Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Scholars explore from many fresh angles the interweavings of two of the richest strands of human culture-music and esotericism-with examples from the medieval period to the modern age. Music and esotericism are two responses to the intuition that the world holds hidden order, beauty, and power. Those who compose, perform, and listen to music have often noted that music can be a bridge between sensory and transcendent realms. Such renowned writers as Boethius expanded the definition of music to encompass not only sounded music but also the harmonic fabric of human and cosmic life. Those who engage in pursuits called "esoteric," from ancient astrology, magic, and alchemy to recent and more novel forms of spirituality, have also remarked on the relevance of music to their quests. Esotericists have composed music in order to convey esoteric meaning, performed music to create esoteric influences, and listened to music to raise their esoteric awareness. The academic study of esotericism is a young field, and few researchers have probed the rich interface between the musical and esoteric domains. In Explorations in Music and Esotericism, scholars from numerous fields introduce the history of esotericism and current debates about its definition and extent. The book's sixteen chapters present rich instances of connections between music and esotericism, organized with reference to four aspects of esotericism: as a form of thought; as the keeping and revealing of secrets; as an identity; and as a signifier. Edited by Marjorie Roth and Leonard George. Contributors: Elizabeth Abbate, Malachai Komanoff Bandy, Adam Bregman, Charles E. Brewer, Benjamin Dobbs, Anna Gawboy, Pasquale Giaquinto, Adam Knight Gilbert, Joscelyn Godwin, Virginia Christy Lamothe, Andrew Owen, Christopher Scheer, Codee Ann Spinner, Woodrow Steinken, and Daphne Tan.

One of the enduring aims of archaeological research has been to explain why human material culture is so diverse, both across the world and through history. Recognising that diversity exists is not, however, to explain it nor to measure it effectively. The aim of the contributors to Quantifying Diversity in Archaeology is therefore to examine what we mean by diversity, to review the methods of measurement and formulae we an apply and assess the pitfalls that exist. Richness and evenness, the two main components of diversity measures developed in the biological sciences are considered, as are the value of diversity measures in the study of style, ecology, cultural geography and faunal, lithic and spatial analysis. Subsequent papers consider critically why the archaeological remains of particular cultures vary so markedly between sites, localities and regions.

I write of the changing theater domains of war, one that many of our military are experiencing as they return home. A domain of psychological and spiritual struggle. It is a theater of battle not only experienced by those of the military but also growing segments of our civilian populations, especially those of our youth. This work is to address the concern of PTSD and suicide as reported of both veterans and school age children. The work serves as a tool for those who are pressured by the intangible enemy in wars of both the conventional type and the electronically communicated text and voice of the bully generated war of words that has precipitated deaths in our Public Education Systems and the nation.