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The Literature of Music Bibliography
D. W. Krummel
Manufacturer: Fallen Leaf Press
ProductGroup: Book
Binding: Hardcover
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ASIN: 0914913212 |
Book Description
In tracing the history of writings on music printing and publishing, this book discusses the theory of music bibliography. It examines such major topics as historical surveys of music printing and musical commerce and property; and surveys specific subjects ranging from type-specimen books to patent registrations, from the history of music libraries to bibliophilic editions.
Customer Reviews:
FORCED TO BUY FOR JAZZ HISTORY.......2007-07-26
This was required for my jazz history class at Sacramento City College (MUFHL 315 - online). It was 125.00 at the college book (packaged along with some worthless CD's). It is not laid out like a normal textbook. At the beginning, it doesn't have a chapter outline or learning objectives. At the end of each chapter, all you have is a sorry summery that doesn't cover any of what the author is trying to say within the chapter. THIS IS THE WORST BOOK I HAVE EVER BEEN FORCED TO BUY FOR A CLASS. I am tired people publishing the results of their graduate work as TEXTBOOKS and ripping off poor undeserving student. Reading this book is like watching paint dry.
This book connects the dots..........2006-02-13
I had begun to get serious about immersing myself in Jazz. A little dive around the corner was showing excellent Jazz groups and I had to take the opportunity to discover this great art form. My daughter lent me a textbook she had from college.
I immediately picked it up and for several hours was scanning it backwards and forwards. I kept referencing all the artists and songs I had heard of all my life and this book very handily made the connections. It's loaded with clear and concise and insightful teaching aids.
I can now understand much better the overall experience and history of jazz. The technical parts are still quite overwhelming, but the author's writing is very articulate and non-judgmental. I've rarely seen a more learning friendly book. As I started to mention, you can start anywhere you want in this book and just take what you can handle.
not for jazz scholars alone.......2005-12-20
It has been nearly 30 years since Mark Gridley's first edition of Jazz Styles appeared, and no other treatment of jazz styles comes close to his careful analysis of how jazz has been made since its inception. It is a work of great and serious scholarship, an invaluable resource for students of the genre. Yet, Jazz Styles is also an enjoyable and entertaining companion for anyone who wants to become a more perceptive listener to jazz. The Listening Guides are useful even for those 'veteran'
jazz fans familiar with the works described. Gridley will take you to ever-deeper levels of appreciation for jazz in all its varieties.
Average customer rating:
- Very slow and tiring read
- "Matter of Fact"
- What a trip! And I wasn't even born yet when most of it happened!
- Somewhat interesting, ultimately disappointing
- Sight Unseen, Sound Unheard
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White Bicycles: Making Music in the 1960s
Joe Boyd
Manufacturer: Serpent's Tail
ProductGroup: Book
Binding: Paperback
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ASIN: 1852429100 |
Book Description
"This is the best book about music I've read in years, and a gripping piece of social history."-Brian Eno
When Muddy Waters came to London at the start of the 1960s, a kid from Boston called Joe Boyd was his tour manager; when Dylan went electric at the Newport Festival, Joe Boyd was plugging in his guitar; when the summer of love got going, Joe Boyd was running UFO, the coolest club in London; when a bunch of club regulars called Pink Floyd recorded their first single, Joe Boyd was the producer; when a young songwriter named Nick Drake wanted to give his demo tape to someone, he chose Joe Boyd.
More than any previous sixties music autobiography, Joe Boyd's
White Bicycles offers the real story of what it was like to be there at the time. As well as the sixties heavy-hitters, this book also offers wonderfully vivid portraits of a whole host of other musicians: everyone from the great jazzman Coleman Hawkins to the folk diva Sandy Denny, Lonnie Johnson to Eric Clapton, Sister Rosetta Tharpe to Fairport Convention.
Record and film producer
Joe Boyd was born in Boston in 1942 and graduated from Harvard in 1964. He went on to produce Pink Floyd, Nick Drake, Fairport Convention, R.E.M., and many others. He produced the documentary
Jimi Hendrix and the film
Scandal. In 1980 he started Hannibal Records and ran it for twenty years. He lives in London.
Customer Reviews:
Very slow and tiring read.......2007-08-31
This has got to be the most boring book about the music business I've ever read. I really tried to make myself believe it was going to be a true page turner, but it wasn't. The only reason I continued to turn the page is because, well... I'd paid for the book! I'm not the biggest fan of folk music, but I do like it and I love the blues, but this book made me dislike both genres (while I was reading, mind you). Mr. Boyd had such a long and fulfilling career in the music business, but the way he told the story was just plain boring. I've read many biographies on this business and have read some real bizarre stuff, but this book was quite tame. Don't get me wrong, I was GLAD that it was tame. I was quite impressed with Mr. Boyd's self-control and his professionalism. He sounds like a total "stand-up guy." But boy, does he tell a boring story. I usually pass my books on to friends so that they we can converse on the book, it's characters, the author, and so on. I must admit, when I FINALLY finished this book, I promptly threw it in the trash. I will give Mr. Boyd one other thing, I was so happy that he made mention of all the blues greats that have graced stages and auditoriums worldwide. That in itself was very much worth this book purchase, but that's about it.
"Matter of Fact".......2007-08-20
Woody Allen made a film called "Zelig" about a little guy who found his way into all the significant events of the 20th Century.
Well, record producer Joe Boyd's life in the 60's was kind of like that. He was all over the place, at the Newport Festivals (both jazz and folk), touring with bluesmen through Europe, and finally at the epicenter of both the British psychedelic and English Folk Rock scenes.
With all that material to draw from, you would think that this book would be a regular psychedelic sundae, vibrating like a day-glo art poster. Nope. It's just a recounting of Joe's ups and downs in the music business. There are nice reminiscences about Sandy Denny and Nick Drake, and Joe drops some little known facts about his resume, such as his involvement in the Eric Clapton/Steve Winwood "Powerhouse" recordings, and his production of Pink Floyd's "Arnold Layne"--plus his notable failures, such as missing out on opportunities to sign Procol Harum, or to profit from the Abba catalogue.
But, Joe is primarily known for his involvement with Folk-Rock, and he doesn't really pour forth with details, here. What about "Liege and Lief", generally called the greatest British folk-rock album of all time? What about Vashti Bunyan, a cult artist in her own right? She gets about one paragraph. And what about Linda (Peters) Thompson? Joe lets it drop that he was in an intimate relationship with her, yet she merits only a sentence or two.
This book isn't badly written, but it doesn't really give you a great picture of the music. It could have been much better. People who are curious about the time would be better served checking out the music. I guess a CD sampler of Joe's productions, also called "White Bicycles", is available. Otherwise, there is the great "Nuggets II" box set, which I recommend without reservation.
What a trip! And I wasn't even born yet when most of it happened!.......2007-08-10
As a musician and general music junkie, I'd rate this as a must have. Joe Boyd is just as important to learn from as those blues and jazz bands he resurrected in the last 50s and early 60s. I also sensed the sadness and reverence he had towards Nick Drake, the sad honesty about Sandy Denny, as well as rejoicing in the still flourishing career of Richard Thompson, all of which are influences of mine.
I wonder if he has ever been to the Philadelphia Folk Festival.
Somewhat interesting, ultimately disappointing.......2007-07-22
As previous reviewers said, I "couldn't NOT read this book" and "devour" it with the special anticipation of having seen the words 'Produced by Joe Boyd' on so many of my cherished album covers. However, though it contains a few new facts about the artists and some insight regarding the music business only an insider would know, the book was a disappointment. As earlier reviewers here have stated, it's too short - with not enough information about the actual sessions and music-making itself. The text also seems to be missing something - perhaps over-edited? Perhaps shortened for some reason at the last minute? And some of the potentially fascinating little stories he relates are left dangling in space. The subtitle of the book is 'Making Music in the 1960s', but there's very little of that in the narrative. I wanted to find out what is was like to observe luminaries such as Nick Drake at work in the studio. I wanted to be a fly on the wall at a Fairport Convention session with Sandy Denny & Richard Thompson. What made the Incredible String Band tick? How did these artists get their signature SOUNDS? I was looking for a window on Joe Boyd's working world; What we get are mildly interesting and too-quick glances of the surface of '60s-'70s music.
Sight Unseen, Sound Unheard.......2007-07-17
In the mid to late 60s, there were so many unheralded masterpieces, even the recording companies couldn't keep up with them. Most were relegated to
the old school, family-owned record store. Illinois Speed Press, The United States of America and Joe Boyd and the Field Hippies were a few of them. Some of their members went on to nominal fame in other groups, but they mostly languished in the bargain bins. If this is the same Joe Boyd,
and his way with prose is as adroit as his way with music, you are in
for an incredibly interesting ride. I haven't read the book yet, but I
haven't been moved to make a purchase of anything sight unseen or sound
unheard since I read an article in Hit Parader about CSN three months before their debut album was released in 1969.
Book Description
What Is love? Great minds have been grappling with this question throughout the ages, and in the modern era, they have come up with many different answers. According to Western philosopher Pat Benatar, love is a battlefield. Her paisan Frank Sinatra would add the corollary that love is a tender trap. Love hurts. Love stinks. Love bites, love bleeds, love is the drug. The troubadours of our times agree: They want to know what love is, and they want you to show them. But the answer is simple: Love is a mix tape.
In the 1990s, when “alternative” was suddenly mainstream, bands like Pearl Jam and Pavement, Nirvana and R.E.M.—bands that a year before would have been too weird for MTV- were MTV. It was the decade of Kurt Cobain and Shania Twain and Taylor Dayne, a time that ended all too soon. The boundaries of American culture were exploding, and music was leading the way.
It was also when a shy music geek named Rob Sheffield met a hell-raising Appalachian punk-rock girl named Renée, who was way too cool for him but fell in love with him anyway. He was tall. She was short. He was shy. She was a social butterfly. She was the only one who laughed at his jokes when they were so bad, and they were always bad. They had nothing in common except that they both loved music. Music brought them together and kept them together. And it was music that would help Rob through a sudden, unfathomable loss.
In
Love Is a Mix Tape, Rob, now a writer for Rolling Stone, uses the songs on fifteen mix tapes to tell the story of his brief time with Renée. From Elvis to Missy Elliott, the Rolling Stones to Yo La Tengo, the songs on these tapes make up the soundtrack to their lives.
Rob Sheffield isn’t a musician, he’s a writer, and
Love Is a Mix Tape isn’t a love song- but it might as well be. This is Rob’s tribute to music, to the decade that shaped him, but most of all to one unforgettable woman.
Customer Reviews:
Nice idea, cute story, just not a great book. .......2007-08-30
The story is of the power of music and one tragic loss. The author lost his wife unexpectedly and pieced together a book about their relationship in its before, during and after stages. Each chapter is headed by the tracklisting of a mixtape -- a customized amalgamation of songs, however random -- they had made. I was somewhat under the impression that the chapters would be more about the mixtapes they made together and less mile markers in the chronological tour of their relationship. The songs set the tone (somewhat) for the chapter to come, but there isn't necessarily any cohesion between the song choices themselves and the following few pages.
I understand how difficult it would be to pull that off, but I guess I had pretty high hopes.
Some parts of the book were beautiful in their tribute, but other parts just seemed like simple narrative. There were times when the anecdotes made Sheffield sound like he lived to a ripe old age and here he was remembering his early love. While I am sure we can get into how philosophically much more time passed in his life than ours after she died, he is still a young man. The book may have been cut down by a few pages, in fact all I really needed was some of the set up and the last chapter. In the last chapter it seemed like Sheffield finally let himself feel Renee's absence. Sharing in that, I finally began to feel for him.
For the most part, the book was enjoyable. I would argue that the inclusion of music into the story was a little over done (with countless references, name drops and lyrics spread throughout the book), but apparently that was how Rob and Renee lived. Those were the conversations they had.
The feeling I had the most while I read was that his story was a private one. I felt that he needed to write the book for his closure, to preserve her memory and to give himself perspective. While I am honored that he shared Renee with us all, I couldn't help but feel that I was intruding on something that was special to the two of them.
As previously mentioned, the final chapter could live and breathe on its own. The emotion that finally pulsed through those last few pages just about made up for its conspicuous absence earlier in the book. I never read achnowledgements, especailly when they are more than a paragraph but I read these. The last chapter spilled over into them and I couldn't help myself. I wanted to see the final goodbye and thank you written to Renee. After thanking everyone who helped write the book, I wanted to have my heart ripped out by a simple homage to Renee who will now live on forever in text. But while she was mentioned in the acknowledgements, she was never thanked. But then again, maybe that part was just too personal.
Its story, while sometimes buried under excessive music references, was sweet. The book was short; at 219 pages it is short enough to try it even if you aren't sure about it. All in all, Love is A Mix-Tape was a decent book.
Mix it up!.......2007-08-09
I generally don't stray outside the realm of strict fiction, but being a music lover (and a lover of mix tapes (or CDs these days)), I was intrigued by the notion of indexing one's relationship in terms of mix tapes.
I picked the book up on a whim, and then found myself riveted by both the writing and the story that Sheffield offers up. Even though I did not agree with most of the authors musical tastes throughout the book, his story and his love transcend such specifics. Sheffield manages to infuse his tale with both levity and gravity, is witty as well as poignant, often within the same paragraph. Even knowing the twists this tale must take, Sheffield carefully develops his relationship with the reader (and his wife, Renée) so that we acutely feel his greatest triumphs and his lowest blows. As the title proclaims, this is a book about life, and it is a book about loss, and it is all the more beautiful for it.
I found this book a joy to read, as it stands as a testament to how music binds us together and reminded me that each of our lives has a soundtrack to it. What makes this book truly impressive is how Sheffield's extremely personal story so easily becomes engrained within the reader, feeling familiar rather than foreign. It is a lovely tribute, and a wonderful peek at the human spirit. Highly recommended to anyone who loves music of any sort.
Tended to Ramble.......2007-08-03
I enjoyed the premise of the book which was a tribute to Rob Sheffields dead wife, but unfortunately many of the chapters seemed to be the authors stream of consciousness. My book club read this book as one of the members went to Hollins College and lived in the same dorm as Renee. She brought a yearbook and we all got a better idea of who she was. The authors choice of music was very interesting and the band descriptions were fascinating.
It's Not Just About the Music.......2007-07-11
Rob Sheffield's Love is a Mix Tape is a heart-breaking, uplifting, funny, sad and entirely human memoir about love and loss unified by Sheffield's love of music and his life-long penchant for crafting the mix tape. Music fans born in the 60's will recognize most of the music (and understand why, for example, the eighth grade dance mix tape had to have Free Bird and Stairway to Heaven to end the sides), but I don't think you have to know much about the music he mentions to enjoy this wonderful book because the book simply uses music as a way into his story about Renee. Renee was his wife with whom he shared an intense love and they found love through love of music as well. Renee died suddenly, tragically at a young age, but somehow Sheffield's engaging personality comes through so well in his writing that he makes this memoir overall an uplifting read, despite the undertones of intense sadness and loss. The love he has for Renee (and she for him) and the love of music, Sheffield's charming, self-deprecating humor makes this a wonderful read. I recommend this one to all, music-obsessed or not. Enjoy.
Captivating.............2007-07-05
Before reading this book, I was familiar with lots of Rob Sheffield's work with Rolling Stone. I would often buy the magazine specifically for his articles. His amazing writing also comes through in this memoir. I was completely engrossed in every page and every musical reference, even crying during many of these times. I would read this book over and over again. Such a sad story told in a remarkably dignified way.
Book Description
Rockin' Out provides a comprehensive social history of popular music in the United States from the heyday of Tin Pan Alley to the current sounds of electronic dance music and teen pop, from the invention of the phonograph to the promise of the Internet. It offers an analysis and critique of the music itself and the conditions of its production and consumption. The book is organized chronologically and thematically around particular genres/styles of music and addresses such dimensions as race, class, gender, ethnicity, technology, copyright and the structure of the music industry as they affect the development of the music. The author examines the Tin Pan Alley era, mass media and the construction of race, the rise of rhythm and blues, the eruption of rock 'n' roll, the reaction to rock 'n' roll, the sixties, fragmentation of pop, the poles of pop, the eighties, youth culture and censorship, packaging pop for the new millennium and the future of music. For music fans and historians.
Customer Reviews:
Formidable!!.......2006-12-12
This book was truely beneficial in interpreting and learning music history. The pictures and articles relate very much to college students in the modern day. It was an easy read and as a professor it was easy to make exam questions based on readings. Je l'aime bien!
Book Description
How does a simple piece of wood become a violin, the king of instruments? Watch and find out as Eugene Drucker, a member of the world–renowned Emerson String Quartet, commissions Sam Zygmuntowicz, a Brooklyn craftsman, to make him a new violin. As he tells this extraordinary story, journalist John Marchese shares the rich lore of this beloved instrument and illuminates an art that has barely changed since the Renaissance.
Marchese takes readers from start to finish as Zygmuntowicz builds the violin, from the first selection of the wood, to the cutting of the back and belly, through the carving of the scroll and the fingerboard, to the placement of the sound peg. Though much of the story takes place in the craftsman's museum–like Brooklyn workshop, there are side trips across the river to the rehearsal rooms of Carnegie Hall and Lincoln center, and across the world. Stops on the itinerary include Cremona, Italy, the magical city where Antonio Stradivari (and a few of his contemporaries) achieved a level of violin–making perfection that has endured for centuries, as well as points in France and Germany integral to the history of the violin.
A stunning work of narrative nonfiction that's also a finely crafted, loving homage to the instrument that most closely approximates the human voice.
Customer Reviews:
Great insight into the mind and craft of a luthier.......2007-06-06
Sam Zygmontowicz is one of the great contemporary violinmakers, and John Marchese has more than done him justice in describing the process of his making a violin (for the Emerson String Quartet's first violinist, Gene Drucker). In the process, Marchese takes us not only into Zyg's studio, but also to Cremona, the birthplace of the violin in its modern form (in the 1560s) and the home of the three greatest families of violinmakers--Amati, Stradivari, and Guarneri. In addition, Marchese reports on his meetings with Drucker, who commissioned the violin, and on Drucker's reaction to his new instrument--which complements the Strad on which he had been playing but cannot, in his opinion, fully replace it.
Enjoyable and generally accurate.......2007-04-02
The author gets to the heart of violin making by studying the work of a modern master. The trip to Cremona is a nice feature of the book, along with the interview with the customer for whom the featured violin is being crafted. I'd love to see a documentary film that parallels this book, with Marchese directing. The references for further reading will help a reader who's inspired by Marchese's book to pursue the study of violin fact and violin mythology.
Book Description
Renowned for its comprehensive coverage of genres and styles in Western music from antiquity to the present, A History of Western Music has secured its place—through six editions and for almost half a century—as the definitive resource for every musician. In this latest edition, J. Peter Burkholder has renewed and updated the book to suit the ways in which instructors teach and students learn today, all while maintaining the authority and comprehensive coverage that has defined this classic text. In a shift of emphasis, this edition places people making choices at the center of the story. Linking historical and social context directly to musical practice and styles, this edition calls attention to what's important, where it fits, why it matters, and who cares.
Customer Reviews:
A History of Western Music.......2007-02-12
This edition is far superior to it's predecessors. Information is provided in clear, organized formats and the language use is much easier to read for understanding.
Excellent service.......2007-01-09
The book was in the stated condition and was received in a timely manner.
Well, I had to buy it, right?.......2006-11-10
Obviously, it's a textbook... so what can one say?
The book is definitely one of the prettier ones that sits on my shelf. And if you're a music major (which I assume you would be if you had to buy this book), it's THE definitive music history textbook.
Always perfect music history~.......2006-10-19
This time is my 3rd time to purchase new edition of A History of Western Music. I studied from 5th edition. This new edition is more easy to study. Fully recommended~
Lots of facts, no analysis.......2006-07-22
When I found what I believe to be the first edition (from 1960) in a thrift store for $1, I had no idea that this was considered the pre-eminent music history textbook. Consequently, I approached it as "pleasure" rather than assigned classroom reading. And I am in full agreement with the assessment that the writing is dry in the extreme - and I admit that I skimmed certain sections rather than reading them all the way through. Compared to the writing of critics such as Donald Tovey, Norman Lebrecht, Alex Ross, Jonathan Saville, or August Kleinzahler, Grout is not "entertaining;" as I explain below, he does not even meet the definition of "critic."
My own systematic introduction to Western art music began with the Baroque period, with a brief mention that there was something called "Gregorian Chant" which preceded it. Grout's treatment is the polar opposite of this approach; he begins with Greek antiquity and proceeds forward through the medieval and renaissance periods in such detail that Bach is not encountered until the book's halfway point. Yet despite this inclusiveness, there is no mention of Hildegard von Bingen, who I had assumed to be a major early Renaissance composer. As an introduction to the field, this may not be the most useful approach; the neophyte may wish for greater concentration on the composers he is more likely to hear. Sensibly, Grout limits his presentation of the 20th century to the giants (Stravinsky, Schoenberg) whose significance was apparent at the halfway point, with brief mentions of others; he may be forgiven his extensive section on Hindemith, who may have appeared more important in the 1950s than he has since become. Nevertheless, I give the book five stars for inclusiveness.
I must temper this position by awarding three stars for the nearly complete absence of any context within which the music took form. Grout not only neglects any discussion of the historical events surrounding the composers; there is no mention of events within the composers' own lives that may have affected their creativity. It is as if the music took form within a vacuum, with no relation to anything except the music that came before it, whether in continued development or opposition. The timeline in the appendix is woefully inadequate in this regard, a mere chronology with no relation other than temporal to the events noted.
It is a modern convention that art is more properly understood through historiographical analysis; that some relationship exists between artistic creativity and the society within which it is created. It goes without saying that an artist's work also springs from his own life experiences. Shostakovich cannot be understood without the awareness that his music was an expression of his opposition to Soviet Communism; it is of interest to note Mozart's complete subservience to his own political environment. If it is unfair to criticize this edition of Grout for not exploring pathways which to us seem obvious, then by the same token, the book is itself subject to historiographic deconstruction. It is valuable not so much as a resource for information on Western art music composers, but as a snapshot of the academic attitude toward those composers current in the 1950s. As I have not read any later editions, I can't comment on whether this deficit has been corrected - but this would have required a complete reorientation of the author's philosophy.
Most inexcusably, Grout concludes with a brief observation of the rift between the public and classical music composers (especially the modern ones), with no thoughts as to the implications this may have on the future of this art form. Again, the music is viewed as existing in a vacuum, unrelated to the world at large and the lives of the composers who created it. This bespeaks the astonishing opinion that Western art music has no importance for anyone outside the small circle of specialists directly concerned with it. It was, and is this very attitude that to a large extent is responsible for the peripheral place this great tradition has in society today, and the risk of its continued marginalization in the future.
Book Description
Here, for the first time, is the story of Pink Floyd from the inside out. With 116 million albums sold worldwide and 25 years on the pop charts to their credit, Pink Floyd is one of the most successful rock groups in history, yet their story until now is one of the least known. The only continuous member of the band through its entire 40-year history, Nick Mason has witnessed every twist, turn, and sommersault from behind his drum kit. The journey begins with the band's origins as the darlings of London's late 1960s underground and the creation of the classic Pink Floyd sound, all the way through to The Wall and those legendary stadium shows. Here are the players who shaped the band's history and the story behind the story the inside perspective on, for example, the deterioration and departure of Syd Barrett; the overwhelming success of The Dark Side of the Moon and the resulting pressures and conflicts within the band, including the rift with Roger Waters; and Nick and David Gilmour's decision to put their reputations on the line and continue as Pink Floyd. Packed with rare photographs and vintage Floyd graphics from Nick Mason's extensive private archive, Inside Out is an eye-opener for both veteran fans and those just discovering the group. And, in keeping with the classic Floyd style, the book's cover was designed by Storm Thorgerson, creator of such iconic images as the Dark Side pyramid. Always candid, by turns poignant and funny, Nick's own memories are augmented with extensive research and interviews, making Inside Out a comprehensive history of one of the most brilliant and imaginative bands the world has known and a masterly memoir of rock and roll.
Customer Reviews:
item in excellent condition and fast shipment!!!.......2007-09-14
As a true Pink Floyd fan I can sincerely say that this book does a great job in telling the story of this great band.
Awesome book .......2007-01-11
I purchased this item for my son who has been a Pink Flyod/Waters fan since high school. He told me about this book at Christmas, and he is absolutely thrilled with it. The photos are wonderful and the history of Floyd incredible. If you are a die-hard fan, get this book. You won't be disappointed!
Awesome!!.......2007-01-09
As a Floyd fan and a musician, I found this book incredibly interesting. Mason does an perfect job in describing Floyd from it's embryonic state to it's final performance, to it's unlikely Live 8 appearance.
I loved it. I bought it for my girlfriend for Christmas. I ended up reading it from Christmas morning through the following days.
My only negative criticism was that I wish more time had been spent on the why's and how's the in fighting become so overwhelming and so difficult for these guys that they had no choice but to disband. Other than that a great book.
A must for every Pink Floyd fan.......2006-11-03
I was amazed by the size of this book, is huge. Packed with photos and can only be compared with the Beatles Anthology. Nick Mason tells Pink Floyd's history in a cautious and funny way. Learn everything from Syd's decay to David's feud with Waters and everything you wanted to know about The Wall and Dark Side Of The Moon. Is a good reading and a very interesting view of the band from it's early days to Live 8. Get this book now and get The Pink Floyd.
Pink Floyd - The Book.......2006-10-12
If you're a fan of Pink Floyd for their music, you'll probably love this book. I think a lot of the people reviewing this book are forgetting that it was put together by a rock and roll drummer. The book may not go terribly deep into the psychological nuonces of the group, but it sure does lay out one hell of a collection of images for you to make what you will of their career. This book is kind of like looking through Nick Mason's photo album and reading captions he wrote to remind himself of what was going on in the pictures. The text won't let you in on the stuff you would've missed by not being there, but the photos give you a glimpse of his memories and experiences. Don't treat this book as a Pink Floyd biography, it's best viewed as a giant booklet included in a giant box set, the box set being Pink Floyd's entire musical career (which most people buying this book probably already own).
Book Description
OnMusic: Appreciation is the first truly interactive, multimedia course for music appreciation
This exciting, interactive product integrates high-bandwidth audio-visual materials, provided on a student CD-ROM, with web-based, customizable low-bandwidth course content and management tools. Students simply purchase the CD-ROM containing the music, graphics, and video that the online course component draws from, log on to the course website, and they’re ready to start learning. The course CD-ROM allows instant, random access to the music, animated presentations, audio-linked photos, and instructional videos regardless of Internet connection speed and file size. The web-based portion provides customizable text content, communication, and advanced Learning Management System (LMS) tools that replicate virtually every administrative and academic aspect of a traditional face-to-face learning environment. The seamless integration of CD-ROM and web-based course materials and tools allows for the richest possible teaching and learning experience online. Discover how
OnMusic can revolutionize your campus-based or distance-learning music appreciation course! Visit
www.connect4education.com or contact your McGraw-Hill representative for more information.
Customer Reviews:
Not Yet Ordered.......2007-06-04
I wonder why Amazon takes 5-7 weeks when the vendor is shipping with next day. Here's a very classic case where text book industry is a big sham and needs some regulating -- just like Enron they over charge, because you can't get it elsewhere. This product is $15 more than Amazon, plus another $20 for next day shipping. Although, this is not all that bad, in general, the whole educational text book industry needs to be fixed.
Open to Music.......2006-08-15
This course was actually pretty enjoyable. It a shame how expensive the CD required is and the really sad part is that it's not like a textbook you can resell. I tried reselling it without knowing that it was a one time use code, but the buyer and I worked things out by..well...they were happy to have the "information" within the registration. Other than how rediculous school textbook prices are these days, the course itself was very simple to understand and multiple choice made it easy.
Word of Warning.......2006-08-12
This product accompanies a college course, so it is just about as interesting as you might expect. It was completely bearable, and I really have no interest in music.
But - a WORD OF WARNING - do NOT buy this item used! It can only be used with a NEW PRODUCT KEY and once the item has been used once, it cannot be used again. There are DISHONEST people who sell the used CD set used to make a quick buck, but the CD's are USELESS to you if they do not have a BRAND NEW KEY.
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