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.

The Music of the Bible Revealed: The Deciphering of a Millenary Notation

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Anti-Semitic Mistranslation
A seminal, verifiable and still-underrated discovery
a technical-esthetic solution to an ancient mystery

The Music of the Bible Revealed: The Deciphering of a Millenary Notation
Suzanne Haik-Vantoura
Manufacturer: D. & F. Scott Publishing
ProductGroup: Book
Binding: Paperback

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ASIN: 094103710X

Book Description

This is a translation by Dennis Weber, edited by John Wheeler and jointly published with King David's Harp, in which a noted French musicologist argues that the accentual system preserved in the Masoretic Text was originally a method of recording hand signals ("chironomy") by which temple musicians were directed in the performance of music. She explains her reconstruction of these notations which has allowed her and her students to perform haunting and beautiful music around the world using only the Hebrew text as a score. You'll need to be a musician to follow all of her discussion, but anyone interested in the Bible and the implications of a text that can be played on musical instruments will find the overall discussion fascinating.

"This book is thought-provoking and controversial." Wisconsin Lutheran Quarterly

"This well-translated edition is stocked with written musical examples, photographs of cited manuscripts, and copious documentation . . . In addition, the impressive array of testimonials from experts in the field assures the uninformed reader-as well as scholars, musicians and theologians-that Haïk-Vantoura's work deserves serious consideration." Biblical Archaeologist 56:47

"This book is not easy reading. While there is a glossary of musical terms, it is hard to imagine many nonmusicians with the perseverance to plow through the technical discussions . . . [but] This takes nothing away from the importance of the work. The arguments seem scrupulously drawn, with due consideration of rejected alternatives." Interpretation 1993(July): 324

Customer Reviews:

Anti-Semitic Mistranslation.......2007-06-26

This book contains the following mistranslation that may be deemed anti-Semitic: "(as the medieval treatises on the te'amim [italicized transliteration of the Hebrew for "cantillation signs"] state)", p. 293 of the English edition.

The corresponding French text reads: ", comme nous l'apprenaient nos traites [E accute accent]," p. 304 of the 2nd French edition, on which the English translation is explicitly based.

A more literal version is the following: ", as _our_ treatises have taught _us_," in this reviewer's translation (emphasis added).

Dennis Weber, the translator of the English edition, has done the following:

- deleted the 1st person plural pronoun "nous" and adjective "nos" ("us" and "our").
- inserted the adjective "medieval".
- inserted the prepositional phrase "on the te'amim".
- substituted the verb "state" for the verb "apprenaient" ("have taught"), no doubt in order to avoid using the indirect object "us".

What is interesting here is the precise meaning of "us" and "our". Who are "we"? One can infer that the translator correctly understands "we" to refer to the author (Haik-Vantoura) and her fellow Jews by his interpolation of the adjective "medieval", which does not occur in her text. Who wrote the medieval treatises on cantillation signs? Jews, as opposed to later treatises that were written by Jews and Christians alike. In grammatical terms, Haik-Vantoura's two 1st person plurals are inclusive (of Jews) or exclusive (of Christians) depending on the religion of the reader.

The English translation silently suppresses Haik-Vantoura's reference to her own religious education and cultural background. This is dishonest to its readers, disrespectful to the late Haik-Vantoura, and offensive to all Jews. This edition mentions nowhere that the author was Jewish, although the biographical note relates without comment that "her studies were interrupted by World War II". Haik-Vantoura and her family fled Vichy France for their lives. More than thirty years later she identifies herself in the disputed phrase as a Jewess writing in the context of Jewish tradition.

On the other hand, the editor's preface tells of his childhood memories of Christian Sunday School.

A seminal, verifiable and still-underrated discovery.......2002-12-05

The original French edition of this book, LA MUSIQUE DE LA BIBLE REVELEE, was published in 1976, along with a recording of the same title (likewise sold by Amazon.com as "The Music of the Bible Revealed"). The second edition (of which this book is a translation) appeared in 1978. I didn't encounter Mme. Haik-Vantoura's work, however, until 1982, when the Associates for Biblical Research Newsletter announced it. Since then, I have been the Corresponding Agent in the U.S. for Haik-Vantoura's Institution Roi David. (I was the editor and co-publisher of this English edition.)

What makes Haik-Vantoura's work so seminal -- and still so controversial? Let me explain. When the Masoretes of Tiberias (fl. 9th-10th centuries) disclosed the musical accents (TE`AMIM) now found in the Hebrew Bible (Masoretic Text), they analyzed the notation from the assumption that the Temple music (which they knew and said the accents represented) and the synagogue music of their own time had essentially the same structure and function. Thus they analyzed the notation on the premise that (like the "primitive" synagogue chant) it was primarily exegetical, secondarily musical; and they used the Hebrew verbal syntax as the "virtual bilingual" (in effect, the "Rosetta Stone") necessary to assign an exegetical function to each accent. The synagogue chants of the Ashkenazim especially have developed in accordance with this analysis.

All the other books you will find sold here on synagogue cantillation assume that the Masoretes' premise was correct. What they won't tell you is that the Masoretic paradigm doesn't explain most of the physical features of the notation or of its relationship to the words. Nor will they tell you that this paradigm was developed from tentative beginnings over several centuries, and that only after the notation itself appeared fully developed and "out of nowhere". How then can the Masoretic paradigm represent the original meaning of the accentuation?

Suzanne Haik-Vantoura's approach was the mirror-image of that of the Masoretes. Like them, she used the Hebrew verbal syntax as the "virtual bilingual" necessary to assign a function to each accent. Unlike the Masoretes, she actually believed what both Jewish tradition and musicological consensus indicate: the accents are primarily musical, secondarily exegetical. The resulting "deciphering key" is the only one possible based on that premise, and it explains all the features the Masoretic paradigm explains plus all the features it does not. (I owe to Masoretic scholar James D. Price the needed clue to correct the interpretation of one rare accent by her key. The correction is not in this book, however, but on my King David's Harp, Inc. Web site.)

The music that results does correlate with some of the oldest synagogue melodies, but unlike them it actually interweaves with the words syntactically. In effect, the Hebrew Bible was created and transmitted as "art song" (compare Psalm 119:54), and every biblical author "from Moses to Malachi (or Chronicles)" was a "poet-composer". The music theory behind the reconstructed music correlates on many levels with what we know of ancient music (including harp tuning and playing techniques), and has similarities with Gregorian chant on the one hand and Indian ragas on the other; yet it has a harmonic structure (especially in Psalms) which was not rediscovered in Western music until at least the Renaissance. Thus, thanks to Haik-Vantoura's work, we have the staggering privilege of being able to hear and perform music that sounds surprisingly modern, yet (according to Scripture) is up to 3,400 years old.

The notation itself is a transcription of a method of conducting music by means of hand- and finger-gestures (chironomy). An entire chapter of the book is devoted to the subject. After the book's publication, I set myself to reconstructing the chironomy behind the written accentuation, beginning with historical indications cited in the book. (Again, the system of chironomy is only documented online to date.)

The above results do not sit well with all rabbis, cantors, musicologists and Masoretic scholars. Yet everyone who has followed the late Haik-Vantoura's logic correctly (and there have been many) have supported her conclusions. You will find a long list of such people (and even some praise by "hostile reviewers") at the end of her book.

Haik-Vantoura herself died on Simchat Torah, October 22, 2002, after publishing or overseeing a total of eight recordings and numerous musical scores comprising some 5,000 verses (about one-fourth) of the Hebrew Bible. Most of this material is listed in the back of the book. Much of it is only available overseas (some via online sites) or is out of print. (Please note too that the contact information for King David's Harp, Inc. given in the book is outdated.)

a technical-esthetic solution to an ancient mystery.......1998-12-18

Absolutely fascinating account of the solution to the meaning of the "te'amin" occurring in the Masoretic or traditional text of the Hebrew Bible. For centuries they have been thought to be vowels or punctuations (which purpose they may have served as they DO govern the chant),yet without clear meaning, this having been lost in the dispersions and persecutions of the Hebrew Temple hierarchy. I have heard Haik-Vantoura's decipherment/arrangement of the 'Song of Solomon' and it is a beautiful composition very clearly meant for male-female duet. Whether this is the ACTUAL system as originally used, it DOES produce beautiful music that is probably upwards of 2,500 years old.

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On Playing the Flute by Johann Joachim Quantz
Essential for players of any 18th C music, not only flute

On Playing the Flute: Second Edition
Johann Joachim Quantz
Manufacturer: Northeastern University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 1555534732

Book Description

Johann Joachim Quantz's On Playing Flute has long been recognized as one of the most significant and in-depth treatises on eighteenth-century musical thought, performance practice, and style. This classic text of Baroque music instruction goes far beyond an introduction to flute methods by offering a comprehensive program of studies that is equally applicable to other instruments and singers.

The work is comprised of three interrelated essays that examine the education of the solo musician, the art of accompaniment, and forms and style. Quantz provides detailed treatment of a wide range of subjects, including phrasing, ornamentation, accent, intensity, tuning, cadenzas, the role of the concertmaster, stage deportment, and techniques for playing dance movements. Of special interest is a table that relates various tempos to the speed of the pulse, which will help today's musicians solve the challenge of playing authentic performance tempos in Baroque music. This edition includes 224 musical examples from Quantz's original text and features a new introduction by translator Edward R. Reilly that considers recent scholarship on Quantz's significant role in eighteenth-century musical activity.

On Playing the Flute vividly conveys the constancy of musical life over time and remains a valuable guide for contemporary musicians.

Customer Reviews:

On Playing the Flute by Johann Joachim Quantz.......2002-04-29

I have not read this book from cover to cover. Although, with it's wonderful index, it has provided me with an excellant resource manual for Baroque music.

Essential for players of any 18th C music, not only flute.......2001-03-30

Articulation, aesthetics, phrasing, ornamentation, character, tempo, practicing, accompaniment, style, notation, how to give a concert, how to breathe when you're nervous, how to play in an orchestra, ... it's all here. This book from 1752 covers the art of being a musician, not just a flute player.

Quantz' text is for anyone who cares about any music from about 1720 into the time of Mozart and Haydn. And it's essential performance practice material for anyone who would play this music: required reading for any serious student. It gives an indispensable window into German, French, and Italian taste.

Modern flautists, string players, keyboard players, and singers can learn a tremendous amount here. The pages about "good" and "bad" notes and varied articulation/tongueing are worth the whole price of the book. They describe the sound that composers were thinking of, the expressive range, the tremendous variety of effects *within* melodic lines. Take Quantz seriously: he was there, and he was a good player and writer.

Book Description

"Frauenlob" was the stage name of Heinrich von Meissen (c. 1260-1318), a medieval German poet-minstrel. A famous and controversial figure in his day, Frauenlob (meaning "praise of ladies") exercised a strong influence on German literature into the eighteenth century. This book introduces the poet to English-speaking readers with a fresh poetic translation of his masterpiece, the Marienleich--a virtuosic poem of over 500 lines in praise of the Virgin Mary.

Barbara Newman, known for her pathbreaking translation of Hildegard of Bingen's Symphonia, brilliantly captures the fervent eroticism of Frauenlob's language. More than the mother of Jesus, the Lady of Frauenlob's text is a celestial goddess, the eternal partner of the Trinity. Like Christ himself she is explicitly said to have two natures, human and divine. Frauenlob lets the Lady speak for herself in an unusual first-person text of self-revelation, crafted from the Song of Songs, the Biblical wisdom books, the Apocalypse, and a wide array of secular materials ranging from courtly romance to Aristotelian philosophy.

Included with the book is a CD recording of the Marienleich by the noted ensemble Sequentia, directed by Benjamin Bagby and the late Barbara Thornton. The surviving music is the composer's own, reconstructed from fragmentary manuscript sources. Accompanying Newman's translation is a facing-page edition of the German text, detailed commentary, and a critical study presenting the most thorough discussion to date of Frauenlob's oeuvre, social context, philosophical ideas, sources, language, music, and influence.

Book Description

While the worship wars continue to rage in the church, many do not realize that conflict over church music goes back to the earliest Christians as they sought to live out the "new song" of their faith. In A New Song for an Old World Calvin Stapert challenges Christians to learn from the wisdom of the early church as they seek to explore appropriate music today.

Stapert draws parallels between the pagan cultures of the second and third centuries and our own multicultural realities, enabling readers to comprehend the musical ideas of early Christian thinkers, from Clement and Tertullian to John Chrysostom and Augustine. Stapert's expert treatment of the attitudes of the early church toward psalms, hymns, and spiritual songs is ideal for scholars of early Christianity, church musicians, and all Christians looking to add an ancient yet relevant perspective to their worship today.

Customer Reviews:

New Insights Into an Old Controversy.......2007-02-21

Calvin Stapert's book is a must-read for every church musician and for anyone interested in the roots of Christian culture. Not only does it offer a survey of key early Christian teaching on music, it includes descriptions of the pagan, Greek and Roman cultic practices confronting the church in its first four centuries, a period of explosive growth in the face of intense persecution. Stapert has an eye for intriguing detail. If you have ever wondered what really went on at a Roman banquet, whether Nero did indeed fiddle as Rome burned, or why Tertullian objected to women dyeing their hair, you will find the answers here (and at the same time find out how such details pertain to the book's main subject). Stapert provides an abundance of well-chosen primary source material, which with the help of his flowing lucid commentary forms an easily-followed narrative thread.

Stapert's respect for his sources and his readers shines through. Any who might wish for support from early Christian writers for a musical practice sensitive to that of secular mass contemporary culture will be disappointed, as the Church Fathers were univocal on this point. Yet Stapert takes a careful look at various cultic practices of the time in order to clarify and delimit exactly what conditions the Fathers were addressing in their directives. These conditions do not always neatly line up with those of our present day. So readers looking to support a blanket condemnation of contemporary praise and worship music will not find the right ammunition from these writers either.

The take-home message of this book is a provocative challenge based not on negatives, but on the new purpose and meaning of music found by the first generations of Christians, brilliantly articulated by Ambrose and Augustine, yet over the centuries, badly obscured. Stapert proposes a convincing root cause of our current failure of vision, which I leave purchasers of the book to discover.

New Song for an Old World sheds light, not heat, on the regrettably contentious issue of music in worship. In addition, it will earn its keep as a bookshelf reference: Stapert has included an extensive bibliography and a series of helpful appendices, including a map and a timeline.

The End of Early Music: A Period Performer's History of Music for the Twenty-First Century

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The End of Early Music: A Period Performer's History of Music for the Twenty-First Century
Bruce Haynes
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Hardcover

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ASIN: 0195189876

Book Description

Part history, part explanation of early music, this book also plays devil's advocate, criticizing current practices and urging experimentation. Haynes, a veteran of the movement, describes a vision of the future that involves improvisation, rhetorical expression, and composition. Written for musicians and non-musicians alike.

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Examining the origin of great music with scholarly depth

Athena Sings: Wagner and the Greeks
M. Owen Lee
Manufacturer: University of Toronto Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0802087957

Book Description

Richard Wagner's knowledge of and passion for Greek drama was so profound that for Friedrich Nietzsche, Wagner was Aeschylus come alive again. Surprisingly little has been written about the pervasive influence of classical Greece on the quintessentially German master. In this elegant and masterfully argued book, renowned opera critic Father Owen Lee describes for the contemporary reader what it might have been like to witness a dramatic performance of Aeschylus in the theatre of Dionysus in Athens in the fifth century B.C. - something that Wagner himself undertook to do on several occasions, imagining a performance of The Oresteia in his mind, reading it aloud to his friends, providing his own commentary, and relating the Greek classic drama to his own romantic view.

Father Lee also uses Wagner's writings on Greece and entries from his wife's diaries to cast new light on Tristan und Isolde, Die Meistersinger, Parsifal, and especially the mighty Ring cycle, where Wagner made extensive use of Greek elements to give structural unity and dramatic credibility to his Nordic and Germanic myths. No opera fan, argues Father Lee, can really understand Wagner saving Brünhilde without knowing the Athena who, in Greek drama, first brought justice to Athens.

Written with a clarity and depth of knowledge that have characterized all Father Lee's books on the classics of Greece and Rome and made his six other volumes of opera bestsellers, Athena Sings traces the profound influence - an influence few music lovers are aware of - that Greek theatre and culture had on the most German of composers and his revolutionary musical dramas.

Customer Reviews:

Examining the origin of great music with scholarly depth.......2004-01-14

Athena Sings Wagner And The Greeks by academician and musicologist M. Owen Lee is an informed and deftly written introduction to how ancient Hellenic culture and art influenced the compositions of work of Richard Wagner. Examining the origin and soul of great music with scholarly depth, Athena Sings Wagner And The Greeks is a refreshing study and dissection of the melding and interplay between narrative and fluid ideals which is enthusiastically recommended for students and scholars of European classical music in general, as well as the non-specialist general reader with an interest in Wagnerian productions in particular.

Don't Think Twice, It's All Right -- Bob Dylan, the Early Years: The Stories Behind Every Song

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a good book
Invaluable reference
How Does It Feel?

Don't Think Twice, It's All Right -- Bob Dylan, the Early Years: The Stories Behind Every Song
Gill
Manufacturer: Thunder's Mouth Press
ProductGroup: Book
Binding: Paperback

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ASIN: 1560251859

Book Description

This book provides an insightful companion to Dylan's 1960s recordings, tracing the people, places, and events behind some of his greatest songs and revealing his many early influences, from rock and folk music to philosophy and symbolist poetry.

Customer Reviews:

a good book.......2002-04-20

this book tells you a lot about bob dylan, a folk singer turned rock singer whose songs are really good and literary. if you want to understand his lyrics and whatnot pick up this book. it is good. i liked it though i didnt read all of it.

Invaluable reference.......2002-01-12

Bob Dylan is one of the few musical figures from the 20th century that we have truly seen become a legend in their own time. Some would argue, indeed, that Dylan is THE quissential cultural figure of the second half of the 20th century - recording undoubtedly some of the greatest albums ever put to tape, becoming, in the eyes of many, a composer for our times on par with Mozart and Beethoven, arguably the greatest, at the very least most infulential and far-reaching poet of the century, and mapping out emotional blueprints for an entire generation with songs like Blowin' In The Wind, The Times They Are A-Changin', Mr. Tambourine Man, Like A Rolling Stone, and Just Like A Woman. And, although he has since recorded albums every bit as good as his 60's highlights, - not least among them, his magnum opus Blood On The Tracks, and his 1998 Album of The Year, Time Out of Mind - his works from that time still stands as the absolute apex of a culture that was the most turbulent decade since the 20's. Rarely has an artist, at any time, been so in tune with the tenor of the times. This book chronicles Dylan's remarkable 60's period - from his, largely interpretative, debut album through his shocking move to country music with Nashville Skyline. It indeed has the "stories behind every song", and it avoids stooping so low as to try and convey what the songs are "about." Rather, this book, much more usefully, gives the background to the songs: how and when they came about, insight into the characters mentioned in them, and what woman, person, or particular muse the song may be referring to, or have been inspired by. There may not be a lot here that Dylanologist don't already know, but it is nevertheless a useful (not to mention beautiful - it's an immaculately laid-out book, with dozens of generous photographs peppered throughout), and nice to have a reference to all these early songs in one place. An absolutely essential book for Dylan fans.

How Does It Feel?.......1999-08-12

This was when Dylan was making groundbreaking music. This book offers fine analysis of every track and an excellent companion to the CDs of that time period. A must-have book for Dylan fans.

The Virtuoso Flute-Player (Cambridge Musical Texts and Monographs)

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The Virtuoso Flute-Player (Cambridge Musical Texts and Monographs)
Johann George Tromlitz
Manufacturer: Cambridge University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0521399777

Book Description

This is an English translation of Tutor for Playing the Flute (1791) by Johann George Tromlitz. The most explicit of the eighteenth-century tutors for flute-playing, it now serves as a record of instrumental practice as well as a useful guide to the performance of German classical music. The Tutor covers all aspects of flute playing, including intonation, articulation, flute maintenance, posture and breathing, dynamics, ornaments, musical style, cadenzas, and the construction of the flute. This edition will be an indispensable manual for players of baroque and modern flutes, and the information it contains will be invaluable for all musicians, students, and specialists interested in the historically informed performance of German classical music. The text is annotated with critical notes and all of the original music examples are newly printed in modern notation. The volume also contains a fingering chart and a historical introduction.

Voicing Gender: Castrati, Travesti, And the Second Woman in Early Nineteenth-Century Italian Opera (Musical Meaning and Interpretation)

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Welcome addition to the literature

Voicing Gender: Castrati, Travesti, And the Second Woman in Early Nineteenth-Century Italian Opera (Musical Meaning and Interpretation)
Naomi Adele Andre
Manufacturer: Indiana University Press
ProductGroup: Book
Binding: Paperback

General | Music | Entertainment | Subjects | Books

General | Women's Studies | Nonfiction | Subjects | Books
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ASIN: 025321789X

Book Description

The early 19th century was a period of acute transition in operatic tradition and style, when time-honored practices gave way to the developing aesthetics of Romanticism, the rise of the tenor overtook the falling stars of the castrati, and the heroic, the masculine, and the feminine were profoundly reconfigured. These transformations resounded in operatic plot structures as well; the happy resolution of the 18th century twisted into a tragic 19th-century finale with the death of the helpless and innocent heroine—and frequently her tenor hero along with her. Female voices which formerly had sung en travesti, or basically in male drag, opposite their female character counterparts then took on roles of the second woman, a companion and foil to the death-bound heroine rather than her romantic partner. In Voicing Gender, Naomi André skillfully traces the development of female characters in these first decades of the century, weaving in and around these changes in voicings and plot lines, to define an emergent legacy in operatic roles.

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Welcome addition to the literature.......2006-10-17

Voicing Gender is a beautifully written and meticulously researched addition to the growing body of scholarship on women in opera. Naomi Andre has made much-needed, insightful connections between castrati, travesti, and women's characters -- these insights are firmly grounded in opera of the nineteenth century but resonate throughout opera of the twentieth century as well. This book is strongly recommended for Women in Music, Opera, and Gender and Performance studies. A thoroughly enjoyable and fascinating read.

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