Dr. Oskar Adler (1875-1955), of Vienna, Austria, was a physician, esoteric scholar, 1st violin of the Adler Quartet, and Arnold Schoenberg's first music teacher and lifelong friend. The Critique of Pure Music - and his original German Kritik, written in 1918, remained unpublished until now. This bilingual English-German edition was translated by Michaela Meiser of Austria. Publisher and Editor, Amy Shapiro previously published Dr. Oskar Adler: A Complete Man, plus his The Testament of Astrology. Adler's timeless reflections serve as a healing balm in our stormy times. As he writes (Ch. 2, "Essence and Origin of Music," p. 116): "Life means to understand the eternal "Now" within oneself. Any living being that is not "living in the now," does not live but is being lived. To live in the now is only possible through the inner rhythm of time - through synthesizing the perfect contradiction of unreal and real, the gnostic expression of which is becoming. Our living self is thus captured in its innermost core through the art of music, as the art of pure becoming, thus the art of being utterly alive." Reviewer's Quotes: Composer Reese Scott describes it as "a phenomenon of a unique time - the interface of the old European world with the 20th century --especially keenly felt in Vienna. It interfaces music, spirituality, anthropology, astrology, number and psychology, and transcends time in a way unique to Adler. It's a curious combination of pure sincerity mixed with relentless pedantry --he dishes out intuitions and ideas with no apology and talks about music's spiritual basis, as if it were a touching prayer. The primary force behind Adler's unique ideas is cosmic and esoteric. His work is deeply steeped in many traditions, and yet full of odd eccentricities, as shown by his unusual nomenclature for modal scales, his ideas on music and triangles, and his cosmic symbolism reminiscent of much older authors, such as Kepler." Prof. Dr. Alfred Pfabigan of Philosophical Practice Märzstraße, Vienna writes, "Austrian Intellectual History research owes great thanks to the editor and translator of Oskar Adler's book. Not only that much of this lost work is still valid today, it also offers an inside look into the way of thinking as articulated in the legendary "Fin de siècle - Vienna" and which surely - unnoticed by research - also emanated to Adler's pupils, as for example Schönberg." For more information, visit NewAgeSages.com. "Dieses Buch ist von archivalischem Interesse als Phänomen einer einzigartigen Zeit - der Schnittstelle der alten europäischen Welt mit dem 20. Jahrhundert -, die in Wien besonders stark über diese Periode zu spüren war. Obwohl andere Bücher dieser Zeitperiode ebenso weitreichende Perspektiven inkludieren, kenne ich keines, das so viele Disziplinen miteinander in Verbindung bringt - musikalische, spirituell-geistige, anthropologische, astrologische, numerische und psychologische. Aber dieses Buch hebt die Grenzen der Zeit in einer einzigartigen Art und Weise auf, die für Adler typisch war. Adler denkt ganz anders als seine Zeitgenossen, und schreibt auf vielschichtigen Ebenen. Es ist eine kuriose Mischung aus reiner Aufrichtigkeit und unnachgiebiger Pedanterie. Ich liebe es, wie er seine Eingebungen und Ideen ohne Entschuldigung auftischt. Er spricht über die geistige Grundlage der Musik, als ob es sich um ein berührendes Gebet handelt. Die primäre Kraft hinter Adlers einzigartigen Ideen ist kosmischer und esoterischer Natur. Seine Arbeit ist tief in vielen Traditionen verwurzelt und trotzdem voll von schräger Exzentrizität, wie seine ungewöhnliche Nomenklatur für modale Skalen, seine Ideen zur Musik und Dreiecken, sowie seine kosmische Symbolik, die an sehr viel ältere Autoren wie Kepler erinnert." Komponist Reese Scott (USA)Oskar Adler war Arzt, Astrologe und vor allem Musiker, bekannt als Gründer und erste Geige des Adler Quartetts. Er verfasste sein Werk "Die Kritik der reinen Musik"

Q4TQuadragrip 4 Trapset(1977 to the Present)Dedicated to Tommy Thomas and Elvin JonesMy life with Q4T is a search for creativity, improvisation and invention, while maintaining the history of tradition.Tommy Thomas told me about playing with multiple sticks, mallets and brushes on gigs in Chicago Theatres, during the 1930s and 1940s.Looking through vintage Ludwig catalogs from the late 1920s, 1930s and 1940s, I saw drummers/percussionist with chimes, xylophone, tympani and more. They had to move fast and be creative to play "Trapset" music.Tommy Thomas introduced me to Louie Bellson at his Village Lounge gig in 1980. I gave Louie my Quadragrip book. He told me he was composing a 3 stick, brush orchestra piece.When I was soliciting my book to drummers for their endorsement, I mailed one to Johnny Carson. He replied, I like it, but I prefer duo-grip.I hope you enjoy my discoveries to play this musical instrument called, The Drumset.Best regards, MWMusical Repetition dictates specific ways to play the kit. The sounds of the drumset are focused on various parts and combinations of the instrument.Ride cymbal, high hat, snare drum or toms usually dominate the groove or rhythm.These interior monologues document my personal thoughts about learning to play and expand the sound of the drumset, an update to my 1980 Quadragrip publication.It took 20 years before I was confident enough to play Q4T publicly on the bandstand. I didn't start using Q4T (full time) till 1997.Audiences noticed the visual concept. I didn't want Q4T to be perceived as a entertainment gimmick. I want my expanded sound to support and augment the music.I'm comfortable it's taken 40 years of practice and performance, to author this updated 2017 documentation.I've experienced many joyful performances and gigs that brought pleasure to the viewer and listener. They mention hearing my sound as a modified, different approach.I've seen YouTube videos of college percussionist playing contemporary repertoire using various combinations of 3 and 4 mallets or sticks.This generation of player has been exposed to multiple mallets, sticks or brushes to play varieties of instruments and sounds in performance.I'm thankful for the gift and concept of my Q4T technique.Q4t doesn't have to be a complicated, notational challenge.To illustrate my technique, I show the process without notated music. My simple examples demonstrate combinations of 2 and 4 sticks, brushes or mallets on various drums and cymbals.I also illustrate the concept of setup, how I utilize specific placement of drums and cymbals.I started playing Quadragrip, with my 1974 Fibes drumset; it's my number one kit. There have been others. My 1983 Gretsch Carpathian Elm kit [1986-1999] was beautiful. My North drumset [1999-2000] Derek Bailey-Jon Rose) was completely different. It was very unique to have 4 smaller sized toms, rack mounted at eye level. The North kit was augmented with various percussion, bells, blocks, tambourine, gongs, cymbals and more.Since my 1980 Quadragrip book photos were taken, the percussion instruments were sold. I have great memories, and a few recordings of them from the past.My 1974 Fibes drumset: remains semi-intact, minus the front hoop, bottom rims and heads. I still have the cymbal stands.Waxing Poetic"Thinking and playing outside the box can be a blessing and a curse""When Roland Kirk came on the scene playing multiple instruments, it was hip and innovative. Most saxophonists continue to play one instrument at a time""Many times, an audience of one is all you need"