Book Description
Renowned for its comprehensive coverage of genres and styles in Western music from antiquity to the present, A History of Western Music has secured its place—through six editions and for almost half a century—as the definitive resource for every musician. In this latest edition, J. Peter Burkholder has renewed and updated the book to suit the ways in which instructors teach and students learn today, all while maintaining the authority and comprehensive coverage that has defined this classic text. In a shift of emphasis, this edition places people making choices at the center of the story. Linking historical and social context directly to musical practice and styles, this edition calls attention to what's important, where it fits, why it matters, and who cares.
Customer Reviews:
A History of Western Music.......2007-02-12
This edition is far superior to it's predecessors. Information is provided in clear, organized formats and the language use is much easier to read for understanding.
Excellent service.......2007-01-09
The book was in the stated condition and was received in a timely manner.
Well, I had to buy it, right?.......2006-11-10
Obviously, it's a textbook... so what can one say?
The book is definitely one of the prettier ones that sits on my shelf. And if you're a music major (which I assume you would be if you had to buy this book), it's THE definitive music history textbook.
Always perfect music history~.......2006-10-19
This time is my 3rd time to purchase new edition of A History of Western Music. I studied from 5th edition. This new edition is more easy to study. Fully recommended~
Lots of facts, no analysis.......2006-07-22
When I found what I believe to be the first edition (from 1960) in a thrift store for $1, I had no idea that this was considered the pre-eminent music history textbook. Consequently, I approached it as "pleasure" rather than assigned classroom reading. And I am in full agreement with the assessment that the writing is dry in the extreme - and I admit that I skimmed certain sections rather than reading them all the way through. Compared to the writing of critics such as Donald Tovey, Norman Lebrecht, Alex Ross, Jonathan Saville, or August Kleinzahler, Grout is not "entertaining;" as I explain below, he does not even meet the definition of "critic."
My own systematic introduction to Western art music began with the Baroque period, with a brief mention that there was something called "Gregorian Chant" which preceded it. Grout's treatment is the polar opposite of this approach; he begins with Greek antiquity and proceeds forward through the medieval and renaissance periods in such detail that Bach is not encountered until the book's halfway point. Yet despite this inclusiveness, there is no mention of Hildegard von Bingen, who I had assumed to be a major early Renaissance composer. As an introduction to the field, this may not be the most useful approach; the neophyte may wish for greater concentration on the composers he is more likely to hear. Sensibly, Grout limits his presentation of the 20th century to the giants (Stravinsky, Schoenberg) whose significance was apparent at the halfway point, with brief mentions of others; he may be forgiven his extensive section on Hindemith, who may have appeared more important in the 1950s than he has since become. Nevertheless, I give the book five stars for inclusiveness.
I must temper this position by awarding three stars for the nearly complete absence of any context within which the music took form. Grout not only neglects any discussion of the historical events surrounding the composers; there is no mention of events within the composers' own lives that may have affected their creativity. It is as if the music took form within a vacuum, with no relation to anything except the music that came before it, whether in continued development or opposition. The timeline in the appendix is woefully inadequate in this regard, a mere chronology with no relation other than temporal to the events noted.
It is a modern convention that art is more properly understood through historiographical analysis; that some relationship exists between artistic creativity and the society within which it is created. It goes without saying that an artist's work also springs from his own life experiences. Shostakovich cannot be understood without the awareness that his music was an expression of his opposition to Soviet Communism; it is of interest to note Mozart's complete subservience to his own political environment. If it is unfair to criticize this edition of Grout for not exploring pathways which to us seem obvious, then by the same token, the book is itself subject to historiographic deconstruction. It is valuable not so much as a resource for information on Western art music composers, but as a snapshot of the academic attitude toward those composers current in the 1950s. As I have not read any later editions, I can't comment on whether this deficit has been corrected - but this would have required a complete reorientation of the author's philosophy.
Most inexcusably, Grout concludes with a brief observation of the rift between the public and classical music composers (especially the modern ones), with no thoughts as to the implications this may have on the future of this art form. Again, the music is viewed as existing in a vacuum, unrelated to the world at large and the lives of the composers who created it. This bespeaks the astonishing opinion that Western art music has no importance for anyone outside the small circle of specialists directly concerned with it. It was, and is this very attitude that to a large extent is responsible for the peripheral place this great tradition has in society today, and the risk of its continued marginalization in the future.
Average customer rating:
- Calculations are only as good as your numbers
- Pants on fire?
- Accepted History & Chronology Must Be Changed.
- Very Interesting
- History as Science Fiction
|
History: Fiction or Science? (Chronology, No. 1)
Anatoly Fomenko
Manufacturer: Mithec
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Similar Items:
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History: Fiction or Science? Chronology 2 (Chronology)
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History: Fiction or Science? Astronomical methods as applied to chronology. Ptolemy's Almagest. Chronology III
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Discovering the Mysteries of Ancient America: Lost History And Legends, Unearthed And Explored
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They Cast No Shadows: A Collection of Essays on the Illuminati, Revisionist History, and Suppressed Technologies
ASIN: 2913621058 |
Book Description
Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.
Customer Reviews:
Calculations are only as good as your numbers.......2007-08-03
Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.
Pants on fire?.......2007-07-19
Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.
Accepted History & Chronology Must Be Changed. .......2007-04-09
There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.
For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.
Very Interesting.......2007-03-07
It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.
History as Science Fiction.......2007-01-10
Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.
I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.
Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.
Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.
I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.
This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.
Book Description
This well-organized, visually interesting book offers an in-depth examination of the social history of rock-and-roll. Rockin' in Time emphasizes several main themes, including the importance of African-American culture in the origins and development of rock music. Tracing rock from its inception–from American blues to the present–this book shows how rock-and-roll has reflected and sometimes changed American and British culture for the last fifty years.
Topics covered in this comprehensive history are: the blues and racism; Elvis Presley and rockabilly; Dick Clark and Don Kirshner; the California sound; Bob Dylan; the British invasion; Motown; acid rock; campus unrest and militant blues; the 1970s; punk rock; MTV; Generation X; the rave revolution; hip hop; and nu-metal.
An excellent reference work for rock fans, music industry employees, those employed by radio stations, and those in music and performer-related marketing.
Customer Reviews:
Rockin' in Time.......2007-10-04
This item was received in a matter of a few days. The item was in very good qualities. The book is very informative and intertaining.
Excellent book.......2007-07-13
I have this book for a class on the social history of rock and roll, and it's such an easy and interesting read that I find myself reading the non-required parts. Very informative and to-the-point.
Incredibly poor, inaccurate work........2005-04-29
I originally had to read this book for a History of Rock and Roll class at the University of Cincinatti. I found the subject interesting, and the professor gave wonderful lectures. I had good expectations about this book going in, but those quickly soured as I read it.
It seems correct, at least, about the social problems of the different eras and their relation to rock. Not that such is a particularly daunting feet.
However, it is rife with laughable fallacies. For instance, it calls David Bowie, amongst other glam rock bands of the era, metal. It futher goes on to call many pop bands of the 60s and 70s rock, when they have no guitar work and no bass line at all, such as the Carpenters.
I really had a good laugh when they called Bad Religion hardcore. Bad Religion is about as hardcore as Elvis is rap. Further massive genre confusion consisted throughout the entire book.
I also noted several drastic misinterpretations of songs. For instance, it claims 'Thunder Rolls' by Garth Brooks is about domestic violence. Its about infedility, not focusing on violence at all, but rather the emotional ramificationsof being cheated on.
The writing is also rather dry. Many times it is merely a citing of the names of band members as well as constantly describing minor changes in bands lineups which are of no true consequence. It also tends to list off songs which have no impact on any giving band's successes or failures.
After reading the book in completetion, I really had to question the earlier passages about older rock and blues (50s to 60s) that I had thought were true. In the end, I felt that it wasted my time and money and possibly misinformed me more than anything.
Very Good for what it is........2002-03-25
What is it? A comprehensinve list type book on the history of rock and roll. Not much depth, but ALL genres covered.
Excellent, concise resource for the social history of rock.......1999-07-05
I have read and re-read this book many times since I first picked up the 3rd edition in 1996. I am a high school social studies teacher and I use this book as a resource constantly when I am teaching contempory history. Well thought out, concise yet complete, easily readable. I applaud Mr. Szatmary for his effort, the book has inspired me to research the sociolgical implications of rock and roll and not merely the "pop history" currently offered. Further, I was so inspired by this book that it prompted me to author a website dedicated to the sociology of rock and roll history.
Book Description
The ideal companion to A History of Western Music, Seventh Edition, the two-volume Norton Anthology of Western Music, Fifth Edition, includes 172 historically significant scores, 71 of them new to this edition, with a strengthened emphasis on twentieth-century music. Revised and enlivened commentaries closely examine the scores to clarify their historical significance, and professional recordings of all works in the anthology are included on CDs, many in dynamic new performances.
Customer Reviews:
its a classic.......2007-03-13
this is vol 2 of the 2 classic texts for studying the history of european music. These are a must have for the serious student of music
history.......2006-02-27
I had to buy this new volume for my last history class. I'm a tad bit pist that I had to spend so much but it is indeed alot better and more indept.
Book Description
Eye-catching illustrations, engaging text and delightful musical selections on the accompanying 70-minute CD lead children ages 8 to 12 (and parents, too!) on an exciting and educational tour through the instruments and music of the orchestra. Illustrated in exquisite and colorful detail with over 100 original drawings and photographs, this package is a fun and exciting musical journey for children. The engaging text is broken into three sections: an introduction to each instrument of the orchestra from the cello to the timpani, the stories of famous composers from Bach to Stravinsky and an explanation of different musical styles from Baroque to Modern. Each step of the way, children can listen to actual musical examples of what they are learning about. Young readers will hear the sound of an actual violin as they study the instrument and enjoy the playful tune of a Mozart minuet as they read about the composer's precocious exploits as a child.
Customer Reviews:
Will a 2 1/2 year-old like this? YES!.......2007-03-23
Our 2 1/2 year-old daughter loved Zin Zin the Violin (another book-on-tape about an orchestra), so we also bought Story of the Orchestra for her, hoping she would keep learning more about music. We initially thought this one may be a little advanced for her since most descriptions list it for 6+ year-olds. Nope. We've had this book for a few weeks, and she reads the book (with the CD) multiple times a day, citing the name of each composer and instrument. There's nothing better than hearing your child say "Tchaichovsky" or "glockenspiel". Other side benefits are that she's learned how to use her CD player and how count and recognize numbers up to 37 - how many tracks there are on the CD.
The book contains kid-friendly illustrations, quotes, and stories about each composer and instrument that make kids (and parents) easily learn a lot of information about the orchestra. Then, about 80% of the composers and instruments have an accompanying CD track (about 2 minutes/track) that you can play on each page, in order to hear an example. It's usually a prominent composer's example where this instrument is featured. So, your child will actually be well-versed in some classical tunes by the end.
There are a few other books about orchestra's and instruments out there, but we rank this book/CD at the top for young children. My wife's a teacher, and she says this book would be a great part of a lesson plan or two.
Great book-Kids love it.......2007-01-09
My family just loves this book. The music is enchanting and well picked and the page layout allows my young reader to read as much as he wants or just a little, yet he still gets great information either way.
should have this if you teach music.......2007-01-08
This book is great for teaching elementary school kids about instruments! Comes with pictures and facts! must have!
Great book, BUT...........2006-09-22
I play violin & viola and purchased this book for a lesson plan for one of my education courses. The only "issue" you could say, that I have with this book is the example that is given for the viola track. 45 seconds of a concerto that makes it sound like a violin (the Bartok finale!). They could have chosen a better clip to use (like say the Telemann). haha! Maybe I'm a bit bias.
The book is great with all things aside, and very informative for those that know nothing of the orchestra. It's too bad they don't list the performers on the CD! Don't let my bias deter you from purchasing this book! It's great for kids!
Story of the Orchestra.......2006-03-19
An engaging and entertaining way to teach children about individual musical instruments and the four families of instruments.
Book Description
The Norton Recorded Anthology of Western Music includes professional recordings (many brand new) of all works in the anthology on two six-CD sets, of which this is volume 2.
Customer Reviews:
Great CD collection.......2007-05-10
These CDs are great, i can appreciate them more however, through my music class.
Average customer rating:
- Errata: musical example
- Classic work on counterpoint
- Still the best basic counterpoint text
- recommended
|
Counterpoint (4th Edition)
Kent Kennan
Manufacturer: Prentice Hall
ProductGroup: Book
Binding: Hardcover
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Similar Items:
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Counterpoint Workbook
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Study of Counterpoint
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The Technique of Orchestration and CD Recording Package (6th Edition)
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The Study of Fugue
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Harmony: Fifth Edition
ASIN: 013080746X |
Book Description
Designed for courses in Music, this established text introduces the contrapuntal style of 17th and 18th century music through analysis and writing. While a limited understanding of contrapuntal elements may be gained through analysis alone, these elements are grasped in a more intimate way through the actual writing of contrapuntal examples. Also, by linking the study of counterpoint to music of a specific period, the text provides a clear model for students to emulate and a definite basis for the criticism of student work.
Customer Reviews:
Errata: musical example.......2007-06-27
The first musical example for Chapter 3 should be an excerpt from Bach's Two-Part Invention, No.11. It is not, as the reader will quickly discover when the text talks about a "lower voice" that simply doesn't exist! This is not a huge problem, since the correct measures are shown soon after (in Example 5). But it could be confusing at first.
Classic work on counterpoint.......2005-10-28
George Oldroyd's book The Technique and Spirit of Fugue is the best book on fugue composition but it's out of print and VERY expensive. So, by default, Kent Kennan's book is the best reference book a composer can buy for a basic overview of counterpoint. If you already have a year or two of music theory (you know about modulations, sonata forms, and basic part-writing) you can,literally, just start working from this book with Bach as a companion text and start teaching yourself how to write fugues.
Kennan's book is helpful because while mostly covering Baroque counterpoint he covers the topic in a way that lets a student expand on the contrapuntal principles into other styles. If you're going to get just one book on counterpoint make this the book.
Still the best basic counterpoint text.......2005-03-08
Having taught counterpoint for about twenty years, I can honestly say this is still the best textbook available on the subject. Along the way I tried a number of "newer" texts, but my classes always met with more success using Kennan. The workbook that accompanies this book is a must for anyone who wants to master the art of eighteenth-century counterpoint. To be honest, you also need a teacher to evaluate your progress.
recommended.......1999-03-28
This is the most practical and efficient counterpoint textbook for class room use, the textbook I would use if I were to teach counterpoint in the class room. It is clear and concise and to the point. To gain a broader understanding of counterpoint, I recommend this work be supplemented with Walter Piston's COUNTERPOINT. I also recommend PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns.
Book Description
This classic anthology assembles over 200 source readings, bringing to life the history of music through letters, reviews, biographical sketches, memoirs, and other documents. Writings by composers, critics, and educators touch on virtually every aspect of Western music from ancient Greece to the present day.
Customer Reviews:
Good service.......2007-01-09
This book was in stated condition and was sent in a timely manner.
Highly Recommended.......2005-10-27
Music for the Western World is an excellent anthology of source readings in western music history. Texts are well-chosen and entirely relevant to the period being discussed. What's unique about this book is the breadth of issues addressed and variety of sources cited. You get to hear from all sorts of people, from composers, to critics, to philosophers, and the texts offered take the form of letters, articles, reviews, autobiographies. All is given within a clear historical context, with reference to such events as the Reformation, French Revolution, and World Wars. Interesting introductions by editors Richard Taruskin and Piero Weiss (my professor at the Peabody Conservatory) as well as pictures, diagrams, and a good glossary allow this book to go beyond being simply a textbook. Anyone with an interest in music will find it easy to understand and entirely enjoyable.
Fine collection edited skillfully for readability & breadth.......2004-06-17
This is a particularly fine collection of a couple of hundred readings on Western Music from the ancient Greeks to the 1980s. That is a broad span, but the editors, Weiss and Taruskin, have done a fine job and keep things moving in a lively manner. The energy and vitality of these articles holds the reader's interest and wondering what treasure is coming next.
Of course, this is a perfect volume for students in courses on music history and music appreciation, but it is also a very fine book for the general reader who is interested in learning more about the history of Western Art Music ("Classical Music").
What I like about volumes of source readings is the way the writings give a better context and flavor of their time than any later writing. Yes, the editors have to provide some context for us, and the editors do make choices about what to provide to us and they are almost always in translation, but they make a valuable contribution to one's education about the matters at hand.
This is a fine collection that is edited in a skillful way for readability, breadth, and vitality. Superb job!
Best collection of its kind.......2003-06-22
A fabulous collection for professors, students, and amateurs alike. More concise than others out there without sacrificing the breadth and importance of the readings. Editors' introductions are extremely helpful in placing each reading in context. A must-have for evey music lover.
recommended.......1999-07-29
Well...an entertaining and thought-provoking selection of essays and curiosities. It amused me to learn that Shoenberg called Stravinsky (with bitter sarcasm) "Modernsky". Milton Babbitt's notorious "Who Cares If You Listen?" article is followed by an apposite rebuttal evoking (though not alluding to) the second part of C.S. Lewis's brilliant "The Abolution of Man".
Also recommended: PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns.
Book Description
From Growing Up Country:
“I learned early in life that country is not a place on a map. Country is a place in your heart. In your soul. In the very depth of your being.” —Bill Anderson
“One of the things I like most about country life is that nothing much has really changed . . . My grandchildren and I are still walking and hunting in the same woods and fishing in the same creeks as I did with my father.” —President Jimmy Carter
“Food was at the heart of our home. And, other than those troublesome vegetables, I loved all of it. We fried everything—we’d have even fried water if we could’ve.” —Keith Anderson
“I can’t imagine what my life would have been without peaceful days, mountain streams, homegrown and home-cooked food, country church, and all-day singing with dinner on the grounds with family and friends.” —Dolly Parton
“Growing up country—there’s nothing like it. It’s growing up with your grandmother and granddaddy around . . . it’s a lot of love when you need it, great cooking in the kitchen, and always being real.” —Eddie Montgomery
Blackberry pie on the window ledge. The Grand Ole Opry on the radio. Sunday dinners on the table. Families swinging on the front porch after a hard day’s work. It’s all part of the country way of life.
Here, legendary country music singer Charlie Daniels introduces and edits a collection of heartfelt essays from an all-star cast of contributors on what it means to grow up country.
United by a love of music, these notables show us that country means more than just the twang of a guitar. They share a belief in hard work, integrity, strength of character, and having the courage not to quit. The stories here tell of rustic upbringings and rich spirits, of parents who believed in tough love and old-fashioned common sense, and of a strong sense of community, pride in your country, and a love of the natural world.
You’ll get an intimate glimpse into the lives of:
Country music royalty and all-time greats: such as
Dolly Parton, Barbara Mandrell, Brenda Lee, Dobie Gray, and Lee Greenwood
Southern rock gods: such as
Gary Rossington and Donnie Van Zant
The newest crop of stars: such as
Sara Evans, Toby Keith, and Clint Black
Special guests: such as
former president Jimmy Carter, and seven-time all around rodeo champion Ty Murray
These snapshots show how living country has allowed our favorite singers, songwriters, and stage performers to make a career out of doing what they love while never forgetting that when you’ve grown up country, home isn’t just a place where you live, it’s a state of the heart.
Book Description
Empirically proving that -- no matter where you are -- kids wanna rock, this is Chuck Klosterman's hilrious memoir of growing up as a shameless metalhead in Wyndmere, North Dakotoa (population: 498). With a voice like Ace Frehley's guitar, Klosterman hacks his way through hair-band history, beginning with that fateful day in 1983 when his older brother brought home Mötley Crüe's Shout at the Devil. The fifth-grade Chuck wasn't quite ready to rock -- his hair was too short and his farm was too quiet -- but he still found a way to bang his nappy little head. Before the journey was over, he would slow-dance to Poison, sleep innocently beneath satanic pentagrams, lust for Lita Ford, and get ridiculously intellectual about Guns N' Roses. C'mon and feel his noize.
Customer Reviews:
Decent, But Glam Rock is Not Metal.......2007-09-18
This book is deceiving. It is NOT about metal, it is about glam rock, or hair metal (Motley Crue, Poison, Def Leppard etc.), which is NOT really metal. It is POP rock.
Having said that, this book is still mildly entertaining. It is a pretty well told story of growing up in a really small town and listening to ROCK, and some metal, and not really fitting in. There are numerous humorous scenarios and it is an easy read.
However, at times Klosterman can get VERY pedantic, especially when discussing his tastes in music. If he doesn't like a band, song, whatever, it automatically sucks, and is open for his harsh criticism. As a HUGE fan of Iron Maiden, it was very hard to sit and read him rip apart one of my favorite bands.
Read for yourself, some will love, some will hate.
chuck klosterman wouldnt know heavy metal if it hit him upside the head.......2007-08-14
this is the most worthless book i have ever read in my life. anyone who gets duped into buying this toilet paper should just give me their money and i will kick them in the nuts. its about the same effect as reading this trash.
chuck klosterman isnt from fargo. chuck klosterman is the reason why metallica skipped fargo on one of their tours. chuck klosterman doesnt represent the metal scene in the fargo area.
What Would He Write Now?.......2007-07-18
I grew up in an Illinois town that sounds a lot like Chuck's -- just a bit bigger, perhaps... And, like Chuck, I had a problem in the 90s admitting I listened to (and loved) heavy metal. In 1997, I went so far as to give away all of my "hair metal" albums to a co-worker. Did I still like the music? Sure, but I thought I would "move on."
Guess what? It didn't take me long to buy all the stuff back. I couldn't deny what I loved.
Chuck's book's main problem is that he still "sits on the fence." By the end of the book, he more or less admits that he likes the music of his formative years, but he still seems to have a problem being true to what he likes. Maybe this is his attempt at humor -- I don't know, as this is the first time I've ever read his stuff. All I know is, if he wants to write a book about heavy metal and what it meant to him, then he shouldn't describe it as "boring," as he does in a few places, and he shouldn't say one thing one place and the complete opposite in another place... that is, without letting it be clear how he truly feels now.
The book came out about six years ago, though, and if he went through the phase of "I can't listen to this crap any more" like I did, then maybe he's finally accepted that the music will belong to him for the rest of his days, and that it's okay to listen to the music of your high school years.
mr klosterman's narrow mind and bad taste do not warrant book length treatment.......2007-03-26
mr klosterman wonders why so much is made of the chapter titled "i get drunk and go to a hockey game:" an essay describing his penchant for alcohol abuse. well, sir; here's the deal: it's the only really fine piece of writing here. otherwise, the glories of having bad taste in music just do not carry a book. and then there's mr klosterman's narrow little mind. a very small place it seems, where ole' chucky loves to dictate how other people (especially people older and more talented than him) should carry on with their lives. this book simply adds up to one big drag. i don't know mr klosterman, never even seen him; but i predict divorce/failed relationships galore for the man. a narrow mind and poor thinking cannot equal success in that department of life. his book was overwhelmingly a waste of my time.
You Can't Kill Rock'N'Roll......It's Here To Stay!.......2007-01-10
I absolutely love this book. As a child of the 80's and particularly 80's metal this book was a real trip down memory lane. His personal stories are wonderfully written and his analysis of the genre is pretty much right on. The only problem I have with the book is that he tries too hard to defend 80's metal. I feel no need to do so because I simply don't care if other people liked it or not. I did and so did a lot of my friends. In fact I still love to crank the "80's metal" playlist on my iPod.
To me the 80's is the by far the greatest musical decade precisely because most of the music had no deep meaning. It was about having fun and enjoying life(although not by the same moral code I followed). The 90's came along and all of a sudden everyone is depressed and they're trying to tell me why I should be also. Sorry, there are too many reasons NOT to be depressed, especially in this country.
This book is funny, witty and a fantastic read, even if you're not a fan of 80's metal. I look forward to checking out some of his other titles.
Books:
- Adult All-In-One Course: Lesson-Theory-Technic: Level 1
- Annie Leibovitz: American Music
- Annie Leibovitz: American Music
- Are We Not Men? We Are Devo!
- Art Therapy: An Introduction (Basic Principles Into Practice Series)
- Beethoven`s Piano Sonatas: A Short Companion
- Black Dog Opera Library Deluxe Box Set (Black Dog Opera Library)
- BLESS THE BROKEN ROAD DUETS ALBUM
- Blue Like Jazz: Nonreligious Thoughts on Christian Spirituality
- Blues People: Negro Music in White America
Books Index
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Norton Anthology of Western Music: Volume 1: Ancient to Baroque
Norton Anthology of Western Music: Volume 2: Classic to Twentieth Century
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Norton Recorded Anthology of Western Music, Fifth Edition, Volume 2: Classic to Twentieth Century (6 CDs)
The Harvard Dictionary of Music: Fourth Edition (Harvard University Press Reference Library)
