Provides a series of insights into the planning process; introduces the key issues currently facing planning and offers prescriptions for the changes required as we move into the next millenium. Leading experts outline the changing context for land use and environmental policy in Britain and explain why the existing processes and profession of town planning are likely to be unable to provide satisfactory policy responses in the future. Key themes debated include: * widening the remit of traditional town planning * giving land and buildings a community value * acting for people rather than simply for the market * promoting an equalization of environmental conditions and discouragement of motorization * the need to anticipate long term global trends at the local and national level. Contributors: Andrew Blowers; Bob Colenutt; Richard Cowell; Bob Evans; Cliff Hague; Peter Hall; Susan Owens; Eric Reade; Yvonne Rydin.
#4319944 in eBooks 2013-01-11 2013-01-11File Name: B000OT81BM
Review
0 of 1 people found the following review helpful. Five StarsBy Andrew J. PerrimentInformative; concise and well written.0 of 10 people found the following review helpful. Pervasive continuity problemsBy KelvinThe Kindle version of this guide is technically flawed by periodic interruptions of the continuity of the prose. The principle issue is that sentences that are chopped in two have their remaining part interpolated forward in the text thus creating further continuity problems downstream. Heres a list of seven instances using square brackets to indicate the hiatuses:1. Example 2.4 give some examples of Roman numerals and figured bass in practice. A letter followed by a colon denotes the relevant key; with minor keys in lower case; Roman numerals (all in upper case) indicate the chord within that key. At its simplest the addition of figured bass to the Roman [ ]Figured bass is a shorthand method of indicating harmonies that was widely used in the Baroque era to allow keyboardists (and other continuo players) to improvise an accompanying part above a given bass line.2. As well as indicating triads and sevenths in their various inversions; figured bass is also used to show suspensions within a chord; such as 4 resolving to 3; as in the last measure below.[ ] numeral labeling system can be used to clarify inversions; as in the first chord of Example 2.4a; where the 6 below the staff (short for 6/3) shows that the dominant chord is in first inversion.3. "Species counterpoint" formed part of the musical education of such major figures as Haydn; Mozart; (The following sentence interrupts the previous one; as indicated by square brackets:) [Take the time to play through these examples on the piano--you will find that everything in this book makes much more sense if you do so. Failing that; you will find midi files of many of the examples on [...].] Beethoven and Brahms; the principles it embodies are integral to the compositional tradition to which these composers belong.4. In addition; he outlines a [ ]Foreground; middleground and backgroundSchenker gives formal labels to the various layers of an analysis.5. The middleground layer closest to the background is referred to as the first-level middleground; and consists only of direct elaborations of the background. [ ]fairly restricted number of basic contrapuntal structures that underpin tonal music and the main ways in which they are elaborated.6. In the first measure of this example the upper voice ascends through the three notes of a root position triad against a lower voice that sustains the [ ]Arpeggiations of C major Notice that the fourth arpeggiation in Example 2.8a contains a seventh (F in a chord of G).7. As the diminished seventh is effectively a stack of minor thirds; it contains no dissonances and can therefore be arpeggiated. [ ]root note of the chord; elaborating the harmony of I in C majorThe pattern that emerges is that the sentence interrupted before the left-hand bracket in example 1; for instance; is completed in example 2 after the right-hand bracket. The same is true of the pairs of examples 4 and 5; and 6 and 7. Now that Ive discerned this pattern of error I can probably make sense of the book but its tedious and I feel that my money has been poorly spent in renting this insightful guide to a challenging approach to the analysis of music.