent in use of terms and definition format, which is difficult for someone learning this material for the first time to find those things. It’s easy to miss many terms because of this.\r\n\r\nRed/blue/green labeling on figures is also inconsistent—font size varies so much. It is huge in some places and small in others. In other places, colors aren’t used at all. I see a lot of issues with this. Diagram size is also inconsistent.","modularity_rating":4,"modularity_review":"It is divided into chapters, but only some chapters are thereafter divided into sections, such as 8.1, 8.2, etc. It would be nice if it was consistent for all chapters—either divisions, or not. It could use additional divisions/subheadings so that a student can easily skim back through to find the explanation for that part they just forgot what it said without getting frustrated in finding it.","organization_rating":4,"organization_review":"I think the chapter order is fine, but there are some instances where I would change the sentence order to be clearer within some paragraphs in chapters. There are some topics introduced early on that are confusing to beginners (tuning or alto/tenor clefs).","interface_rating":3,"interface_review":"The shockingly bright red can be a little hard on some readers’ eyes. Additionally (as mentioned in the “Consistency” section), font sizes of labelings on figures are inconsistent and distracting. Staff figure sizes are inconsistent and distracting to the eye. The book needs to be more reader/learner friendly.","grammatical_rating":4,"grammatical_review":"There are some comma splices or other small grammatical errors and instances were a period was used rather than a colon, but nothing terrible in terms of being able to understand the information. However, it would be nice if those were edited and fixed.","cultural_rating":5,"cultural_review":"I don’t see any issues in this category.","overall_rating":8,"overall_review":"I found the practice pages to be useful for students, especially since they contain an answer key for the student to check. Overall, the book seems to be a decent introduction to the material. This would be beneath the level of a Theory I course, but could be used in a fundamentals course for students who are at a remedial level when entering college, or for high school students wanting to enter college as a music major.","created_at":"2019-12-31T00:31:08.000-06:00","updated_at":"2019-12-31T00:31:08.000-06:00"},{"id":4117,"first_name":"Dr. John","last_name":"Shiu","position":"Part-Time Lecturer","institution_name":"Bridgewater State University","comprehensiveness_rating":5,"comprehensiveness_review":"This pretty much covers most of the basic material, yet it strays from simplicity and focus.","accuracy_rating":4,"accuracy_review":"This is pretty much on target, yet I find examples of terminology that vary: diatonic, etc.","relevance_rating":3,"relevance_review":"The book is pretty standard, yet some of the links don't work at all which will need to be updated to a more 2020/2021 format.","clarity_rating":2,"clarity_review":"Terry's style of writing brings this textbook low, yet Catherine's style of writing is more straightforward and applicable.","consistency_rating":4,"consistency_review":"Fairly consistent without too many inconsistencies.","modularity_rating":4,"modularity_review":"It is fairly laid our and structured, yet it needs reformatting and reorganization.","organization_rating":3,"organization_review":"Overall, it is basic yet jumbled. The graphics need to be fine tuned.","interface_rating":3,"interface_review":"Overall, it is basic yet jumbled. The graphics need to be fine tuned.","grammatical_rating":5,"grammatical_review":"No grammatical flaws that are apparent.","cultural_rating":1,"cultural_review":"No offensive material present.","overall_rating":7,"overall_review":"Overall, a basic music theory textbook that needs a some reformatting and updates to be very effective along with a great lecturer to make it above average.  Yet, it is a good start.","created_at":"2020-06-28T16:28:45.000-05:00","updated_at":"2020-06-28T16:28:45.000-05:00"},{"id":4891,"first_name":"John","last_name":"Mery","position":"Music, Department Chair","institution_name":"Portland Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The hyper links to terms and concepts embedded in the modules are quite effective. A student is able to thoroughly explore a topic. Perhaps including basic information acoustics and sound (soundwaves, resonance, hertz etc.) might be useful to include with the tuning information such as equal temperament.","accuracy_rating":5,"accuracy_review":"Accurate","relevance_rating":5,"relevance_review":"The rudiments of music do not change much, content included is up to date. Perhaps including alternate labels when applicable such as other octave designations that are commonly used. It is mentioned but none are cited.","clarity_rating":4,"clarity_review":"Verbiage is clear. Some of the illustrations are clunky and could be improved by being made easier to read.\r\n Specifically the section 3 -  Introduction to the Piano Keyboard -on staff note reading and how it relates to the piano keyboard,  and section 9 Scale Degrees.","consistency_rating":5,"consistency_review":"The book is consistent.","modularity_rating":3,"modularity_review":"This is really a single chapter from a larger book. Due to the nature of the subject there is a limited amount of modular flexibility with the sections contained here.","organization_rating":4,"organization_review":"Structure of sections and flow of content are good.","interface_rating":4,"interface_review":"Some illustrations are not as clear as they could be, note name letters seem too large and color coding could be confusing to some students.","grammatical_rating":5,"grammatical_review":"Grammar is appropriate to the content.","cultural_rating":4,"cultural_review":"Mention of non-western music practices such as gamelan in section on tuning systems is commended. Mention of non-western notational systems and graphic based systems such as the MIDI piano roll (something used by students) is also worth including.","overall_rating":9,"overall_review":"This book is a really a single chapter or two from a larger collection. Only parts one and two of six are listed as available from this collection. Overall a good introduction to the topic of pitch notation as part of music fundamentals or intro to music theory.","created_at":"2021-05-05T17:09:09.000-05:00","updated_at":"2021-05-05T17:09:09.000-05:00"},{"id":5106,"first_name":"Olem","last_name":"Alves","position":"part-time faculty","institution_name":"Lane Community College","comprehensiveness_rating":5,"comprehensiveness_review":"This book does a good job covering all areas of Music Fundamentals in regard to pitch and major scales. A small example of this is the way the author shows the treble and bass clef's as fluid systems of the musical alphabet directly followed by the traditional EGBDF (lines) and FACE (spaces) for treble clef. I think the book flows well and there is an appropriate amount of information covered in relation to the topic it is about. There are also a number of good hyperlinks that expand on an idea that the author is explaining. Very thorough.","accuracy_rating":5,"accuracy_review":"The content is accurate and I did not find any errors in the information itself.","relevance_rating":5,"relevance_review":"The content is relevant to how music theory is taught today. Music theory doesn't change much in its rudiments. It all makes good sense.","clarity_rating":3,"clarity_review":"The hyperlinks are very useful but it might have been better to include them as pages in the book instead of links as some of that information could be overlooked by the reader. For instance at first I didn't think there was any information on frequency but there is in a hyperlink if you look closer labelled middle C.  Furthermore, the hyperlinks should be in different colored text, bigger or stand out in some way so the reader can see and access them easier otherwise they get lost in the text of the book. The introduction to the piano keyboard video link did not work for me. I am not sure if it was my computer or a glitch in the book.  The audio worked but having the video would be helpful.","consistency_rating":5,"consistency_review":"The book is consistent throughout.","modularity_rating":4,"modularity_review":"I think the text is easily and readily divisible into smaller reading sections that can be assigned at different points within the course. The hyperlinks are used well to break things up in smaller particles of information.  I did tend to get lost in the hyperlinks and had trouble getting back to where I was.","organization_rating":4,"organization_review":"The topics in the text are presented in a logical, clear fashion. But, when I click on a link it might be better to open the link in a new window so I can get back more easily to where I was before I clicked on the link.  It doesn't seem clear or consistent as to how to get back to my original spot.","interface_rating":4,"interface_review":"I think for the most the book is free of significant interface issues.  As I said earlier I do think the hyperlinks should be clearer, stand out more and be accurate in their labelling as to what the link is really about.  For instance including the topic of frequency on the \"middle C\" link might not tell the entire picture of what the link is about.","grammatical_rating":5,"grammatical_review":"I do not see any grammatical errors.","cultural_rating":5,"cultural_review":"The text is not culturally insensitive or offensive in any way that I have found.","overall_rating":9,"overall_review":"I recommend this book for those wanting to gain a solid foundation in the concepts of beginning music theory.  Overall the concepts are well presented.","created_at":"2021-06-15T15:15:09.000-05:00","updated_at":"2021-06-15T15:15:09.000-05:00"},{"id":33982,"first_name":"Jeffrey","last_name":"Anderson","position":"Music Instructor","institution_name":"Allen Community College","comprehensiveness_rating":4,"comprehensiveness_review":"The subject matter was presented in a very organized manner, and covered all concepts needed for an older beginner music student, or someone who needs a music theory refresher. What was lacking in some chapters were real-world examples from the repertoire. Information out of context is more difficult to comprehend and retain. When you can see and hear music, it makes it that much richer, and some of that was lacking here.","accuracy_rating":5,"accuracy_review":"Everything stated was accurate. Music theory at this basic level doesn't leave much room open for interpretation.","relevance_rating":4,"relevance_review":"The content will be relevant since basic music theory never changes over the decades. However, there are other texts available with more examples that students would recognize and connect to. This is a relatively dry and boring presentation of the concepts.","clarity_rating":5,"clarity_review":"The examples and text is presented very clearly. However, some of the graphics look unprofessional to my eye. For example, graphics with hand-drawn arrows and lines instead of professionally created.","consistency_rating":4,"consistency_review":"It was mostly consistent throughout. Some of the graphics used different typesetting of the music notation. It would have been nicer to have a consistent typeset throughout.","modularity_rating":5,"modularity_review":"Each chapter covers a different concept, which can be assigned on a different occasion. However, (as with all music theory textbooks), it definitely needs to be assigned in order from Chapter 1 to Chapter 11. It is a cumulative subject.","organization_rating":4,"organization_review":"It was presented very clearly with the exception noted above about the lack of consistency of musical notation typesetting. Also, some of the handwritten graphics, while east to understand, did seem distracting.","interface_rating":5,"interface_review":"All of the sound files I clicked on worked fine. The images were not distorted, and the text looked non-distracting.","grammatical_rating":5,"grammatical_review":"The grammar was impeccable. I did not notice any errors. The only thing they could have done is use the accidental symbols in the text instead of having to spell out sharp, flat, and natural every time.","cultural_rating":5,"cultural_review":"The text was not culturally insensitive. It is focused solely on music notation and music theory.","overall_rating":9,"overall_review":"The most distracting thing for me was the inconsistent and sometimes unprofessional look of the graphics throughout the entire text. Otherwise, I would recommend this to the college-age student who is interested in learning the basics of music notation, and can be self-motivated to read through a dry, to-the-point textbook.","created_at":"2022-08-12T16:04:47.000-05:00","updated_at":"2022-08-12T16:04:47.000-05:00"}],"url":"https://staging.open.umn.edu/opentextbooks/textbooks/music-fundamentals-1-pitch-and-major-scales-and-keys","updated_at":"2025-12-15T02:12:42.000-06:00"},{"id":583,"title":"Music Fundamentals 2: Rhythm and Meter","edition_statement":null,"volume":null,"copyright_year":2013,"isbn10":null,"isbn13":null,"license":"Attribution","language":"eng","accessibility_statement":null,"accessibility_features":["unknown"],"description":"This collection is the second of five dealing with the rudiments of music.","contributors":[{"id":4621,"contribution":"Author","primary":true,"corporate":false,"title":null,"first_name":"Terry","middle_name":"B.","last_name":"Ewell","location":null,"background_text":"Terry B. Ewell, professor, Department of Music, Towson University Former President, International Double Reed SocietyB. M. University of Washington; Bassoon Performance, magna cum laudaM. A. University of Washington, Music TheoryPh.D. University of Washington, Music TheoryTerry Ewell is Professor of online instruction and bassoon at Towson University Department of Music. In his 30+ years as a professional musician he has received recognition as a performer, teacher, scholar, and administrator."},{"id":4622,"contribution":"Author","primary":false,"corporate":false,"title":null,"first_name":"Catherine","middle_name":null,"last_name":"Schmidt-Jones","location":null,"background_text":"Catherine Schmidt-Jones graduated from Rice University in 1985, completing a BA in chemistry, a BA in music and a Master of Music in French horn performance."}],"subjects":[{"id":29,"name":"Arts","parent_subject_id":6,"call_number":"N85","visible_textbooks_count":56,"url":"https://staging.open.umn.edu/opentextbooks/subjects/arts"},{"id":6,"name":"Humanities","parent_subject_id":null,"call_number":null,"visible_textbooks_count":418,"url":"https://staging.open.umn.edu/opentextbooks/subjects/humanities"},{"id":89,"name":"Music","parent_subject_id":6,"call_number":"M1-5000","visible_textbooks_count":18,"url":"https://staging.open.umn.edu/opentextbooks/subjects/music"}],"publishers":[{"id":554,"url":"https://cnx.org/","year":null,"created_at":"2018-09-07T12:22:40.000-05:00","updated_at":"2018-09-07T12:22:40.000-05:00","name":"OpenStax CNX"}],"formats":[{"id":951,"type":"Online","url":"https://archive.org/details/cnx-org-col10716","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":952,"type":"PDF","url":"https://archive.org/download/cnx-org-col10716/music-fundamentals-2-rhythm-and-meter.pdf","price":{"cents":0,"currency_iso":"USD"},"isbn":null},{"id":953,"type":"eBook","url":"https://archive.org/download/cnx-org-col10716/music-fundamentals-2-rhythm-and-meter.epub","price":{"cents":0,"currency_iso":"USD"},"isbn":null}],"rating":"4","textbook_reviews_count":7,"reviews":[{"id":2418,"first_name":"Judith","last_name":"Ofcarcik","position":"Assistant Professor","institution_name":"Fort Hays State University","comprehensiveness_rating":1,"comprehensiveness_review":"While the book has fairly comprehensive coverage of rhythm and meter, this is never the only topic covered in a class. You will need at least another book to teach any music class. And since most textbooks cover rhythm and meter in addition to other topics, this book would only be useful if you were only going to use this book and the specific textbook paired with it on this site.","accuracy_rating":3,"accuracy_review":"The book was generally accurate, but there is a significant problem with its coverage of compound meter that I address below.","relevance_rating":4,"relevance_review":"Information on metric notation is unlikely to change.","clarity_rating":3,"clarity_review":"I think the book is generally not confusing, although I did not find it particularly engaging. At the same time, it is a very introductory book intending to address the most basic aspects of a limited topics, so I don't expect it to be exciting.","consistency_rating":1,"consistency_review":"A big concern that I have about this book, which only covers rhythm and meter, is that the author(s) provide conflicting information about compound meter. When the topic is first introduced, it says that compound meter signatures work just like simple meter signatures, meaning the top number tells you how many beats are in a measure and the bottom number tells you what note value is a beat (so, a measure of 6/8 has six beats and the eighth note gets the beat). However, this is not the case. Later in the book this is corrected, but I am concerned that students will be confused about this topic (which is already confusing to many students) because their first introduction to the topic is incorrect.","modularity_rating":5,"modularity_review":"The book is divided clearly into small, digestible sections.","organization_rating":2,"organization_review":"The organization generally makes sense, but sometimes topics are introduced more than once (and as I mentioned, sometimes conflicting material is provided in each appearance).","interface_rating":3,"interface_review":"I worry about this book being used on a computer--part of what students need to do when studying the topics covered in this book is to practice writing musical notation. You just can't do that on a computer. Perhaps if they are reading it on a tablet they could use a stylus to complete the activities, but otherwise they are going to have to print the pages to complete them.","grammatical_rating":4,"grammatical_review":"Overall this looked good.","cultural_rating":5,"cultural_review":"There is nothing in this book that could cause offense.","overall_rating":6,"overall_review":"This would be a decent quick reference for the studio instructor who wants a free book to suggest to students who are just learning to read music. However, its scope is very limited (by design, it should be said--this is not intended to be a comprehensive theory text). Further, since most books that address music fundamentals include many more topics than those covered here, I would prefer to send a student to one of those more comprehensive books, even if they had to pay for it. Finally, I am concerned about the presentation of compound meter in this text. Since this book is so limited in scope, problems here impact my feelings about this text much more than they would in a more comprehensive text--it only covers a few things, and one category of things is, in my assessment, confusing/inaccurate. ","created_at":"2018-11-29T10:55:57.000-06:00","updated_at":"2018-11-29T10:55:57.000-06:00"},{"id":2937,"first_name":"Keith","last_name":"Cozart Steele","position":"Director of Percussion","institution_name":"Earlham College","comprehensiveness_rating":4,"comprehensiveness_review":"This text is a good beginners introduction to terms, concepts and fundamentals of musical rhythm and meter with bonus links to such topics as conducting patterns.  The overall layout works well with an understanding that the sections can be used in different order rather than sequentially.  The simple index links materials very directly.  Each section is easy to follow and is of digestible length for a beginning student.  Moderate to advance students would move through this material very quickly while gaining bits and pieces of new information, especially in regard to the section on simple and compound rhythm and time signatures.","accuracy_rating":4,"accuracy_review":"Overall accuracy of the text is solid.  ","relevance_rating":5,"relevance_review":"The study of Western notation rhythm and meter is and will likely not change much any time soon.  The text makes reference to non-tonal instruments, such as the snare drum, not always using standard note heads.  Percussion instruments have begun to standardize in this regard to notation, but this text has made general notes to inform of the possibility of such note head replacement occurring in written form.  ","clarity_rating":5,"clarity_review":"Yes, the text is very clear in its delivery.  It has very little added detail.  It is direct and to the point, explaining or linking vocabulary that my confuse a beginning music student.  ","consistency_rating":3,"consistency_review":"Overall the flow of the text remains consistent in terms of terminology and framework, although not all sections have the same weight of new information.  For example, section 2 \"Rests\" could include additional examples of rests with dots or in several other time signatures.  Section 10 \"Pickup Notes and Measures\" seems out of place in this text.  I regard this as a performers need rather than a specific use in a fundamentals course/text.","modularity_rating":5,"modularity_review":"Yes, this text really accomplishes the ability to use it in smaller or larger sections- while also being flexible to assign section out of order.  Very easy to reorganize- well done.  ","organization_rating":4,"organization_review":"The textbook flows naturally for the most part.  I would not use it in its current order.  For example, I would teach section 4 \"Rhythm\" first.  Then thereafter begin note values from section 1.  ","interface_rating":4,"interface_review":"All links work well.  I particularly like the audio examples.  The visual examples are sufficient and simple.  ","grammatical_rating":5,"grammatical_review":"Grammatically the textbook is free from any minor errors.","cultural_rating":3,"cultural_review":"This book takes a direct Eurocentric approach.  As far as other influence of race, ethnicity and background- there is none.  ","overall_rating":8,"overall_review":"Overall I like the book from a Western Classical Beginning Rhythm and Meter resource.  I gained from preview its content.  ","created_at":"2019-05-22T12:48:41.000-05:00","updated_at":"2019-05-22T12:48:41.000-05:00"},{"id":3501,"first_name":"Karen","last_name":"Berry","position":"Instruction Librarian","institution_name":"Radford University","comprehensiveness_rating":5,"comprehensiveness_review":"While this book serves as a great introductory source for basic concepts in rhythm and meter, it also brings in more diverse perspectives than some other, more watered-down introductory texts tend to do.  Whenever possible, the authors discuss how the concepts compare in other musical styles, such as in jazz, percussion, and non-western music.","accuracy_rating":5,"accuracy_review":"I felt it was very accurate and straightforward.  This book contained very basic information and I have a Master's in Musicology, and yet I STILL learned new things from it!","relevance_rating":5,"relevance_review":"There are great, approachable analogies used throughout that make learning more fluid and easy, and are more or less timeless.","clarity_rating":4,"clarity_review":"This text is incredibly concise, and yet not so to-the-point that concepts aren't clearly defined.  Complex subjects are delved into enough that most misunderstandings can be clarified, but it's not too overwhelming.  That being said, there are a few times when concepts are explained in a way that seems out of order to me.  For example, the [important] paragraph explaining that metronomes with tempo markings are not 100% accurate comes before the section that explains what tempo markings are.","consistency_rating":4,"consistency_review":"While I feel that some of the ways in which the compound meter section is described could get confusing, I think it's overall pretty consistent.  Almost to a fault.","modularity_rating":4,"modularity_review":"I feel that the text could be overly self-referential at times, as sentences are interrupted (sometimes MANY times) by references to which sections concepts were originally discussed in.  That being said, this could be helpful for new students to music, and otherwise the book is chunked very, very well.","organization_rating":5,"organization_review":"Very logical organization.","interface_rating":5,"interface_review":"The exercises throughout the book are really great, and don't require anything more than a paper and pen (a student would not even need to print out the pages of the book).  The only criticism I have related to the exercises is that there probably could have been more!","grammatical_rating":4,"grammatical_review":"I noticed a few minor typos throughout the book, but nothing that got in the way at all.","cultural_rating":5,"cultural_review":"The book covers such rudimentary material that it would be hard to be offensive/insensitive.  That being said, as I mentioned earlier there are diverse perspectives brought in whenever possible, which I loved.","overall_rating":9,"overall_review":"As a former student of Dr. Ewell, I found this book to be just as engaging and straightforward as his musicianship classes were.  Glad I can keep learning from him even after graduation! :)","created_at":"2020-01-13T13:28:10.000-06:00","updated_at":"2020-01-13T13:28:10.000-06:00"},{"id":4237,"first_name":"Allen","last_name":"Amy","position":"Assistant Professor","institution_name":"California State University, Dominguez Hills","comprehensiveness_rating":5,"comprehensiveness_review":"The text is comprehensive and especially concise.  I appreciate that the text focuses on rhythm and meter because some subjects, such as dance, require music education, but don't need as much/any information on pitch, scales, keys, etc.","accuracy_rating":5,"accuracy_review":"I believe the content is accurate.","relevance_rating":5,"relevance_review":"I don't see the text becoming obsolete any time soon.","clarity_rating":2,"clarity_review":"The text may be clear enough to more advanced readers, but for the true novice, much of what is covered will have to be read multiple times and very slowly.  More audio examples and worksheets will help clarify concepts and illustrate concepts in multiple ways.  I believe it would be especially helpful to hear audio examples of various rhythms and meters in their most straight-forward forms before linking to examples of the same rhythm as part of a complete orchestration.","consistency_rating":4,"consistency_review":"The text seems consistent.","modularity_rating":5,"modularity_review":"The text is easily and readily divisible.  The sections are very manageable and easy to navigate.  The text is somewhat self-referential, but since sections are so short, it's not a great difficulty to refer to the other section.","organization_rating":4,"organization_review":"I would start with rhythm, then proceed to meter, then time signature, and then introduce written notes.  However, there isn't so much content that it would be difficult to rearrange the order of this text for one's own teaching order preference.","interface_rating":4,"interface_review":"I did get a little \"lost\" at times and when I clicked the links to additional materials.  Also, music samples, sometimes showed up in another tab and sometimes a file was automatically downloaded.  I preferred them to open in a new tab.  I did not see how to choose this option.","grammatical_rating":5,"grammatical_review":"I did not notice any grammatical errors.","cultural_rating":5,"cultural_review":"I did appreciate that Western music was identified, described, and compared to other music styles.  I would like even more instances of illustrating similarities and differences between musical styles including Western music.  Audio examples would be especially helpful.","overall_rating":9,"overall_review":"Overall, I appreciate that it is comprehensive and succinct.  Dancers do take music classes focusing on rhythm and I found this text to be probably too difficult to digest without many more audio examples and worksheets.","created_at":"2020-07-08T22:47:07.000-05:00","updated_at":"2020-07-08T22:47:07.000-05:00"},{"id":4681,"first_name":"Sarah","last_name":"Braverman","position":"Doctoral Student/Teaching Assistant","institution_name":"James Madison University","comprehensiveness_rating":2,"comprehensiveness_review":"It’s a concise textbook in that it’s only 63 pages, but it is not thorough. It will mention topics but not thoroughly explain that a new student could understand. I can’t entirely tell what this is intended for, because you would not normally teach rhythm/meter without any reference/study in pitch and otherwise. I’m not sure if you’d use it alongside a more comprehensive book or what the intention was—there is no introduction or preface explaining this either. It is simple language but it will mention things without truly explaining, such as just using the staff suddenly without talking about it at all.","accuracy_rating":4,"accuracy_review":"There’s a few errors that are sometimes corrected later, but overall is accurate. Some topics are oversimplified/not fully explained.","relevance_rating":5,"relevance_review":"I don’t see issues in this regard because this information doesn’t really change.","clarity_rating":3,"clarity_review":"It is not clear enough or thorough enough for beginners (as discussed under “comprehensiveness”) to gain a full understanding. I don’t think terms are fully explained in a way that someone new to the subject would gain enough.","consistency_rating":4,"consistency_review":"It is ok. The font sizes and types are consistently used and doesn’t bother your eyes/mind that way. The weight given to topics varies quite a bit. Formatting is the same, but also kind of dry black and white blocks of text. It could use some of those improvements but is overall consistent.","modularity_rating":3,"modularity_review":"It is divided into smaller subsections, which is good, but the smaller ones could use larger headings to make them easier to find. The text is very self-referential with footnotes, which got pretty irritating when they would occur multiple times mid-sentence and you lose your train of thought of what you are reading. A student reading this information for the first time would not be able to follow this well if they have to click on many footnotes to understand new terms.","organization_rating":4,"organization_review":"The organization and order of topics are decent, with a few issues, notably in the sections on meter.","interface_rating":2,"interface_review":"Everything is clear on the page but it is a lot of black blocks of text and can be difficult to keep reading that. I don’t think the interface of the text keeps a student’s attention very well and could use more diagrams and more variance.","grammatical_rating":4,"grammatical_review":"Very minor errors but nothing too bad.","cultural_rating":4,"cultural_review":"It is describing Western music notation and makes no reference of stating that other countries (or early notation) use different styles or use examples from other areas. But then again, there is no introduction or preface to tell us the author’s intention or goals for the text.","overall_rating":7,"overall_review":"I think it explains the topics it does explain decently but misses some detail. However, it is very technical and very definition-based. This is not very practically usable in applying to music or teaching someone about counting/playing music. Even for a music theory textbook, someone should be able to get some sense of how learning this information would help them perform or teach this and it is just too definition-based as its sole presentation. I would like to have seen an introduction or preface stating the goal of the book or if it is intended to be used with another book or exercises at the same time.","created_at":"2021-03-07T22:01:26.000-06:00","updated_at":"2021-03-07T22:01:26.000-06:00"},{"id":4895,"first_name":"Deanna","last_name":"Little","position":"Professor of Music","institution_name":"Middle Tennessee State University","comprehensiveness_rating":4,"comprehensiveness_review":"This text is concise and comprehensive in the areas of rhythm and meter.  It seems the book would be excellent for someone needing extra clarification in these areas.  It would serve as a supplement to a wholistic music theory text or for a student who plays music but does not read it well or a student in need of a 'reset' of rhythmic understanding from the ground up.","accuracy_rating":4,"accuracy_review":"The material covered is accurate, although, in a few instances due to brevity it could be difficult to understand.","relevance_rating":5,"relevance_review":"The content is relevant and I do not foresee this changing anytime soon.","clarity_rating":4,"clarity_review":"The text is clear but visually dull.  The information is consistently concise which helps keep the reader engaged.  The exercises are helpful but more would be nice. The links included are also helpful.  I like the use of colors and shades in the online version, there could be even more variety though.","consistency_rating":5,"consistency_review":"The text is consistent in presentation of terminology and framework.  However, chapters 3 (Dots, Ties, and Borrowed Divisions) and 10 (Pickup Notes and Measures) seemed to be in need of deeper explanation.","modularity_rating":5,"modularity_review":"The text is easily divisible into smaller sections that you can immediately refer to should there be a specific problem area for the reader.","organization_rating":4,"organization_review":"The organization of chapters are logical and clear.   Chapter 10 seems to be an odd fit within the whole text.","interface_rating":4,"interface_review":"The text is very clear on the page.  All of the links work and are very helpful.  The audio examples are also good.  I experienced problems getting back to the spot I was at after clicking a link and it would be nice to click on the audio and have it play rather than download first.","grammatical_rating":5,"grammatical_review":"I did not notice any grammatical errors.","cultural_rating":5,"cultural_review":"This text is not culturally insensitive or offensive.","overall_rating":9,"overall_review":null,"created_at":"2021-05-07T10:23:04.000-05:00","updated_at":"2021-05-07T10:23:04.000-05:00"},{"id":35338,"first_name":"Scott","last_name":"Roeder","position":"Professor of Tuba/Euphonium","institution_name":"The University of Texas Rio Grande Valley","comprehensiveness_rating":5,"comprehensiveness_review":"This book is very thorough.  It covers all the necessary information to understand all the elements of rhythm and meter.","accuracy_rating":5,"accuracy_review":"The book is accurate in its descriptions of the various elements of rhythm and meter.","relevance_rating":5,"relevance_review":"The book is extremely relevant because the subject matter is at the core of music performance and understanding notation.","clarity_rating":4,"clarity_review":"The book is well written in regards to the information.  I believe the structure of the book could be improved for students who are trying to improve rhythm comprehension.","consistency_rating":5,"consistency_review":"Yes very consistent","modularity_rating":5,"modularity_review":"Ideas are presented in easy to discern sections.","organization_rating":3,"organization_review":"I think the organization of the book could be improved.  Not sure the progression of ideas was the most optimal.","interface_rating":3,"interface_review":"Some text formatting could be improved.  Seems more like a masters thesis than a textbook.","grammatical_rating":5,"grammatical_review":"No problems.","cultural_rating":5,"cultural_review":"NA","overall_rating":9,"overall_review":"The information presented in the book is very complete and exhaustive.  However the presentation of the material could be rethought in a way that would make it more optimal for students to learn to comprehend the subject matter.  There was not a consistent flow from one topic to the next and it would be hard for a student to use this book as a way to develop the skillset it is trying to teach.  I think it is probably more of a treatise than a textbook to learn from.","created_at":"2024-12-11T09:06:23.000-06:00","updated_at":"2024-12-11T09:06:23.000-06:00"}],"url":"https://staging.open.umn.edu/opentextbooks/textbooks/music-fundamentals-2-rhythm-and-meter","updated_at":"2025-12-15T02:12:43.000-06:00"}],"links":{"self":"https://staging.open.umn.edu/opentextbooks/subjects/arts.json?page=1","total_pages":7,"total_count":63,"next":"https://staging.open.umn.edu/opentextbooks/subjects/arts.json?page=2"}}