修订一部深受读者欢迎的音乐通史，目的不是推倒重写，而是提高它的时代性。看惯前几版的读者，会觉得此书不论外貌或者内容改动甚大，但章次和范围基本未变。收名中加上“西方”一词，说明我们意识到西欧和南北美洲的音乐体系不过是世界文明的诸音乐体系之一。本书范围的又一局限在于只谈“艺术音乐”；而必须承认，“艺术音乐”这一概念本身便十分含糊。通俗音乐、爵士乐以及诸如此类的品种确已有相当高深的技巧，但不能期望本书同等对待西方音乐的这一广大支系（如今已成为独立的研究课题），常规的音乐史教程也未必能等同视之，而本书不过是一本常规音乐史的手册。
赵朴初先生德高望重，其诗、词、曲等各体韵文的创作均有很高的造诣，在当代作家中罕有可比；同时，他的书法秀逸峻拔，享誉海内外。朴初先生一生创作颇丰，然多随写随以人，其墨宝散在海内外各地，搜集甚为不易。本书选其手书自作的诗、词、曲墨宝132幅，计含作品165首，既是他的韵文作品选，也是其书法作品选，具有双重的鉴赏与珍藏价值。
这是影人、影评家、影迷共同献给香港电影的一份厚礼，既有从上世纪到，电影工业每一年的忠实记录，也有邹文怀、徐克、许鞍华、王晶、王家卫等众多影人的私家记忆，更有名家力荐的百部电影香港电影。
修订一部深受读者欢迎的音乐通史，目的不是推倒重写，而是提高它的时代性。看惯前几版的读者，会觉得此书不论外貌或者内容改动甚大，但章次和范围基本未变。收名中加上“西方”一词，说明我们意识到西欧和南北美洲的音乐体系不过是世界文明的诸音乐体系之一。本书范围的又一局限在于只谈“艺术音乐”；而必须承认，“艺术音乐”这一概念本身便十分含糊。通俗音乐、爵士乐以及诸如此类的品种确已有相当高深的技巧，但不能期望本书同等对待西方音乐的这一广大支系（如今已成为独立的研究课题），常规的音乐史教程也未必能等同视之，而本书不过是一本常规音乐史的手册。
In 1950, Robert Frank left his job as a photographer in NewYork to travel through Europe with his family. That summer hearrived in Valencia, Spain, which was at the time a humble, bleakplace enduring the austere conditions of the postwar period likethe rest of the country. The pictures Frank took of Valencia depictthe daily life of a fishing village. His portrayal is so naturaland clear that further verbal explanation seems superfluous; theysimply reflect, in the photo graphers words, the humanity of themoment. The photographs in this book, many of which have never beenpublished before, allow dignity to override poverty. Robert Frank,a key figure in photographic history, was born in Zurich in 1924and immigrated to the United States in 1947. He is best known forhis seminal book The Americans, first published in 1959, which gaverise to a distinct new form in the photobook, and his experimentalfilm Pull My Daisy (1959). Franks other projects include the booksBlack White and Things (1954) and The Lines of
Parents, grandparents, teachers, and parents-to-be will delight in this collection of pictures of children from around the world. This charming CubeBook compendium of photographs follows the path of childhood from the cradle to first steps, from relationships with parents and siblings to attempts at independence, from games in the neighborhood to studies in school. Heartfelt and infinitely appealing in their unembellished charm, these lovely images—both candid and posed—express emotions and experiences shared by children everywhere, and also reveal the fascinating differences in children around the world. A vast range of cultures is represented in these pages, and the photographs convey in fascinating detail the traditional games, school environments, and family settings of each. From the irresistibly chubby legs of an infant to the tentative first steps of a toddler, from the proud gap-toothed grin of a young child to the shy smile of a preteen, these photographs embody the true essence of childhood.
《乐学轨范唐部乐器图说之研究》以韩国、朝鲜15世纪官修乐书《乐学轨范》唐部乐器图说为研究对象，通过比较中、韩、日宫廷乐器，参考相关历史文献、考古资料，对传入朝鲜半岛的中国乐器的名称、形制、功能、演奏方式及韩围化过程，进行分门别类地考察，并结合朝鲜半岛对中国乐器的接受与习得过程，对朝鲜半岛三个历史时期的音乐机构的创设、发展沿革进行了细致的梳理。全书逻辑清晰、条理明畅、图文并茂，是一部较好的学术专著，它充实了韩围音乐史的内容，也丰富和深化了我们对东亚音乐文化交流史，中国古代音乐文化传播史的认识。
修订一部深受读者欢迎的音乐通史，目的不是推倒重写，而是提高它的时代性。看惯前几版的读者，会觉得此书不论外貌或者内容改动甚大，但章次和范围基本未变。收名中加上“西方”一词，说明我们意识到西欧和南北美洲的音乐体系不过是世界文明的诸音乐体系之一。本书范围的又一局限在于只谈“艺术音乐”；而必须承认，“艺术音乐”这一概念本身便十分含糊。通俗音乐、爵士乐以及诸如此类的品种确已有相当高深的技巧，但不能期望本书同等对待西方音乐的这一广大支系（如今已成为独立的研究课题），常规的音乐史教程也未必能等同视之，而本书不过是一本常规音乐史的手册。
Third Life is the new monograph by the photographers photographer, Norbert Schoerner. Assembled as a cinematic narrative, this book collects new and previously unseen work produced over the last seven years. In equal measures a photographic diary and a sequence of remarkable tableaux, Third Life traces Schoerners journeys across the globe. Through the juxtaposition of carefully chosen urban and rural landscapes with images from his photographic sketchbooks, Schoerner explores representation in the context of mass availability and re-purposing of digital images in the www environment.
这是影人、影评家、影迷共同献给香港电影的一份厚礼，既有从上世纪到，电影工业每一年的忠实记录，也有邹文怀、徐克、许鞍华、王晶、王家卫等众多影人的私家记忆，更有名家力荐的百部电影香港电影。
《莫扎特钢琴奏鸣曲集（1）》是作者是心灵的体会和生命的活力。演奏莫扎特的作品要做到发音清脆明亮、富有表情，其目的就是要做到风格的纯净。看来，古典钢琴音乐的“连线”已被小提琴音乐所吸收，因而这种连线已不再具有约束力的论点，在今天显然已经站不住脚了。说明《莫扎特钢琴奏鸣曲集（1）》的目的，尽管不是让演奏者参与因比较各种版本而引发的学术问题讨论（这属于研究版的任务），但是，仍然需要附上一些十分重要的、不同于手稿的说明。
It is the authenticity of the images which fascinates us rather than the reality that lies behind them. This reality seems rough and dangerous and all but worth emulating or aspiring to. The photographer Alexander Babic covered thousands of miles by car in Australia and South Africa in order to capture a scenery of which he himself was part - a real adventure. He drove along the world's longest highways, encountered the world's longest road trains, i.e. the Australian road trains with up to four, sometimes five trailers measuring up to 70 metres in length. He set up a complete mobile studio and asked his models, the truckers, if he can take a picture of them. He wants in his own words: "to capture faces that reflect stories, experiences, even tradegy and roughness in a totally classic and unadorned manner in black and white photographs". The portraits of the subjects are countered by similarly impressive views of the vehicles, from the front an this time in colour. The double page landscape photographs interj
法国印象派绘画虽然在有些人看来分别存有或片面追求光学的客观主义，或把科学原理与艺术创作有机结合，以及自我表现的个体主义倾向等，但在西方传统绘画的历史性超越、对西方现代主义艺术的精神启迪等方面，提出了许多关键性的问题并进行了有益的探索性实验。因此可以说，法国印象派绘画扭转了西方美术的发展方向，开启了美术的新纪元。
The Annual features the year's best photographs, awarded a Graphis Gold or Platinum Award, taken by some of the world's eminent Photographers, including Craig Cutler, Henry Leutwyler, Heinz Baumann, Laurie Frankel and dramatic journalism photographs for Newsweek. This edition features a Q&A with the Chief Curator of the International Center of Photography, Brian Wallis, and a documentation of the most preferred equipment used.
修订一部深受读者欢迎的音乐通史，目的不是推倒重写，而是提高它的时代性。看惯前几版的读者，会觉得此书不论外貌或者内容改动甚大，但章次和范围基本未变。收名中加上“西方”一词，说明我们意识到西欧和南北美洲的音乐体系不过是世界文明的诸音乐体系之一。本书范围的又一局限在于只谈“艺术音乐”；而必须承认，“艺术音乐”这一概念本身便十分含糊。通俗音乐、爵士乐以及诸如此类的品种确已有相当高深的技巧，但不能期望本书同等对待西方音乐的这一广大支系（如今已成为独立的研究课题），常规的音乐史教程也未必能等同视之，而本书不过是一本常规音乐史的手册。
修订一部深受读者欢迎的音乐通史，目的不是推倒重写，而是提高它的时代性。看惯前几版的读者，会觉得此书不论外貌或者内容改动甚大，但章次和范围基本未变。收名中加上“西方”一词，说明我们意识到西欧和南北美洲的音乐体系不过是世界文明的诸音乐体系之一。本书范围的又一局限在于只谈“艺术音乐”；而必须承认，“艺术音乐”这一概念本身便十分含糊。通俗音乐、爵士乐以及诸如此类的品种确已有相当高深的技巧，但不能期望本书同等对待西方音乐的这一广大支系（如今已成为独立的研究课题），常规的音乐史教程也未必能等同视之，而本书不过是一本常规音乐史的手册。
《复频弹性律学：李曙明音律文集》收录了我国音乐美学家、律学家李曙明先生的七篇律学论文。《复频弹性律学：李曙明音律文集》的特色是从美学和哲学的高度来重新看待和审视律学问题，这无疑为律学的未来发展提供了一个崭新的视角。作者以2音分的“小微音差”和14音分的“弹律音差”为工具，运用传统文化中的“和律”智慧将五度相生律、纯律和十二平均律融合为一个自洽的完整体系，使得三律之美兼而有之。全书既大胆借鉴当前律学研究的新成果，又充分吸收了古代易学、律学精髓，体现出“技”、“艺”与“道”的统一，把律学从造律.听律、算律的历史推向了唱（奏）律的艺术实践新阶段，对音乐理论、音乐表演及中国十二音作曲法具有高屋建瓴般的指导意义。全书简洁精炼，逻辑清晰，不仅是律学研究者的重要参考书目，也适合专业音乐院校和师
西藏面具是西藏特殊历史和文化背景下的精神产物。它既根源于原始宗教信仰，也依存于人的现实精神需要。这也就是面具在西藏长盛不衰的根基和原因。在西藏，无论是宗教祭祀，还是民间歌舞表演，乃至节日游园，婚丧嫁娶，儿童嬉戏等，都少不了面具的帮衬作用。或为弘扬佛法，解救众生；或为降伏鬼魔，降福人间；或为娱之于人，求食谋生；或为自娱自乐，解除苦闷与寂寥。作为一种社会意识形态，面具艺术已深入到西藏社会生活的各个层面。
