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.

Ottaviano Petrucci: A Catalogue Raisonne

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Ottaviano Petrucci: A Catalogue Raisonne
Stanley Boorman
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Hardcover

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ASIN: 0195142071

Book Description

The innovative work in design, typography, and content of music printer and publisher Ottaviano Petrucci (1446-1539) became the standard by which all following printers measured themselves. He created the defining moment when Italy took the lead in book printing in the Renaissance. This book is a bibliographic study of the output of the Petrucci presses, laying emphasis on the professional career of Petrucci. It includes a detailed study of technique and house-style, examining the market forces that drove Petrucci's publishing decisions, and provides a detailed catalogue of editions and copies. Stanley Boorman has made a study of the output of Petrucci's presses for 25 years. This long-awaited contribution to the field of bibliography will have an audience both in music and in rare book bibliography.

Renaissance Music: Music in Western Europe, 1400-1600 (Norton Introduction to Music History)

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Good but dated
Idiosyncratic, iconoclastic text is alternately brilliant and frustrating
A fun read
Wonderful book
Indispensable

Renaissance Music: Music in Western Europe, 1400-1600 (Norton Introduction to Music History)
Allan W. Atlas
Manufacturer: W. W. Norton & Company
ProductGroup: Book
Binding: Hardcover

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ASIN: 0393971694

Book Description

The latest addition to the successful Norton Introduction to Music History series. This new book offers a comprehensive view of fifteenth- and sixteenth-century music in Europe. Through his vibrant prose and generous illustrations, Atlas transports readers into the musical world of the Renaissance.

Customer Reviews:

Good but dated.......2007-01-10

Everything is fantastic, except the De Prez info is outdated because the book was published in 1998-much has been discovered.

Idiosyncratic, iconoclastic text is alternately brilliant and frustrating.......2006-01-02

I am of two minds about Dr. Allan Atlas' iconoclastic text, "Renaissance Music: Music in Western Europe, 1400-1600." On the one hand, I enjoyed Atlas' personal and eminently readable prose. He infuses the tome with witty observations, thought-provoking opinions, and offbeat vocabulary. How many textbooks have you read that use adjectives like "country-bumpkinish" or "huggable"?

On the other hand, I believe that Atlas has boxed himself into a corner with his adamant effort to avoid the "great composers" approach. As a result, his organization becomes idiosyncratic and occasionally haphazard. Atlas invariably begins focusing on a particular composer while discussing a genre, and then finds himself forced to summarize the composer's life (sometimes as an afterthought). He interrupts the text proper with historical interludes (Intermedios) and chapters on translation, but their presence can be distracting rather than illuminating. Just as he seems ready to make a relevant point or observation, he switches subjects or just stops altogether (the analysis of Dufay's belongings at the time of his death is one example).

This textbook almost requires the purchase of the companion anthology, "Anthology of Renaissance Music (Norton Introduction to Music History)." Atlas frequently cites works presented in the anthology; without it, the reader may become lost. When Atlas does present a score in the text rather than the anthology, he usually presents only excerpts (as he does with Josquin's "Nymphes des bois" or Willaert's "Aspro core e selvaggio e cruda voglia"). This can make it difficult to follow the score while listening to the music, unless the reader has impeccable timing.

Finally, Atlas' presentation of instrumental music suffers in comparison to his comprehensive discussion of vocal works. He almost completely ignores lute music, admitting he discusses it "only in passing" at one point - even though other scholars estimate that lute music accounted for a majority of 16th century instrumental scores.

Despite these considerable complaints, "Renaissance Music: Music in Western Europe" is a worthwhile and much-needed addition to the Renaissance music literature. An astute professor (like the one I had for a recent course in "Music of the Renaissance") should be able to cherry-pick Atlas' text for the highlights and take advantage of this sporadically brilliant volume.

A fun read.......2005-08-13

Atlas's book on Renaissance music is a joy to read. It is full of information, but there are the ocassional witty remarks, which helps lighten the tone.

His analysis of pieces is helpful and fascinating, but he also makes sure all of this detail is contextualized in the major changes in Western Europe during the time (the rise of humanism, other arts, changes in politics, the Reformation). It presents a great general history.

Always the historian, Atlas applies historiographical methods to show too how our conceptions of the music and the Renaissance as a whole has changed over time. He also develops how frame of reference can affect the way one interprets the music and the history (for example when talking about Spain, he points to how the music of 1492 was celebratory, but hid a sort of nasty events of Jews and Muslims expulsion and the Inquisition).

If you love Renaissance Music or you want to learn about it, then read this book.

Wonderful book.......2001-10-16

This book, in a nutshell, is amazing. Atlas doesn't shy away from using sometimes-familiar language, empathizing with the reader and clearly explaining all major topics. It is very detailed but well-organized, and the musical examples are beautifully chosen. Additionally, the book is aesthetically pleasure -- it has lots of nice illustrations.

The anthology, which is sold as a separate book, is almost a must-have, since Atlas discusses most if not all works contained with it. (Also, it's a well-chosen anthology, and worth adding to your library.)

Therefore, if you like Renaissance music and want to learn more, or if you know a little about it and enjoy reading academic textbooks, this is the book for you.

Indispensable.......2000-08-14

This book is indispensable for every one, student or amateur, interested in Renaissance music. Clear and understable, with many examples (in this book and in the anthology companion), Pr. Allan W. Atlas book presents music in the historical, geographical, political and artistic context which produced it. In addition to excellent presentation of composers, musical forms (mass, motet, chanson, instrumental music) and many works, pedagogical exercices are real introductions to research : how to edit a Busnoys chanson, how to understand payrolls. Moreover, Pr Atlas asks readers about the opportunity of adding a sharp, understanding contemporary earwitness texts. The epilogue is about what is generally the introduction : is there any unity in what musicologists call Renaissance music (1400-1600)?

History: Fiction or Science? Chronology 2 (Chronology)

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Check and see
Suprise! Suprise!
Prescient St Augustine?
Something of a disappointment
Romulus courts Helen, Paris founds Rome, Moses goes to Troy..

History: Fiction or Science? Chronology 2 (Chronology)
Anatoly T Fomenko
Manufacturer: Delamere Resources LLC
ProductGroup: Book
Binding: Paperback

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ASIN: 2913621066

Product Description

`History: Fiction or Science? Chronology 2` is the second volume of the most explosive and astounding tractate on history ever written - however, every theory it contains, no matter how unorthodox, is backed by rock solid scientific data. The book is easy and pleasant to read; it is well-illustrated, contains hundreds of charts, graphs and illustrations, copies of ancient manuscripts, and countless facts attesting to the falsity of the chronology used nowadays. You will be amazed to discover: - That the chronology universally accepted today and taken for granted is simply wrong; - That ALL methods of dating of ancient sources and artefacts known today are erroneous or non-exact; - That there is not a single document that could be reliably dated earlier than the XIth century; The Author refers to the Middle Ages as the Antiquity and proves mutual superimposition of the Second and the Third Roman Empire, both of which become identified as the respective kingdoms of Israel and Judah. Furthermore, he asserts that the famous reform of the Occidental Church in the XI century by Pope Gregory Hildebrand was the reflection of the XII century reforms of Byzantine emperor Andronicus who in his turn identifies with Jesus Christ. The Trojan war counted by Homer happened only as late as of the XIII century A.D. and the great poet actually lived in XIV century A.D. No stone in history of Antiquity is left unturned. Literally. This book is the beginning of a major correction to the chronology we live with.

Customer Reviews:

Check and see.......2007-06-21

I don't care what other people say of this book. Those affirmig it's fake, they hadn't ever read it. Or have some special reasons to do so. "Living is easy with eyes closed, misunderstanding all you see..." This book won't make you feel comfortable. It'll make you feel free. It'll make you feel you're "not the only one" to feel you'd been lied to for centuries.

Suprise! Suprise!.......2007-03-22

Here is a serie of books which turns "the whole world" upside down. I learned a lot of it and I hope that a new book from A.T. Fomenko will follow very quick. A absolute must for everybody who is interested in history or even a little bit from it.

Prescient St Augustine?.......2006-02-05

We can so far divide the New Chronology into the following three parts:

a) The verifiable theory that proves consensual chronology wrong with the aid of astronomy, statistics and mathematics;

b) The new chronology hypothesis based on a new understanding of known historical facts and the most likely logical explanation of the most obvious inconsistencies inherent in the official version of history;

c) The history conjectures, that is experimental historical reconstructions based on assumptions that the authors believe to make sense in the light of their research and linguistic parallels - void of ironclad factual support to date.

Fomenko's theory complies with the most rigid scientific standards as a whole:

It gives a coherent explanation of what we already know.

- It is consistent: independent lines of inquiry all lead to the same conclusion.

- The predictions it makes are confirmed empirically.

Fomenko goes by the following axioms:

- Chronology is the basis of history;

- Human evolution has always been linear, gradual and irreversible;

- The "cyclic" nature of human civilization is a myth, likewise all the gaps, duplicates, "dark ages" and "renaissances" that we know from consensual history;

- The accumulation of geographical knowledge as reflected in cartography is a gradual and irreversible process;

- The chronological distance between a given manuscript and the events described therein is proportional to the amount of distortions it contains;

- There is no "useless" information in authentic ancient sources.

Why the mainstream historians do not shower mathematician Academician Dr.Prof Fomenko with thanks and laurels?

The Russians:

Because Fomenko asserts that there was no such thing as the Tartar and Mongol invasion followed by three centuries of slavery, providing a formidable body of documental evidence to prove his assertion. The so-called "Tartars and Mongols" were the actual ancestors of the modern Russians, living in a bilingual state with Arabic spoken as freely as Russian. The ancient Russian state was governed by a double structure of civil and military authorities. The hordes were actually professional armies with a tradition of lifelong conscription (the recruitment being the so-called "blood tax"). Their "invasions" were punitive operations against the regions that attempted tax evasion. Fomenko proves that Russian history as we know it today is a blatant forgery concocted by a host of German scientists brought to Russia by the usurper dynasty of the Romanovs, whose ascension to the throne was the result of coup d'état, charged with the mission of making their reign look legitimate. Fomenko proves Ivan the Terrible to be a collation of four rulers, no less. They represented the two rival dynasties - the legitimate rulers and the ambitious upstarts. The winner took it all! Over some 30 years of controversy, Russian historians have made a most remarkable transition - they were initially accusing the young mathematician Fomenko of anticommunist dissident activity and attempts to deface the historical legacy of Soviet Russia; nowadays the middle-aged mathematician is accused of adhering to "pro-communist Russian nationalism" and defacing the proud historical legacy of Great Russia.

The Westerners:

Because Fomenko blows consensual Russian history to smithereens, successfully removing a crucial cornerstone from underneath the otherwise impeccable edifice of World History. Fomenko adds insult to injury, wiping out one by one the Ancient Rome (the foundation of Rome in Italy is dated to the XIV century A. D.), the Ancient Greece and its numerous poleis, which he identifies as the mediaeval crusader settlements on the territory of Greece, and the Ancient Egypt (the pyramids of Giza become dated to the XI-XV century A. D. and identified as the royal cemetery of the Global "Mongolian" Empire, no less). The civilization of the Ancient Egypt is irrefutably dated to the XII-XV century A. D. with the aid of the ancient Egyptian horoscopes cut in stone. He was the first one to decipher and date all such horoscopes, coming up with mediaeval dates in every case. English historians rage at the suggestion that the history of Ancient England was de facto a Byzantine import transplanted to the English soil by the fugitive Byzantine nobility. To reward the English historians who consider themselves the true scribes of World History, the cover of the present book portrays Tintoretto's Jesus Christ crucified on the Big Ben.

The Chinese:

Because Fomenko wipes out the Ancient History of China outright. No such thing. Full point. The compilation of the so-called Ancient Chinese History is reliably datable to the XVII-XVIII century only. It is perfectly recognizable as the Ancient European history, reworked and transcribed in hieroglyphs as yet another historical transplantation, this time performed on the Chinese soil by the loving Jesuit hands. The Chinese are the next in line to go berserk. Chinese history is inevitably bound to get both more ancient and more eventful, proportionally to the growing involvement of China in the world affairs. Chinese historians will keep on finding valid proof of prehistoric Chinese spaceflights until the Politburo orders them to shut up.

The Arabs:

Too bad. Islam with all its key figures is datable to XV-XVI century A. D. Arabic historians may find consolation in the crucial historical role of the Ottoman Empire in the XVI-XVII century. The trouble is that this empire was initially a Christian state, with Hagia Sophia identifiable as Temple of Solomon, according to Fomenko! We can only guess if the acquisition of Alexander the Great (a Macedonian and a Christian) as the founder of the Muslim World Empire will make Fomenko's theories more acceptable to the Arabic mainstream. He certainly does not spare any holy cows at all, claiming The Stone of Qa'Aba in Mecca to contain the lost Arch of the Covenant.

The Divinity:

Despite of reiterated statement that his theory is all about chronology and not Religion, Fomenko stirs up a whole condominium of wasp nests. His collection of anathemas, fatwa, and other condemnations from all parties concerned is already considerable. Little wonder, considering that the history of religions à la Fomenko looks as follows: the pre-Christian period (before the XI century and JC), Bacchic Christianity (XI-XII century, before and after JC), JC Christianity (XII-XVI century) and its subsequent mutations into Orthodox Christianity, the Catholicism, Islam, Buddhism, and so on.

According to Fomenko we know strictly NOTHING about the events that predate the X century A. D.

St Augustin was prescient when he spoke unto us: "be wary of mathematicians, particularly when they speak the truth."

Something of a disappointment.......2005-09-09

After having read the first volume of this expected series of 7 volumes I was triggered by the thesis of these authors that ancient Greek and Roman history did in fact take place in the Middle Ages. So I started studying medieval history of the Middle East - also known as Islamic history - to find out if the opponents of the ancient Greeks and Romans - the Acheamenid Persians, Sassanids, Scythians, Egyptians, etc. - also have their duplicates in medieval history. My search was disappointing: none of the many medieval Islamic dynasties seemed to correspond to the ancient middle eastern rulers.

However, I did find a close correspondence between Herodotus' Persian kings and medieval events:

- the defeat and capture of an Anatolian king - the Lydian Croesus - by the Persian conqueror Cyrus is identical to the defeat and capture of another Anatolian king - sultan Bayezid - by the Asian/Mongol conqueror Tamerlane;
- the Persian conquest of Egypt by the cruel tyrant Cambyses reds almost exactly as the Ottoman conquest of Egypt by Selim the Grim (note the nickname!);
- Darius the Lawgiver of the Persian Empire looks very much alike to Sulayman the Magnificent, the Lawgiver in Islamic history;
- Xerxes, whose main claim to fame is to be defeated by the Greeks at the naval battle of Salamis, looks like Selim II (the Sot) whose main claim to fame is to be defeated by a Spanish-Italian alliance at the naval battle of Lepanto.

I should have expected Fomenko et al. to arrive at similar conclusions, however, they claim that the Persian kings are the alter egos of the Angevin kings of Sicily whose biographies do not contain the exploits of the Persian kings.

The similiarities I indicate lead to the conclusion that Herodotus must have written his Histories at the close of the 16th century. But this is extremely late, given that Herodotus is "the Father of History", so therefore all other "ancient" histories must have been fabricated even later. Yet, the founders of modern chronology - Scaliger and Petavius - laid their foundations also at the close of the 16th century and had the full corpus of ancient histories already at their disposal.

It seems to me that Fomenko has to address these inconsistencies, maybe in the forthcoming 5 volumes?

Another critique of their book is that the correspondencies between different rulers are often based on a superficial comparison of the biographies; upon a more thorough comparison many details appear that do not correspond at all.

Finally, the authors rely heavily on the works of Gregorovius (1821-1891!!) - his medieval histories of Rome and Athens - as the source of medieval history; these works are - at least in the West - hoplessly outdated and have been superceded by more up-to-date works (for instance, Julius Norwich's trilogy on Byzantine history is not even cited).

Romulus courts Helen, Paris founds Rome, Moses goes to Troy.........2005-07-30

If you agree with Fomenko that Roman chronology is basically the foundation of the entire edifice of global chronology; you would also certainly agree that despite its numerous gaps and inconsistencies, Roman history is the best-documented field of ancient history, and thus a reference scale. But how well is the actual date of the Eternal City's foundation known?

Firstly, Rome is supposed to have been founded by the Trojans who had to flee after the fall of Troy. Some claim Rome to have been founded by Aeneas and Ulysses shortly after Troy had fallen; others are of the opinion that there was an entire dynasty that ruled for 500 years between the fall of Troy and the foundation of Rome.

Well, that's just an innocent 500 years long misunderstanding compared with what heretic Fomenko says, asserts, proves in his second volume: Second Roman Empire, Third Roman Empire, Biblical Kingdom of Israel, Biblical Kingdom of Judah, Holy Roman Empire are stories about basically same events, written from different points of view at different times. The underlying events have actually taken place during xii-xv cy. These histories have been written and perfected by multitude of highly talented humanist and clerical writers of xiii-xvi cy disguised as "ancients" with glorious names like Homer, Pluto, Thucydides etc..Chronology 2.0 beta..

Historians are kindly invited to report the bugs.

Medieval Music (The Norton Introduction to Music History)

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Your understanding of Western Art Music will be greatly enriched by understanding its foundations in Medieval times
Scholarly Survey of Medieval Music
Interesting, readable, history of Medieval Music
A very comprehensive book in the related area.

Medieval Music (The Norton Introduction to Music History)
Richard H. Hoppin
Manufacturer: W. W. Norton & Company
ProductGroup: Book
Binding: Hardcover

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ASIN: 0393090906

Customer Reviews:

Your understanding of Western Art Music will be greatly enriched by understanding its foundations in Medieval times.......2006-01-26

This book (and its companion anthology) provide a solid introduction to the rise of polyphony in the medieval period. It necessarily deals with church forms and the ways in which they evolved over centuries. Hoppin then shows us the secular music and poetry of the troubadours, dance music, and the rise of the motet and they ways which they not only interacted with each other, but how they in turn changed sacred music.

The author presents his material in a logical sequence with appropriate illustrations and musical examples. The text is very readable and provides good references and bibliographical sources for further reading and study.

Hoppin is also sensitive to the geographical differences in the way music developed. He does have separate chapters for the Ars Nova (new art) in France, Italy, and other developments in England. And since the time period is long, he also focuses what happens in different centuries. The only composer that gets his own chapter (since so much music was written by the ever present anonymous) is the monumental Guillaume de Machaut.

The book ends discussing the transition to the Renaissance and the "Old Hall Manuscript".

Fascinating stuff from a very rich and formative period in the tradition of Western Art Music.

Scholarly Survey of Medieval Music.......2004-06-28

This book has become the standard textbook for graduate music courses on medieval music in the U.S. I have read most of the new Norton books from this series on music history, and must say it's above average.

Most people and even many music majors feel that medieval music can be at times, well, boring. Hoppin's text proves to be scholarly yet interesting.

The first chapter is a fascinating historical introduction from the end of the Roman Empire up to 1000 A.D. The second chapter then covers the history of the Christian liturgy through this time, which is also equally interesting.

Following chapters cover sacred music (Gregorian Chant, the music of the Offices/Mass, Embellishment of the liturgy, polyphony, and the Notre Dame School) and then switches over to secular music (trouveres, music outside France, and the motet). The book then covers the later medieval period, including the Ars Nova in France, Machaut, the Italian Ars Nova, and even a section on English music.

If not already clear by the preceding paragraph, this text is not recommended for beginners at all. I found many concepts in the book difficult (especially some of the explanations on psalm tones and the "flex" as well as some of the Franconian or Italian mensuration), and I'm supposed to know this stuff.

As with most books in this series, a companion anthology of medieval music can also be purchased which I found quite helpful. Hoppin refers to it often. Another helpful book to have on hand would be a copy of the good old Liber usualis. They're tough to find these days.

Other books on medieval music are by Jeremy Yudkin and there is a two-volume set written by Giulio Cattin and F. Alberto Gallo which has been recently translated. I haven't read either, but they are the only ones I know of which might be this thorough. Hoppin provides a good bibliography for each chapter, so experts can dig deeper. A very good survey overall.

Interesting, readable, history of Medieval Music.......2003-08-28

I am an amateur, that is, I _love_ early music. Mr. Hoppin's book is engaging in that he not only writes about the music, but gives the political and cultural background to the music. His examples are carefully explained. Even though this is used as a "textbook," it is not dry reading.

Most people who love early music, will not find his musical explanations too technical. A basic knowledge of music (for many gained from private piano study) will be sufficient knowledge to take in Mr. Hoppin's explanations.

For me, this is an essential text. I refer to it over and over again as an "early music" musician.

A very comprehensive book in the related area........2000-06-18

A very detail book of Music from period before 300 A.D to the beginning of Music Renaissance. Concepts are often illustrated with musical examples and with historical background provided.

It is written in a style apt for advanced music students. Not recommended for amatuer and even music student who want to learn the "basics" of Medieval Music

Average customer rating:

An impressive, if lopsided, compilation of Renaissance scores

Another step forward

A translation of the first review:

Una novità editoriale per la musica rinascimentale

Anthology of Renaissance Music (Norton Introduction to Music History)

Manufacturer: W. W. Norton & Company
ProductGroup: Book
Binding: Paperback

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Renaissance Music: Music in Western Europe, 1400-1600 (Norton Introduction to Music History)

Anthology of Medieval Music

Medieval Music (The Norton Introduction to Music History)

Music in Medieval Europe

Music of the Baroque: An Anthology of Scores

ASIN: 0393971708

Book Description

A treasury of music scores featuring the most important and best-known works of the era. Allan Atlas has gathered into one handy volume the scores of over one hundred pieces. Used in conjunction with Renaissance Music or on its own, Anthology of Renaissance Music exposes music lovers to the finest examples of Renaissance composition. Each selection in the anthology--either a complete piece or an entire movement from a longer original--is discussed in Atlas's Renaissance Music.

Customer Reviews:

An impressive, if lopsided, compilation of Renaissance scores.......2005-12-22

Dr. Allan Atlas' idiosyncratic tome "Renaissance Music: Music in Western Europe, 1400-1600" is best appreciated with this companion anthology, containing 109 scores of Renaissance-era music. At the current price (about $55), you're spending about 50¢ for each work - clearly an excellent value. The composers represented range chronologically from Ciconia, Dunstable and Power to members of the English Lute and Virginals school, such as Dowland and Byrd. Highlights include Dufay's entire "Missa Se la Face Ay Pale," excerpts from Ockeghem's "Missa Prolationum," Josquin's dramatic motet "Miserere, me Deus," Clement Janequin's comical Parisian chanson "Le Cris de Paris," and Cipriano de Rore's heart-wrenching madrigal "De la belle contrade d'Oriente."

Here is an alphabetical list of composers included (number of works in parentheses):

Anonymous (4), Arcadelt (1), Bedyngham (2), Binchois (2), Brassart (1), Busnoys (3), Byrd (2), Bull (1), Cabezon (1), Cara (1), Casulana (1), Cavazzoni (1), Ciconia (2), Clemens non Papa (1), Compere (1), Coppini (1), Cordier (1), Cornago (1), Cornysh (1), dall'Aquila (1), Dowland (1), Dufay (8), Dunstable (3), Ebreu (1), del Encina (1), Escobar (1), Finck (1), Frye (1), Gastoldi (1), Gero (1), Gervaise (1), Gesualdo (1), Ghiselin (1), Gombert (1), Grenon (1), Hayne van Ghizeghem (1), Isaac (3), Janequin (1), Josquin Desprez (8), de La Rue (3), Lassus (3), Le Jeune (1), Marenzio (1), Martini (1), Merulo (1), Milano (1), Modena (1), Morales (1), Morely (1), Morton (3), Mundy (1), Narvaez (1), Obrecht (1), Ockeghem (4), Palestrina (3), Passereau (1), Pellegrini (1), le Petit (1), Power (1), Regis (1), de Rore (1), Schlick (1), Senfl (1), Claudin de Sermisy (2), Tallis (1), Taverner (1), Tye (1), Vecchi (1), Verdelot (1), Victoria (2), Walter (1), and Weelkes (1).

Two complaints, one major and one minor (respectively): Atlas vastly under-represents instrumental music (only 15 scores are instrumental), and the English text translations are awkwardly placed in an appendix, rather than directly after the respective scores. I just completed a course in Renaissance music using this anthology, and the page-turning and place-holding quickly became cumbersome!

An astute professor with good lecture notes might be able to teach an entire course just using this anthology - though the corresponding textbook does provide excellent historical background and chronological context for the works covered. Idiosyncrasies aside, this anthology deserves a place in the library of any serious fan of Renaissance music.

Another step forward.......2003-03-12

Allan Atlas' anthology succeeds in providing a broad collection of valuable Renaissance works in one easily accessible volume. Combined with Renaissance Music, also by Atlas, it represents a firm stepping stone in the The Norton Introduction to Music History series. There is currently no recorded anthology to complement this package, but Norton does provide a dated discography for 73 of the 102 printed works. Several are only on LP.
Credited English translations of texts in appendix are valuale. Table of contents lists works in order of appearance. No alphabetical index is included. No dates are provided for works or composers. No reference to original manuscript sources (e.g. Chigi Codex or Chigi Q VIII 188).

A translation of the first review:.......2002-08-23

For those who don't read Italian, the preceding review says,

A new work of editorship for Renaissance music
A new, extremely rich anthology of masterworks (almost 500 pages of music). An indispensible text on the shelf of choir directors, students of ancient music, lovers of polyphony!

(I'll post my own review when my copy comes. However, this looks like an excellent selection of stuff--kudos to Amazon for posting the table of contents.)

Una novità editoriale per la musica rinascimentale.......1999-05-24

Una nuova antologia ricchissima di capolavori (quasi 500 pagina di musica). Un testo indispensabile sullo scaffale di direttori di coro, studiosi di musica antica, amanti della polifonia!

A Cultural History of Latin America: Literature, Music and the Visual Arts in the 19th and 20th Centuries (The Cambridge History of Latin America)

Average customer rating:

Both poor and excellent essays re the region's "culture"

A Cultural History of Latin America: Literature, Music and the Visual Arts in the 19th and 20th Centuries (The Cambridge History of Latin America)

Manufacturer: Cambridge University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0521626269

Book Description

A Cultural History of Latin America brings together chapters from Volumes III, IV, and X of The Cambridge History of Latin America. The essays place Latin American literature, music and visual arts in historical context, from the early nineteenth century through the late twentieth century. Topics include narrative fiction and poetry; indigenous literatures and culture; the development of music, sculpture, painting, mural art, and architecture; and the history of Latin American film. Each chapter is accompanied by a bibliographical essay.

Customer Reviews:

Both poor and excellent essays re the region's "culture".......1999-10-12

While the latest edition of Leslie Bethell's Oxford "History Of Latin America" series suffers by comparison with others of the series it does provide insight and information on an aspect of Latin America which is often slighted by economic or political analyses of the region. The anthology covers (in order) literature, poetry, Native American art, plastic art, architecture and film. The calibre of the essays varies greatly. Martin's insights into the region's literary trends remind me of Jean Franco's excellent work whereas other sections, such as those on architecture and the plastic, come across as a mere listing of works and their creators. One reason for this is that the various authors were faced with the dilemma of either accurately portraying the region's culture as disparate or tying the various artists together into overall patterns. The authors who sacrificed accuracy were able to analyze in an engaging manner, while those who, correctly, recognized that patterns are few in the region suffered from chaotic and incoherent essays.

Average customer rating:

A great resource to own
Valuable resource

An Outline History of Western Music
Milo Wold , Gary Martin , James Miller , and Edmund Cykler
Manufacturer: McGraw-Hill Humanities/Social Sciences/Languages
ProductGroup: Book
Binding: Paperback

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ASIN: 0697340562

Book Description

This succinct overview of the development of Western music can help students of all levels understand the evolution of musical styles. Although the text is only half the size of most music histories, it is enhanced by the many cross-references to the best anthologies and recordings for further information and examples.

Customer Reviews:

A great resource to own.......2007-08-27

This is a great source to have! It is easy to read and covers everything all the major music history text books cover. Overall it is a faster, eaiser, and more interesting read than other texts. World history is also linked with music history to help the reader understand what actually happened. I strongly suggest this book for Graduate students reviewing for comprehensive exams!

Valuable resource.......2000-09-13

Concise, but inclusive. Would make a valuable text for undergrad Music History or for general graduate study.

Average customer rating:

Easy Race Relations
One of my favorites.............
Dave at Night
Excellent!
Dave at Night Book Review

Dave at Night
Gail Carson Levine
Manufacturer: HarperTrophy
ProductGroup: Book
Binding: Paperback

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ASIN: 0064407470
Release Date: 2001-02-19

Amazon.com

"Gideon the Genius" and "Dave the Daredevil," their father called them: two Jewish boys growing up in 1920s New York, playing stickball and--in Dave's case--getting into trouble. But when their father dies, Dave finds himself separated from his older brother and thrust into the cold halls of the HHB, the Hebrew Home for Boys (which he later dubs the "Hopeless House of Beggars" and the "Hell Hole for Brats," among other things).

Eager to escape the strict rules, constant bullying, and tasteless gruel of the orphanage, the Daredevil hops the wall one night to explore the streets of Harlem. He hears what he thinks is someone--or something?--laughing, but traces the sound to a late-night trumpeter shuffling backward into a wild "rent party." And just as quickly as he'd found himself stuck in the HHB, Dave is immersed in yet another world--the swinging salons and speakeasies of the Harlem Renaissance. Cramped, crazy parties packed with the likes of Langston Hughes and Countee Cullen give Dave refuge from life at the orphanage and awaken his artistic bent. And Dave's new friends, among them a grandfatherly "gonif" ("somebody who fools people out of their money") and a young "colored" heiress who takes a shine to him, help turn things around for him at the HHB.

The skilled Gail Carson Levine, Newbery Medal-winning author of Ella Enchanted, clearly tells this tale from her heart, as the story is based on her own father's childhood spent in the real-life HOA (Hebrew Orphan Asylum). (Ages 8 to 12) --Paul Hughes

Book Description

If nobody wants him, that's fine.He'll just take care of himself.

When his father dies, Dave knows nothing will ever be thesame. And then it happens. Dave lands in an orphanage -- the cold and strict Hebrew Home for Boys in Harlem -- far from the life he knew on the Lower East Side. But he's not so worried. He knows he'll be okay. He always is. If it doesn't work out, he'll just leave, find a better place to stay. But it's not that simple.

Outside the gates of the orphanage, the nighttime streets of Harlem buzz with jazz musicians and swindlers; exclusive parties and mystifying strangers. Inside, another world unfolds, thick with rare friendships and bitter enemies. Perhaps somewhere, among it all, Dave can find a place that feels like home.

Customer Reviews:

Easy Race Relations.......2007-07-04

Dave is eleven when his father dies, leaving him with his brother and their stepmother. Their stepmother insists she can't handle raising the boys, so their uncle agrees to take Dave's quiet and smart older brother. Nobody steps forward to take Dave, though, so he is sent to live at the Hebrew Home for Boys, an orphanage.

Dave is devastated about being in the home, and things don't go smoothly for him there. A bully sits next to him at meals and eats half of his food. Instead of teaching, his teacher simply lectures about what a chore it is to try to teach orphans. And the headmaster of the school steals a carving done by Dave's father and then beats Dave when confronted about it.

One night shortly after arriving, Dave leaves the home after lights-out and explores the city. He stumbles upon an amazing party where he meets Solly, a strange fortune-telling man who tells everyone Dave is his grandson. Dave also meets Irma Lee, a beautiful black girl about his age. She seems as enthralled by him as he is by her.

As the weeks pass, Dave comes up with a plan to run away from the home. The only problem is that he is starting to like it there. He likes the boys his own age, who stick up for each other and are better than family. He likes his art teacher, who recognizes that he has real talent. And Dave even has a plan for taking care of the bullies at meals. Will he stay after all?

Solly's character was great; he had such interesting reactions to Dave and great interactions with the people at the parties. Dave's buddies at the home were also good characters. I liked that they were able to make a kind of new family and support system for themselves.

I don't know if it was realistic for whites and blacks during this time period to mix as easily as they did in this book. This story seemed to indicate that there was no animosity between the races and everyone would be accepted in Harlem. I found that hard to believe.

One of my favorites....................2007-03-26

This is one of my favorite books! I enjoyed it alot, to be compleetly honest with you at times it was a little boring but then the excitment would come and everything would show up.Like hey now that makes cense.This book is one that you can not belive that a story so big of greatness could be in a small book.Dave at night is not just a children's story it is for everyone.I got hurt when dave got hurt, when Dave cried i cried inside, when he fights i feel like punching the one he is fighting.Oh yes you are more into this book than tv shows that are just so good get you into their story.You are,almost Dave in Dave at night you are like his soul.This is an incredible story.
DAVE AT NIGHT

I am if woundering not Melanie Litzinger i am Carly Litzinger age:11!

Dave at Night.......2006-10-25

This book is about an orphane named Dave. His father had fallen of a roof and died. When he came home from school he was in dinile. His step-mom Ida had every one come to their house after the funeral. Well while they were all there she desided that she could care for Dave and his brother. But no one wanted to take Dave because he was to loud. The boys' uncle took Daves brother with him when he left. So Ida Deicide that DAve was going to live in an orphange. Before his brother left he gave Dave a carving that their father had made. But when he got to the room and looked in his suitcase it wasn't there. Well it turns out that the owner of the HHB,the Hebrew Home for Boys, took the carving.
Thats when dave deiced that when he got the carving back he was going to leave. The first night he was at the HHB he snuck out to a park and met Solly. They became friends and went to rent parties. So after the first party Dave went back to the HHB. And every night after that he stuck out and met up with Solly and his "girlfriend" Irma Lee. But he still wanted to get the carving before he laft so he went back to there every night till he can get the statue. If I tell anymore I'm going to ruin it so You'll have to read it and find out.

This was an awesome book I thought. If you like it you wont be able to put it down till tour done.

Excellent!.......2006-09-07

When Dave's father dies, he is sent to the cold, gritty orphanage 'The Harlem Home For Boys' (the HBB). Levine tells her tale with warmth and humor, and creates a memorable and well developed cast of characters. Dave is an engaging hero who will linger in the memory of the reader.

Dave at Night Book Review.......2006-03-08

DAVE AT NIGHT

Dave at night is about a young boy named Dave. He is living with his Dad, step mom and brother in an apartment in England. His Dad dies unexpectedly when he falls off of a ladder. His step mom can't support the family so Dave's brother had to live with his uncle and Dave has to go live at the Hebrew Home for Boys (HHB for short). There with a couple hundred other boys, he is given little food and a meager education. He is an orphan now but some of the other boy's parents visit sometimes and bring food to them. Dave brings a boat that was carved by his Dad with him to the HHB and Mr. Bloom of the HHB steals it. Dave sneaks out one night and meets a man by the name of Solly who takes Dave to a party. There he meets a young African American girl by the name of Irma Lee. They become instant friends and Irma invites Dave and Solly to her mom's party. Dave sneaks back into HHB and is caught. He is beat and sent to classes once more. Solly comes to HHB and says he is Dave's grandfather. They go to Irma's party and have a good time. When Dave gets back to the HHB, he and his buddies plan to steal the boat that Mr. Bloom stole. When Mr. Bloom leaves his office, Dave sneaks in and gets the boat. As he is leaving Mr. Bloom comes in and catches him. Dave is about to be in serious trouble when Irma Lee's mom, Mrs. Packard saves the day. She catches Mr. Name and gets him fired. The HHB gets better food, better teachers and a new furnace. In the end, Dave is happy.

The Gottschalk Antiphonary: Music and Liturgy in Twelfth-Century Lambach

Average customer rating:

Some Book!
wonderful examplar of the study of a manuscript

The Gottschalk Antiphonary: Music and Liturgy in Twelfth-Century Lambach
Lisa Fagin Davis
Manufacturer: Cambridge University Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0521592496

Book Description

This book reconstructs and studies the music, liturgy, and illustrations of a twelfth-century manuscript from the Austrian monastery in Lambach. The manuscript was taken apart in the fifteenth century and subsequently sold to various collectors in the twentieth century. The pages are here brought together (albeit photographically) for the first time since the original manuscript was dismantled five centuries ago. The book includes a black-and-white facsimile of the recovered portion of the manuscript. Charts and tables are used to demonstrate how it compares to other twelfth-century liturgical manuscripts.

Customer Reviews:

Some Book!.......2001-04-10

I never thought a book of such remarkable insight into 12th century Lambach could exist! I am thrilled to have this wonderful tome in my library, and urge any historian or linguist to buy a copy for their own. Lisa Fagin Davis is a rare jewel, and I look forward to her next work.

wonderful examplar of the study of a manuscript.......2000-04-24

Lisa Davis' description of the Gottschalk antiphonary is a tour de force. It is a wonderful example of the study of a medieval manuscript in its total context. Although I had no personal interest in the book subject, I found it a great read and a very good mystery story for intellectuals.

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