Wikireadia.org is a free ISBN lookup site. Use the ISBN search options for finding books by ISBN, title, author, and publisher. Amazon book reviews, Amazon pricing, Amazon product description, Amazon ASIN number, and links to Amazon editorial reviews, and Amazon customer reviews and AbeBooks pricing are also displayed. Use the Amazon data to find and compare prices on new books, used books, new college textbooks, and used college textbooks. All sorts of books are listed on the site - new books, used books, new and used textbooks, new and used college textbooks, discountinued books, discounted books, out of print books, rare books, cheap books, children's books, young adults books, adult books, antique books, hard to find books, and old books.
Over 6 million ISBNs and ISBN barcodes are listed. The ISBN format was created by the International Organization for Standardization (ISO). ISBNs are 10 or 13 digit numbers that uniquely identify a book by its title, publisher, and format. ISBN bar codes are just a bar code display of the ISBN number. ISBNs were introduced in 1970 and were originally 10 digit numbers. In 2007, ISBN numbers changed to 13 digit numbers so the system wouldn't run out of ISBN numbers to assign. The ISBN number is typically found on the back cover of the book along with the ISBN barcode that represents that number. The ISBN number can also typically be found on one of the first few pages of the book where the publisher and copyright information is listed.
Each edition of a book and each format of a book has a different ISBN number. This is very useful when searching for the softcover edition or the hardcover edition of a book. It is also useful for college students searching for the correct edition of a college textbook for their university class.
To learn more about the ISBN (International Standard Book Number) ISO standard, see the Wikipedia entry for ISBN
Title: Brahms and the Challenge of the Symphony (Ex)
Author: Raymond Knapp
Publisher: Pendragon Press
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Brahms's symphonies represent one of the most important bodies of work to come from the second half of the nineteenth century, when many of the difficult issues that have confronted composers and scholars in our own century were formulated. As the other arts at that time were turning away from romanticism, musicwaswitnessing an extended confrontation between two attitudes that had been fundamental to musical romanticism in the preceding generations: that music was on the one hand profoundly expressive and, on the other, essentially self-sufficient. Wagner set the terms for the conflict at mid-century, proclaiming the ina quacy of "absolute" music and arguing that Beethoven's Ninth Symphony ended thesymphonic tradition with its demonstration that musical expressivity ultimately stems from an innate dependency on "the word." Wagner's arguments were followed, in short order, by Liszt's appropriation of thesymphonic genre to programmatic ends (with Wagner's eventual, if guarded, approval); Hanslick's Vom Musikalisch Schonen, with its influential argument for the self-sufficiency of music; and the appearance of Schumann's article "Neue Bahnen," which vested the future of music solely in the person of the young, virtually unknown Johannes Brahms, who was heralded as the awaited savior of a valued but languishing tradition.