History: Fiction or Science? (Chronology, No. 1)

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.

Average customer rating:

Solid common practice period theory text
Important text, but not for beginners
A very strong text teaching the foundations of tonal music
Good, but don't expect it to cover everything
Be Warned!

Harmony and Voice Leading
Edward Aldwell , and Carl Schachter
Manufacturer: Schirmer
ProductGroup: Book
Binding: Hardcover

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ASIN: 0155062425

Book Description

A comprehensive volume spanning the entire theory course, HARMONY AND VOICE LEADING begins with coverage of basic concepts of theory and harmony, and moves into coverage of advanced dissonance and chromaticism. It emphasizes the linear aspects of music as much as the harmonic, and introduces large-scale progressions--linear and harmonic--at an early stage. The first three Units of the book are designed to be taught sequentially, but instructors have the flexibility to teach the latter units in any combination and order they choose.

Customer Reviews:

Solid common practice period theory text.......2005-09-25

I've yet to find an alternative to the Roger Sessions, HARMONIC PRACTICE, which I believe to be the best theory text ever written. However, the teaching of theory has changed over the past forty years since my first "date" with Sessions and his text... and students have changed as well. Hence, I find Messrs Schachter & Aldwell have done a commendable job (a nearly impossible job, I think) in writing this new, single volume edition. Whilst I never expect to find the perfect text, this one will do nicely.

The text clearly cannot stand apart from a good theory teacher. Unfortunately (or fortunately?), a credible do-it-yourself theory text has yet to be written.

Important text, but not for beginners.......2004-12-20

One thing to understand about this book - it was not written with amazon.com beginners in mind. It is a college-level theory textbook, and is probably one of the few books that present basic theory concepts in a coherent, unified fashion. The "restrictions" some reviewers complain about, are actually part of a time-honored approach to teaching theory (think "species counterpoint"). To understand the book, a teacher needs to understand something of the ideas and approach of Heinrich Schenker (Schachter was one of Schenker's students). Unlike many theory books, which are into quick summaries and labels, this book is based on a deep understanding of how western tonal music works (at least from the Schenkerian perspective). Even basic concepts like scale degrees, intervals, and triads, are presented in such a way that important relationships among tones become evident. Chords are not merely chunks of notes that deserve a label, but are part of a larger, contrapuntal whole. Sticking with the early chapters, and especially getting a good grasp of the contrapuntal nature of even the most basic chords (insights gained into the similar "passing chord" functions of the V4/3 and viio6 chords, for example) are well worth the effort. Upon successful completion of the first 10 or 11 chapters, a student should have a new understanding of how tonal music works.

A very strong text teaching the foundations of tonal music.......2004-05-19

When I was a student at the University of Michigan School of Music in the late seventies and early eighties, we used the then brand new first edition of this book. I thought it was quite good then, and I believe this third edition to be an even better book. It treats the subjects of tonal harmony and voice leading quite well. There have been some solid improvements in the way a few things are explained and some changes in the musical examples. However, it is still fundamentally the same sound course for undergraduate music theory it has been since 1978. However, it now comes in one volume instead of the two volumes of the first edition.

The text begins with a quick review of the basics of musical grammar, a brief introduction of the rudiments of musical notation, intervals, rhythm (and meter), chords, and four-part harmony. Part II talks about the powerful relationship between the tonic and dominant chords, chord progressions elaborating that relationship, and even the dominant as a key area (whether you call it tonicization or modulation is up to you). Part III discusses the implications of root position, first inversion, and second inversion chords in elaborating harmonies and in sequences. Part IV is actually about contrapuntal issues, but is framed in a discussion of melodic figuration. Part V introduces chromaticism, modal mixture, and extends the discussion on uses of seventh chords. Part VI extends the discussion of chromaticism and includes ninth and eleventh chords, Phrygian II (Neapolitan chords), augmented sixths, and more types of mixture. There is also important discussion of the implications all this has for voice leading and modulation to other key areas.

Some might wish that it contained some treatments of graphical (Schenkerian notation), and I am one of them, but that is a quibble compared to this book's many strengths. The counter argument is that until the students really have a handle on the basics of harmony and how voice leading is handled through the music of the early twentieth century, there really isn't a way for them to grasp the meaning of the larger structures Schenker's graphical notation was created to represent. I think that is a fair point, but still think there are some basics in notation that could be introduced early in the process when talking about the basic structure of melodies and supporting harmonies and candential formulas.

The explanations are clear and the musical examples apt. In fact, someone could actually work through this book on his own and grasp what is being presented. Of course, an instructor is helpful to check work and explain things that remain unclear in the student's mind, but that is really true for any book on any subject.

There are some wonderful materials to supplement this text. The most important are the two work books (WB I - ISBN 0-15-506226-3 / WB II - ISBN 0-15-506234-4. They are useful exercises that help the student learn the material by actively working through the application of the materials discussed.

Another resource that should not be overlooked is the two-CD set (ISBN 0-534-52216-5) that contains performances of the hundreds of musical examples in the textbook (not the workbooks). It can really help a student to listen to examples that are unclear. If a student can play them herself or hear them in his head, so much the better, but these discs can enrich reading through the textbook and making sure that you understand what is being presented to you.

Kudos to Professors Aldwell and Schachter for this wonderful text and supporting materials.

Good, but don't expect it to cover everything.......2003-11-01

The main reason that I want to write a review here is on the off-chance that any AP music theory teachers or students are coming across this and are considering buying the book. My teacher made the mistake of using this as our primary textbook for the year, hoping that it would cover the AP curriculum. Well, it doesn't. It only helps on about 20% of the test, and for the rest you will be dead in the water.

That said, it does a pretty good job introducing and expanding the concept of basic four-part voice leading. It doesn't expend very many pages teaching the absolute basics like major and minor chords, so it helps to approach the book with some understanding of chords, intervals, and the like.

The progressions and rules that it allows do seem a little bit stringent and antiquated considering the many changes in classical music over the past century, but at least you can voice-lead like Bach after reading this!

Be Warned!.......2003-10-24

This is not a paperback edition of the textbook but rather Workbook I which accompanies the hardcover textbook. I made the mistake of ordering this thinking it was the textbook.

What amazon.ca is calling the 'Workbook' is actually Workbook II, covering the later chapters of the textbook.

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.

Tonal Harmony Wkbk with Wkbk Audio CD and Finale CD-ROM

Average customer rating:

wow
Perfect supplement to the text!
tonal harmony workbook
Tonal Haramony workbook
Tonal Harmony Workbook and CD

Tonal Harmony Wkbk with Wkbk Audio CD and Finale CD-ROM
Stefan Kostka
Manufacturer: McGraw-Hill Humanities/Social Sciences/Languages
ProductGroup: Book
Binding: Paperback

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ASIN: 0072918969

Customer Reviews:

wow.......2007-09-27

It was everything i ever wanted. thanks.
and it came very fast. i appreciate that

Perfect supplement to the text!.......2007-09-15

The tonal harmony workbook contains exemplary exercises to provide efficient practice of the material covered in the text. The audio CD are definitely helpful in supplying aural guidance, and the Final Workbook CD-ROM is perfect for the Theory student (not yet in need of the complete, and extremely costly, version of Finale). Overall, the Tonal Harmony text and workbook are a great asset to any student of Music Theory over the lifetime of his/her musical career.

tonal harmony workbook.......2007-08-17

The book came really fast and I was really pleased with it's condition hope to do more business!!!

Tonal Haramony workbook.......2006-11-10

A great asset to the Tonal Harmony book. The workbook makes the lessons come alive. Far more experiential than just reading the book.

Tonal Harmony Workbook and CD.......2006-08-08

Great product. One of the best theory books out there.

The Elements of Music: Concepts and Applications, Vol. I

Average customer rating:

Useful Guide to Learn Music Theory
Learning Music Theory has never been easier!
Understandable & Comprehensive
No Title
The Elements of Music: Concepts and Applications

The Elements of Music: Concepts and Applications, Vol. I
Ralph Turek
Manufacturer: McGraw-Hill Humanities/Social Sciences/Languages
ProductGroup: Book
Binding: Plastic Comb

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ASIN: 0070654743

Book Description

The Elements of Music is a two-volume text with companion workbooks for 2-year music theory courses that take a comprehensive approach. The text is distinguished by an attention to detail that makes learning (and teaching) easier; it is example intensive, immediately reinforcing theoretical concepts with musical selections.

In addition, The Elements of Music gives students a command of essential compositional and analytical skills -- including a strong grounding in four-part writing -- and an understanding of musical style though comprehensive analysis. Built-in pedagogical aids assist the student, while the extensive Instructor's Manual saves time for the teacher.

The second edition includes a greater emphasis on comprehensive analysis along with more thorough coverage of 4-part voice leading, harmony, large scale melodic and harmonic relationships, and 20th Century music. The Elements of Music works particularly well with The Analytical Anthology of Music, also by Turek.

Customer Reviews:

Useful Guide to Learn Music Theory.......2004-02-02

I know nothing about music theory and have read five to six books on this subject. Most of them are written for seating in the ABRSM's examinations or just enough for playing one musical instrument. However, this book is tailor-made for layman, which is very detailed written in academic and professional style. To me and those who know nothing about music at all, it is very good "road signal" to get into it.

Learning Music Theory has never been easier!.......2003-04-02

I never played any musical instruments or even sang extensively using sheet music, and therefore knew nothing when I arrived at college to take my first music theory class. With this book, I went from knowing nothing to being at the top of my class! Turek is just phenomenal with how genius this book is! I now tutor kids in music theory who have had it all their lives, it is that great! Thanks Dr. Turek!

Understandable & Comprehensive.......2002-02-12

I picked up guitar about 3 year ago and wanted to understand music theory. This book started simple, used lots of examples and built to an advanced level. I have a solid grasp of musical concepts that used to mystify me. I've really enjoyed it and look forward to studying volume II!

No Title.......2002-01-16

I used this textbook (as well as Vol. II) when I was doing my Musicology and Composition studies. Since then, I have devoured several other Theory textbooks, but this set remains the greatest yet written. Were I teaching, I would swear by it.

The Elements of Music: Concepts and Applications.......2000-03-31

This is an excellent book for gaining a good fundamental knowledge of music theory. I picked the book up at a university bookstore where it is used in a formal music department instructional setting. However, the mature, disciplined musician who can set aside study time to work through this book for self instruction will enjoy it and greatly improve their musical ability. In particular, I found the selection of musical examples useful, enjoyable and fun. Overall a great book.

Thesaurus Of Scales And Melodic Patterns (Text)

Average customer rating:

Great book - but for the more advance.
modernist musical architectures
Mind-bending book for the serious and curious musician.
A phenomenal resource!
Excellent resource for intermediate to advanced players.

Thesaurus Of Scales And Melodic Patterns (Text)
Nicolas Slonimsky
Manufacturer: Amsco Publications
ProductGroup: Book
Binding: Paperback

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ASIN: 082561449X
Release Date: 1975-12-11

Product Description

Since its publication in 1947, great musicians and composers of all genres - from Arnold Schoenberg and Virgil Thomson to John Coltrane and Freddie Hubbard - have sworn by this legendary volume and its comprehensive vocabulary of melodic patterns for composition and improvisation.

Customer Reviews:

Great book - but for the more advance........2007-01-09

I purchased this for a friend, so I know very little about the book. All I can comment on is the reaction I got when he received it. He was quite inpressed by the book and it's detail. He spends hours going over the book and using it as a practise guide. I can only assume that it's helping him in his quest to master "Scales And Melodic Patterns".

modernist musical architectures.......2006-11-27

This book is a collection of phrases and scales with the purpose to present some raw material for modern/avantgarde composers, or etude material for the musician preparing themselves to play such ouevres. From a contemporary composer's view, it's probably old news. If you are an improvisor, it is quite interesting stuff, because it contains mainly stuff beyond what you might know as scales from jazz theory. On the other hand be warned, there is nothing of "real" musical "meaning" in it - most of it is just symetrical, mathematically constructed stuff, similar to the diminished scale or whole tone scale. Up to you how to make sense of this material and incorporate in your playing.

Mind-bending book for the serious and curious musician. .......2006-08-02

Nicolas Slonimsky's "Thesaurus of Scales and Melodic Patterns" is a mind-bending book filled with harmonic morsels for the curious and self-motivated musician.

Although this book is usually described as a musical "reference" book, it is much more than just a few hundred pages of specific licks to spew over specific chords. There are plenty of books in print today to buy if that is the type of book you are after. Slonimsky's "Thesaurus," however, is in a totally different vein. The concepts are just as deep, interesting, and fresh today as they were in 1947 when the book was first published. For anyone who has tackled the ins and outs of conventional harmony and wants something more interesting to think about, this is the book.

It is true that Slonimsky does not come right out and say how to specifically apply these concepts and phrases. Instead, he leaves little clues (many of which are in the Introduction) to help guide and provide the reader with a few different options of harmonizations and applications. Quite simply, with the "Thesaurus," you get what you put into it. If you spend time analyzing, applying, and considering the things in this book, it will over time become clear as to what it is all really about. One of the great things about this book is it inspires an individualistic approach; you learn to develop your own way of thinking as you work through it. This makes everyone's appplication of the scales just a bit different from the next person. Two people might approach the same pattern in a totally different way, therefore making the applications constantly evolve and change.

A few things should be said to those who might be thinking of purchasing this book. First of all, if you can't read musical notation (treble and bass clef), learn that first, as you will get nothing out of this book if you can't. Also, if you are thinking this book will provide a "quick fix" for your playing, or make you sound like Coltrane, don't bother buying this book either. One should also be well aquainted with both classical and jazz harmony before working through this book (for those interested in jazz theory, a good place to start is "The Jazz Theory Book" by Mark Levine).

Besides the contents of the book there are a few other nice things about it. There is an explanation of terms, which is most helpful as the musician learns Slonimsky's terminology. It is also extremely well organized which lends itself well to an individual curriculum.

For the musicians that are ready, and are motivated enough to put in the required time and effort, it will be well worth it, and the musical rewards will compensate the price of buying the book many times over. Slonimsky states in the Introduction, "There are 479,001,600 possible combinations of the 12 tones of the chromatic scale. With rhythmic variety added to the unbounded universe of melodic patterns, there is no likelihood that new music will die of interval starvation in the next 1000 years." Good news for musicians and audiences, eh?

Also recommended: For a book in a similar vein, check out Wayne Krantz's "An Improviser's OS," available through his website.

A phenomenal resource! .......2006-07-01

This book is terrific on several levels. One, it contains many useful patterns that one may incorporate into solos, especially if you're a jazz musician. There is also a section on scales, which is helpful. The patterns force you to figure out fingerings that you probably haven't used before. All in all, the material in this book helped me to think differently about construction of solos, etc.

One criticism, relatively minor: it would have been better with the "comb" type of binder so the pages lay flat against the music stand. If you're a "two-hander," get a nice heavy weight or two to keep the pages open.

Buy this book!

Excellent resource for intermediate to advanced players........2005-09-21

Great book to extend your abilities and generate new ideas.

Far From the Shamrock Shore: The Story of Irish-American Immigration Through Song

Average customer rating:

Gain Insight into Celtic Music
A great gift!

Far From the Shamrock Shore: The Story of Irish-American Immigration Through Song
Mick Moloney
Manufacturer: Crown
ProductGroup: Book
Binding: Hardcover

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ASIN: 0609607200
Release Date: 2002-02-12

Book Description

From the lush green hills of their homeland to the cramped ghettoes of industrialized cities an ocean away, from the famine-ravaged fields of Ireland to the community dance halls in America, the Irish documented their history through song.

Far from the Shamrock Shore tells the story of Irish immigration to America in words and lyrics, with an accompanying CD further illustrating the journey through song. The Irish-American folk and popular songs featured complement the text, highlighting issues immigrants faced and the social conditions they experienced from the 1700s to the early twentieth century. They tell of the backbreaking task of survival in the New World; the battles waged for fair treatment and fair pay for the work done by these immigrants on railroads, on canals, and in mines, construction, and factories; the success that they ultimately attained in politics, business, and society; and their continuing influence on American life and culture.

Customer Reviews:

Gain Insight into Celtic Music.......2004-08-03

You will love Mick Maloney's warm voice lovingly pouring the poetry of Irish music into your ears. This is not the overused "Danny Boy," but a tremendous exploration of traditional ballads that will open your eyes and ears to Ireland's rich history and music.
I recommend first reading the boxed sections in the book for each song. Then listen to that selection on the CD while reading along with the lyrics. Finish with absorbing the 2-page history lesson that accompanies each song.
Later listen to the whole CD, just soaking in the evocative Irish music. The background from reading the book really enhances your enjoyment of the music.

A great gift!.......2003-03-07

This wonderful book tells the story of the Irish immigration to North America through the songs that they sang. Accompanied by a CD containing sixteen songs performed by the author and his band. The songs are wonderfully performed, making the CD worth the purchase price alone. Each of the songs is accompanied by a two to four page write-up that explains the song, and what was going on in the immigrant Irish (Irish-American and Irish-Canadian, though mostly the former) community at that time.

Customer Reviews:

"Reading Lyrics" Lives up to its billing.......2007-05-15

Excellent collection of non-rock pop music from 1900 to 1975, after which the authors say the kind of music they have collected has pretty well disappeared. They feature a short bio of each writer or team of writers,interesting, but nothing you couldn't find with a quick internet search.

They do not include country, rock, folk or "world" lyrics--strictly pop Americana, heavy on musicals, show tunes, cabaret and torch songs, songs that went with the big-band swing era, etc.

It can be a little hard to find songs in the book--they are arranged in roughly chronological order by author--and the index contains first lines, but no "trademark" phrases that might help you track down a song whenyou have a fragment of a lyric caroming about in your head.

It gives the lyric that we usually remember, but also includes the short preludes that these songs usually featured. "Stardust," for example, starts out with "And now the purple dusk of twilight time. . .etc." that precedes "Sometimes I wonder. . . etc."

fun to read,just to get a fix on the various eras of American musical pop culture. Occasionally it makes you wish that more of our current lyricists had the skills that the Cole Porters and Yip Harburgs posessed.

This is so great, that I am ordering another copy.......2007-03-11

I bought this as a gift for a friend who enjoys knowing all the lyrics of songs. In this book, he discovered some intros and verses he hadn't known.
He has enjoyed the book so much that I am going to buy one for myself.

Lyrics, oh, the lyrics.......2007-02-16

It is usual that books cover the music side of those classic songs. This one, instead, focus on the lyricists, that's the way it is organized. Chronologically, but in the writers order. A thousand songs! It covers almost the whole 20th century but,of course, mainly the 30s and 40s, the classical years for American Popular Songs. It is beautiful to follow those wonderful verses - keeping in mind always the melodies that come behind. What a powerful combination.
One more thing: if you, like me, loves books as much as music, this one has a particularity: it smells divine! try it!

It's Delovely!.......2006-11-10

Highbrow collection of the best lyrics. Creme de la creme! My 3rd copy.

... to 1975? Not quite. .......2005-11-03

This is an excellent compilation, as every other reviewer has said (and with more eloquence than I can muster). Yet, I came to the book, apparently, with an entirely different set of expectations--reading this book, you'd think the 50s and 60s and even early 70s didn't happen. Bob Dylan, not included. The Doors, not included. Joni Mitchell, not included. Marvin Gaye, Paul Simon, Bob Marley ... The Beatles?? Not included. And I'm only scratching the surface. The list of omissions begins here and goes on and on--if, that is, you think these musicians are great lyricists/songwriters (and I do). Admittedly: this should come as little surprise. The introduction states that in the process of editing, "A more painful decision was to limit the field to the song as we know it from shows, movies, and pre-rock pop. Partly this was a matter of logistics: No single volume could stretch to include folk, country, blues, and rock. And though a collection of lyrics that excludes, say, Bob Dylan or Hank Williams is obviously one that is far from complete, their stories are not the stories we can tell here (or are equipped to tell)." Fair enough. But, given the room these editors give to some more obscure songs and songwriters, it's clear that a single volume could successfully stretch to include other genres. That single volume would be outsized, but it would be invaluable.

Average customer rating:

The Study of Counterpoint
I love this book
This is a classic for good reason.....
Must-have musical classic
The classic text on counterpoint

Study of Counterpoint
John J. Fux
Manufacturer: W. W. Norton & Company
ProductGroup: Book
Binding: Paperback

Songbooks | Music | Entertainment | Subjects | Books

General | Music | Entertainment | Subjects | Books

ASIN: 0393002772

Book Description

The most celebrated book on counterpoint is Fux's great theoretical work Gradus ad Parnassum. Since its appearance in 1725, it has been used by and has directly influenced the work of many of the greatest composers. J. S. Bach held it in high esteem, Leopold Mozart trained his famous son from its pages, Haydn worked out every lesson with meticulous care, and Beethoven condensed it into an abstract for ready reference.

Customer Reviews:

The Study of Counterpoint.......2007-05-18

The absolute best book for learning 16th century counterpoint. Nothing better!

I love this book.......2007-05-09

I picked up this book and began reading it right away. In two weeks I understood it completely. It is very easy to understand. There are parts you have to work yourself through, but all in all it is very comprehensible. About the only two things you need to know to understand it is intervals and of course how to read music. I notice when I follow the rules closely enough I compose very much like people of the renaissance did. well actually this was the theory of the time so of course if you follow this book your music will sound that way. If you don't want to sound as they did in that time and just want to have more pleasant music, this book will still be helpful. Good price. Good classic theory. Good book.

This is a classic for good reason............2007-05-05

This is a great introduction to species counterpoint. It has been in use for many years and was studied by many great composers. It still engages the modern person today because it is concise, imaginative and teaches concepts in a digestible and easy to follow manner.

The form of the book is a relationship between a teacher and student. The student is not the brightest bulb on the tree, but the teacher shows him concept by concept how counterpoint works. This story format is entertaining, but also serves as a way to anchor concepts.

If you are looking for something that is a quick, easy read with lots of good content and historical interest, you will enjoy this. I feel it is a must have for any serious student of music.

Must-have musical classic.......2006-03-17

This most famous text on counteropoint was the standard counterpoint reference for centuries, and was used by such greats as Bach and Beethoven.
It is true that contrapuntal theory has developed significantly since Fux's time (the Gradus was originally published in 1725), but it remains a useful and entertaining introduction to the field of counterpoint. Furthermore, its historical significance cannot be exaggerated.

The classic text on counterpoint.......2006-02-21

The wording may seem a bit strange, but this is one of the classic texts on counterpoint. Must have.

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