Jacobus Hendricus van Lint

Richard Michael Wilson

This major textbook, a product of many years' teaching, will appeal to all teachers of combinatorics who appreciate the breadth and depth of the subject. The authors exploit the fact that combinatorics requires comparatively little technical background to provide not only a standard introduction but also a view of some contemporary problems. All of the 36 chapters are in bite-size portions; they cover a given topic in reasonable depth and are supplemented by exercises, some with solutions, and references. To avoid an ad hoc appearance, the authors have concentrated on the central themes of designs, graphs and codes.

A Course in Combinatorics

R. M. Wilson

J. H. van Lint

This is the second edition of a popular book on combinatorics, a subject dealing with ways of arranging and distributing objects, and which involves ideas from geometry, algebra and analysis. The breadth of the theory is matched by that of its applications, which include topics as diverse as codes, circuit design and algorithm complexity. It has thus become essential for workers in many scientific fields to have some familiarity with the subject. The authors have tried to be as comprehensive as possible, dealing in a unified manner with, for example, graph theory, extremal problems, designs, colorings and codes. The depth and breadth of the coverage make the book a unique guide to the whole of the subject. The book is ideal for courses on combinatorical mathematics at the advanced undergraduate or beginning graduate level. Working mathematicians and scientists will also find it a valuable introduction and reference.

Thomas Lindsay

Thomas Lindsay's Elements of Flute-Playing According to the Most Approved Principles of Modem Fingering (London, 1828-1830) provided the first synthetic treatment of the flute-playing technique of the 1820s. The method, by an otherwise obscure music-shop proprietor rather than by a famous performer, incorporates and quotes not only from earlier English works by Gunn (c1792) and Nicholson (1816, c1821), but also from influential French ones (including one published in London) by Berbiguier, Devienne, and Drouet. Lindsay's instructions amplify and add perspective to those in tutors by (in order of publication) Gunn, Monzani, Beale, Keith, Nicholson, Kuffner, Alexander, Weiss, Bown, and Dressler, as well as amplifying commentary in periodicals and other publications with a detailed view of exactly how Nicholson's contemporaries heard, evaluated, felt about, and imitated the highly distinctive styles vying for their attention. Lindsay's repertoire of exercises and examples. National Airs, arrangements, and original compositions by Lindsay himself, as well as by Berbiguier, Devienne, Drouet, Farrenc, Gabrielsky, Gebauer, Hugot and Wunderlich, Kuhlau, Mayseder, Mozart, Pasquali, Rossini, G.A. Schneider, Storace, and C.N. Weiss, are annotated with comments on tonality, accentuation, and "sensitive" intonation, as well as on particular applications of fingering and expression. --

Richard Michael Wilson

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