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.

Music in the Western World: A History in Documents

Average customer rating:

Good service
Highly Recommended
Fine collection edited skillfully for readability & breadth
Best collection of its kind
recommended

Music in the Western World: A History in Documents
Piero Weiss , and Richard Taruskin
Manufacturer: Schirmer
ProductGroup: Book
Binding: Paperback

General | Music | Entertainment | Subjects | Books

History & Criticism | Music | Entertainment | Subjects | Books

All Titles | Qualifying Textbooks - Fall 2007 | Stores | Books

Entertainment | Qualifying Textbooks - Fall 2007 | Stores | Books
Similar Items:

ASIN: 0028729005

Book Description

This classic anthology assembles over 200 source readings, bringing to life the history of music through letters, reviews, biographical sketches, memoirs, and other documents. Writings by composers, critics, and educators touch on virtually every aspect of Western music from ancient Greece to the present day.

Customer Reviews:

Good service.......2007-01-09

This book was in stated condition and was sent in a timely manner.

Highly Recommended.......2005-10-27

Music for the Western World is an excellent anthology of source readings in western music history. Texts are well-chosen and entirely relevant to the period being discussed. What's unique about this book is the breadth of issues addressed and variety of sources cited. You get to hear from all sorts of people, from composers, to critics, to philosophers, and the texts offered take the form of letters, articles, reviews, autobiographies. All is given within a clear historical context, with reference to such events as the Reformation, French Revolution, and World Wars. Interesting introductions by editors Richard Taruskin and Piero Weiss (my professor at the Peabody Conservatory) as well as pictures, diagrams, and a good glossary allow this book to go beyond being simply a textbook. Anyone with an interest in music will find it easy to understand and entirely enjoyable.

Fine collection edited skillfully for readability & breadth.......2004-06-17

This is a particularly fine collection of a couple of hundred readings on Western Music from the ancient Greeks to the 1980s. That is a broad span, but the editors, Weiss and Taruskin, have done a fine job and keep things moving in a lively manner. The energy and vitality of these articles holds the reader's interest and wondering what treasure is coming next.

Of course, this is a perfect volume for students in courses on music history and music appreciation, but it is also a very fine book for the general reader who is interested in learning more about the history of Western Art Music ("Classical Music").

What I like about volumes of source readings is the way the writings give a better context and flavor of their time than any later writing. Yes, the editors have to provide some context for us, and the editors do make choices about what to provide to us and they are almost always in translation, but they make a valuable contribution to one's education about the matters at hand.

This is a fine collection that is edited in a skillful way for readability, breadth, and vitality. Superb job!

Best collection of its kind.......2003-06-22

A fabulous collection for professors, students, and amateurs alike. More concise than others out there without sacrificing the breadth and importance of the readings. Editors' introductions are extremely helpful in placing each reading in context. A must-have for evey music lover.

recommended.......1999-07-29

Well...an entertaining and thought-provoking selection of essays and curiosities. It amused me to learn that Shoenberg called Stravinsky (with bitter sarcasm) "Modernsky". Milton Babbitt's notorious "Who Cares If You Listen?" article is followed by an apposite rebuttal evoking (though not alluding to) the second part of C.S. Lewis's brilliant "The Abolution of Man".

Amazon.com

When Nashville's National Life and Accident Insurance Company created radio station WSM as an advertising vehicle--the call letters representing their corporate slogan, "We Shield Millions"--no one suspected its "old-time music" program would one day be country music's shining star. In A Good-Natured Riot, author Charles Wolfe offers a thorough, valuable examination of the Grand Ole Opry's formative years, answering the questions that the genre's recorded history cannot (simply because most of the Opry's earliest stalwarts were part-time musicians who were rarely recorded). Interestingly, WSM wasn't the first station to broadcast old-time music, and the citizens of Nashville, who considered theirs to be an erudite and cultured city, despised hillbilly music and any association with it. Nevertheless, the nearby Tennessee hills offered a wealth of authentic old-time music, and rural folks from all across the U.S. (the airwaves were quite clear at the time) adored the sounds of Uncle Jimmy Thompson and Dr. Humphrey Bate. Soon enough, the music's popularity led WSM station manager George Hay to create a weekly Barn Dance program in the fall of 1925.

The bulk of Wolfe's chronicle is told through discussions of the Opry's stars, their lives, and their music, adding station logs, repertoire listings, press releases, and news clippings to his own extensive interviews and research. He progresses from early staples like Bate, Thompson, DeFord Bailey, and Uncle Dave Macon (the only early member who was actually a well-known professional musician), to innovators like the McGee Brothers, Fiddlin' Arthur Smith, and the Delmore Brothers, to Roy Acuff and Bill Monroe, who brought country music into the modern age. By the time Acuff and Monroe held sway, circa 1940, the Opry had become a nationally syndicated NBC show and most of its stars were actively and successfully making records. Wolfe documents the first 15 years of the Opry in incredible detail, and in doing so illustrates the development of old-time music from homespun, informal diversion to finely honed commercial powerhouse. --Marc Greilsamer

Book Description

On November 28, 1925, a white-bearded man sat before one of Nashville radio station WSM's newfangled carbon microphones to play a few old-time fiddle tunes. Uncle Jimmy Thompson played on the air for an hour that night, and throughout the region listeners at their old crystal sets suddenly perked up. Back in Nashville the response at the offices of National Life Insurance Company, which owned radio station WSM ("We Shield Millions"), was dramatic; phone calls and telegrams poured into the station, many of them making special requests. It was not long before station manager George D. Hay was besieged by pickers and fiddlers of every variety, as well as hoedown bands, singers, and comedians-all wanting their shot at the Saturday night airwaves. "We soon had a good-natured riot on our hands," Hay later recalled. And, thus, the Opry was born.

Or so the story goes. In truth, the birth of the Opry was a far more complicated event than even Hay, "the solemn old Judge," remembered. The veteran performers of that era are all gone now, but since the 1970s pioneering country music historian Charles K. Wolfe has spent countless hours recording the oral history of the principals and their families and mining archival materials from the Country Music Foundation and elsewhere to understand just what those early days were like. The story that he has reconstructed is fascinating. Both a detailed history and a group biography of the Opry's early years, A Good-Natured Riot provides the first comprehensive and thoroughly researched account of the personalities, the music, and the social and cultural conditions that were such fertile ground for the growth of a radio show that was to become an essential part of American culture.

Wolfe traces the unsure beginnings of the Opry through its many incarnations, through cast tours of the South, the Great Depression, commercial sponsorship by companies like Prince Albert Tobacco, and the first national radio linkups. He gives colorful and engaging portraits of the motley assembly of the first Opry casts-amateurs from the hills and valleys surrounding Nashville, like harmonica player Dr. Humphrey Bate ("Dean of the Opry") and fiddler Sid Harkreader, virtuoso string bands like the Dixieliners, colorful hoedown bands like the Gully Jumpers and the Fruit Jar Drinkers, the important African American performer DeFord Bailey, vaudeville acts and comedians like Lasses and Honey, through more professional groups such as the Vagabonds, the Delmore Brothers, Bill Monroe and the Blue Grass Boys, and perennial favorite Roy Acuff and his Smoky Mountain Boys.

With dozens of wonderful photographs and a complete roster of every performer and performance of these early Opry years, A Good-Natured Riot gives a full and authoritative portrayal of the colorful beginnings of WSM's barn dance program up to 1940, by which time the Grand Ole Opry had found its national audience and was poised to become the legendary institution that it remains to this day.

"Of the many academics who've written country music books . . . only one, Charles Wolfe, truly has mainstream appeal. Why? Because he combines outstanding writing with research to create work that is both academically worthy and accessible to a wide audience."-Rich Kienzle, Country Music magazine

"Absorbing. Lots of fun to read. You can almost hear the music."-Roy Blount Jr., author of Be Sweet: A Conditional Love Story

"An excellent piece of work, marked by a clear style of writing and a masterful command of relevant research materials, both written and oral."-Bill Malone, author of Country Music, U.S.A.

Customer Reviews:

Early Years of a Radio Classic.......2002-11-22

Using biographies of early stars, Charles Wolfe deftly weaves the history of one of the longest running radio programs. The result is a highly readable, entertaining, and educational survey of the Opry's first two decades. This period was dominated by string bands, such as those led by Dr. Humphrey Bate, Theron Hale, and the Brinkley Brothers. But individuals soon came to dominate the program. Chief among them the irrepressable Uncle Dave Macon and the man who would become the living embodiment of the Opry, Roy Acuff. Wolfe is equally adept at discussing both entertainers' personalities and the business of radio and programing. This book belongs in every Country music and radio lover's collection.

A riveting history of the Grand Ole Opry.......2000-07-27

This book excels all that I have read about a fascinating subject! Contrary to most history books, you'll read this one until you finish it, I promise.

Excursions in World Music & Study Guide Package (4th Edition)

Average customer rating:

Aptly titled
Not horrible for an introductory textbook for world music
A Great Excursion with a Great Tour Guide!

Excursions in World Music & Study Guide Package (4th Edition)
Bruno Nettl , Thomas Turino , Isabel Wong , Charles Capwell , and Philip V. Bohlman
Manufacturer: Prentice Hall
ProductGroup: Book
Binding: Paperback

General | Music | Entertainment | Subjects | Books

General | Education | Nonfiction | Subjects | Books

General | Education | Reference | Subjects | Books

General | Test Prep Central | Reference | Subjects | Books

General | Education | Professional & Technical | Subjects | Books

Look Inside Nonfiction Books | Trip | Specialty Stores | Books

Look Inside Reference Books | Trip | Specialty Stores | Books

All Titles | Qualifying Textbooks - Fall 2007 | Stores | Books

Entertainment | Qualifying Textbooks - Fall 2007 | Stores | Books

Nonfiction | Qualifying Textbooks - Fall 2007 | Stores | Books

Professional | Qualifying Textbooks - Fall 2007 | Stores | Books

Reference | Qualifying Textbooks - Fall 2007 | Stores | Books
Similar Items:

ASIN: 0131073281

Book Description

This dynamic book takes readers on a vivid exploration into the major musical cultures of the world by first presenting a lively vignette of a musical occasion, and then placing that occasion in the context of a general description of the society and musical culture. KEY TOPICS The book divides the world into ten major culture areas—and devotes a chapter to each, exploring the musical cultures of such fascinating lands as India, the Middle East, Indonesia, Sub-Saharan Africa, and Latin America. The presentation features a synthetic treatment of musical life and ideas about music, musical style, music history, and musical instruments; briefly describes additional musical genres or contexts; and considers recent developments. For individuals interested in the music of the world.

Customer Reviews:

Aptly titled.......2001-09-07

This book presents a series of articles on music and the role of music in a variety of cultures around the globe. The articles each begin with a description of a musical event or concert in a culture, then go on to give more details about characteristics of a wide range of musical styles in that culture. The featured description in each chapter is usually some sort of traditional or classical style for that culture, and popular music in the culture is treated briefly. I found a few of the musical terms hard to understand, never having studied musical theory myself. Perhaps some of these terms would have become more clear through listening to the oft-mentioned accompanying CD, which I unfortunately don't have. There is a glossary in the back of the book, but its definitions are not sufficient to make meanings clear to someone without a thorough grounding in world music. In a few places, the proofreader missed some details, as for example, p. 46 the map of the Middle East shows UAR where the UAE is supposed to be! In addition to the use of technical terms without explanations, the lack of an overall big picture of world music makes this book more of a resource to dip into for background readings than a systematic introduction to the subject. It would work well as readings for a course, but is not ideal for self-study.

Not horrible for an introductory textbook for world music.......2001-04-22

I am currently a teaching assistant for a class which uses this textbook. Comparatively, this is probably one of the better introductory textbooks for students who are not necessarily musically inclined, such as the class I work with. There is not a great deal of technical music jargon and it provides some decent contextualizations. However, some chapters are lacking in information and can be quite a dull read for students, such as the chapter on Japanese music. And at times authors give too much in the way of personal "fieldwork" anecdotes instead of covering other areas or possible issues. The third edition came out not too recently, but from what I can tell, contains almost the exact same information as the second.

A Great Excursion with a Great Tour Guide!.......2000-03-18

I first came across this book when still a student taking an introductory course in asian music cultures. It was and is still is a great read especially for students who are non-musicology majors and have a tendency to get lsot in more technical books. The language, style, presentation and discussion is simple and interestingly handled. Not too scholarly as to be overwhelming. Great background on the socio-cultural context of the music.

Ludwig Van Beethoven (Getting to Know the World's Greatest Composers)

Average customer rating:

An entertaining juvenile biography of the great Ludwig Van

Ludwig Van Beethoven (Getting to Know the World's Greatest Composers)
Mike Venezia
Manufacturer: Children's Press (CT)
ProductGroup: Book
Binding: Paperback

General | Biographies & Memoirs | Subjects | Books

Look Inside Children's Books | Trip | Specialty Stores | Books

Look Inside Entertainment Books | Trip | Specialty Stores | Books

General | Biographies & Memoirs | 4-for-3 Books Store | Stores | Books

All 4-for-3 Deals | 4-for-3 Books Store | Stores | Books
Similar Items:

ASIN: 0516200690

Customer Reviews:

An entertaining juvenile biography of the great Ludwig Van.......2003-02-12

Mike Venezia's Getting to Know the World's Greatest Composers series tends to focus on biographies rather than music appreciation because unlike his companion series on the World's Greatest Artists you cannot include a sonata the way you can a reproduction of a painting. However, for Ludwig Van Beethoven the author/illustrator makes an exception. This volume begins with an appreciation for how Beethoven changed the sound of music (no more party music). Within that context Venezia provides the expected biography, complete with historic ethics and paintings as well as those funny cartoons; just think Beethoven as the Liberace (if you are over 50) or Elton John (if you are under 50) of his day. There is also a photograph of his eyeglasses and metal ear trumpets. However, Venezia only mentions a handful of specific works by Beethoven, touching on how the 3rd symphony represented Napoleon, the four-note theme of the 5th Symphony, and going into some depth on the 6th Pastoral Symphony (but no mention of the glorious 9th Symphony or his other masterworks). Still, I appreciate the attempt to get more into Beethoven's music than he has done in other volumes of this series, which covers not only the great classic composers like Handel and Mozart, but also contemporary composers from Aaron Copland and George Gerswhin to Duke Ellington and the Beatles. As always, the recommendation is for young readers to have listened to some of Beethoven's masterpieces before, during and after reading this engaging juvenile biography and mini-music appreciation lesson.

Piano: A Photographic History of the World's Most Celebrated Instrument

Average customer rating:

Some assembly required
Should have ten stars!
A wonderful resource for the piano fan!

Piano: A Photographic History of the World's Most Celebrated Instrument
Crombie
Manufacturer: Backbeat Books
ProductGroup: Book
Binding: Hardcover

General | Music | Entertainment | Subjects | Books

History & Criticism | Music | Entertainment | Subjects | Books

General | Photography | Arts & Photography | Subjects | Books

General | Arts & Photography | Subjects | Books

Criticism | History & Criticism | Arts & Photography | Subjects | Books

Look Inside Entertainment Books | Trip | Specialty Stores | Books
Similar Items:

ASIN: 0879303727

Book Description

This is the most spectacular and informative book ever assembled on the history of the piano. Features a collection of 200 stunning photos of more than 150 pianos ranging from the instrumentÕs earliest roots to todayÕs magnificent upright and grand pianos. Includes specifications for each instrument shown, information on the mechanics of pianos, manufacturer profiles, and more. Hardcover.

Customer Reviews:

Some assembly required.......2005-02-26

The book is nice visually, as a gallery of handcrafted wooden marvels, many hundreds of years old, and has a wealth of interesting facts and photos, but, because it is so fragmented, is not a history that can be easily read straight through. For a briefer history, but with descriptions and samples of modern makers, and with maintenance and buying advice, get The Piano by Jean-Paul Williams. Just as nice visually.

Should have ten stars!.......2000-08-14

If your musical bookshelf has room for only one book about pianos, then it MUST be this one. It is truly gorgeous to look at, lavishly and lusciously illustrated with color photos on every page. Once you get past its pretty face, however, you'll be pleased by the technical content as well. Presented in easy-to-understand fashion and accompanied by 200+ color photos of some 150 keyboard instruments, or paintings that feature keyboards or some other facet of music appreciation, here is the history of these marvelous instruments from the late 1600s right up to the very latest electronic machines, all in one, wonderful-to-look-at volume.

There are four double, double-page fold-outs (four-page centerfolds, if you will, but minus staples) with full-color photos of the best examples of the craftsmanship being explained in easy-to-understand language. The last one is my particular favorite, unveiling modern--even futuristic--examples of art as partner with design and function. On the regular pages, there are diagrams demonstrating the various keyboard instruments and the sometimes subtle differences between them. There is a chronology of piano manufacturers or 'houses' plus an alphabetical description or short history of them; a discography of recordings made on 'notable' (author's term, not mine) pianos and a glossary of terminology used in the book as well as the instruments, plus an index. Truly, everything you always wanted to know about these marvelous instruments--with the bonus of those wonderful, scrumptious photographs.

It's as much an ART book, as it is a MUSIC book, or even a HISTORY book. It's on my shelf, and it should be on yours. I wish I could give it ten stars! At the very least.

A wonderful resource for the piano fan!.......1998-07-02

David Crombie has compiled the definitive collection of facts and photos detailing the evolution of the world's most popular musical instrument, The Piano. Glorious color photographs, detailed construction techniques, why some designs survived while others did not, interesting insights into many of the builders and player/composers for which this most intricate of musical instruments were built, fill the pages of a book that should be in the library of any and all that love music in any form. Crombie has presented the development and evolution of the piano in an easy to read and hard to put down reference book.

Mande Music: Traditional and Modern Music of the Maninka and Mandinka of Western Africa (Chicago Studies in Ethnomusicology)

Average customer rating:

Encyclopedic in scope and clearly written
Best of Its Kind!
Mande Music

Mande Music: Traditional and Modern Music of the Maninka and Mandinka of Western Africa (Chicago Studies in Ethnomusicology)
Eric Charry
Manufacturer: University Of Chicago Press
ProductGroup: Book
Binding: Paperback

General | Music | Entertainment | Subjects | Books

Look Inside Entertainment Books | Trip | Specialty Stores | Books

All Titles | Qualifying Textbooks - Fall 2007 | Stores | Books

Entertainment | Qualifying Textbooks - Fall 2007 | Stores | Books
Similar Items:

ASIN: 0226101622

Book Description

With Mande Music, Eric Charry offers the most comprehensive source available on one of Africa's richest and most sophisticated music cultures. Using resources as disparate as early Arabic travel accounts, oral histories, and archival research as well as his own extensive studies in Mali, Guinea, Senegal, and the Gambia, Charry traces this music culture from its origins in the thirteenth-century Mali empire to the recording studios of Paris and New York. He focuses on the four major spheres of Mande music—hunter's music, music of the jelis or griots, jembe and other drumming, and guitar-based modern music—exploring how each evolved, the types of instruments used, the major artists, and how each sphere relates to the others. With its maps, illustrations, and musical transcriptions as well as an exhaustive bibliography, discography, and videography, this book is essential reading for those seeking an in-depth look at one of the most exciting, innovative, and deep-rooted phenomena on the world music scene. A compact disc is available separately.

Customer Reviews:

Encyclopedic in scope and clearly written.......2002-07-11

A couple of years back I was perusing the contents of production sampling CD's, hunting for African percussion sounds to write music with on my sampling keyboard. I kept coming across names for drums like "tatango", "sabar", "sabaro", "kutiriba", "kutirindingo", and so on. I wondered that the different names meant, and how are/were these instruments used together to generate music, either traditional-sounding or else a fusion of various elements/styles? And what did the drums look like, and how was each one crafted? (Oftentimes these made-for-producers' CD's are remarkably devoid of useful documentation.) I found all the answers I needed in this book, clearly delineated.

For starters, the Mande people and their close relatives inhabit a relatively large area of westernmost Africa, including much of Mali, Guinea, and Senegambia, as well as parts of the Ivory Coast, Sierra Leone, and to a lesser extent, other surrounding countries.

As regards this specific topic alluded to above - the farthest western branch of the Mande world mainly uses a three-drum ensemble of modified hourglass-shaped drums (waisted drums, shaped somewhat like a section of the symmetrical outline of a female torso as seen frontally or from behind). The ensemble is known collectively as "kutiro". The drums usually use peg-style tuning rather than the more familiar Malian weave tuning/suspension seen on djembe drums from further to the east.

Tatango and sabaro are synonyms for the kutiro ensemble. Sabaro is also the name of one of the three (different-sized) drums of the ensemble--kutiriba and kutirindingo are the others. By contrast, the "sabar" drums are further to the west, from the coastal Wolof tribe, a non-Mande people. There are 5-7 different-sized drums in the sabar/Wolof ensembles, most which look like the kutiros although one is barrel-shaped and still another is a small hourglass-shaped talking drum with an iguana skin drumhead.

'Mande Music' the book is filled with clearly delineated info such as this. It is comprehensive in scope, and very well organized. It's amazing that the author got access to such a wealth of information, then managed to write about it is so useful a manner.

He covers the historical and sociocultural dimensions of this music, then dives into categorical and individual discussions of the instruments, their tunings, distribution, and repertoire as well. Besides the numerous photographs and drawings, there is quite a number of useful maps [for instance, showing the distribution of the various types of harps and xylophones in West Africa, their names, tribes, and differing physical characteristics]. There are detailed charts showing tunings of the various instruments.

There are a number of transcriptions, which are sonically illustrated on the CD, which must be purchased separately. Be sure to check out the extensive appendices, as well as the 4-page glossary of African terms used in the text, and there is an index of people and another of subject/topic.

Especially amazing are the 28-page bibliography and 24-page discography/videography (all in fine print). The discography/videography is organized according to country.

Best of Its Kind!.......2001-08-10

Excellent! Eric's work is unparalleled. In a time when our world is getting a little smaller, Eric gives us the information in a clear and concise manner. Well done!

Mande Music.......2001-05-31

This is an excellent source of information, if you want to expand your mind with new musical notions and information this is the book for you. This study of the west African Maninka music conducted by the Chicago eth. is excellenty. I highly recommend it.

Quarter Notes and Bank Notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries (Princeton Economic History of the Western World)

Average customer rating:

Art and Business, together forever

Quarter Notes and Bank Notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries (Princeton Economic History of the Western World)
F. M. Scherer
Manufacturer: Princeton University Press
ProductGroup: Book
Binding: Hardcover

Economic History | Economics | Business & Investing | Subjects | Books

General | Industries & Professions | Business & Investing | Subjects | Books

Business | Music | Entertainment | Subjects | Books

General | Music | Entertainment | Subjects | Books

History & Criticism | Music | Entertainment | Subjects | Books

Look Inside Business Books | Trip | Specialty Stores | Books

Look Inside Entertainment Books | Trip | Specialty Stores | Books

Look Inside History Books | Trip | Specialty Stores | Books

All Titles | Qualifying Textbooks - Fall 2007 | Stores | Books

Biographies & Memoirs | Qualifying Textbooks - Fall 2007 | Stores | Books

Business & Investing | Qualifying Textbooks - Fall 2007 | Stores | Books

Entertainment | Qualifying Textbooks - Fall 2007 | Stores | Books
Similar Items:

ASIN: 0691116210

Book Description

In 1700, most composers were employees of noble courts or the church. But by the nineteenth century, Chopin, Schumann, Brahms, Verdi, and many others functioned as freelance artists teaching, performing, and selling their compositions in the private marketplace. While some believe that Mozart's career marks a clean break between these two periods, this new book tells the story of a more complex and interesting transition.

F. M. Scherer first examines the political, intellectual, and economic roots of the shift from patronage to a freelance market. He describes the eighteenth-century cultural "arms race" among noble courts, the spread of private concert halls and opera houses, the increasing attendance of middle-class music lovers, and the founding of conservatories. He analyzes changing trends in how composers acquired their skills and earned their living, examining such impacts as demographic developments and new modes of transportation. The book offers insight into the diversity of composers' economic aspirations, the strategies through which they pursued success, the burgeoning music publishing industry, and the emergence of copyright protection. Scherer concludes by drawing some parallels to the economic state of music composition in our own times.

Written by a leading economist with an unusually broad knowledge of music, this fascinating account is directed toward individuals intrigued by the world of classical composers as well as those interested in economic history or the role of money in art.

Customer Reviews:

Art and Business, together forever.......2007-01-18

Since I am in the music business, this book has been a good resource for historical information about the never-ending tension between the need to create the greatest art possible while keeping the arts organization in business. I would guess that it's primarily of interest to people in arts management or who do program annotations or who are interested in "behind the scenes" glimpses at how people behave when they're not before the public. I found it good reading, interesting, absorbing, and it has given me a better understanding of how hard it is to keep art and business in harmony.

Arsenio Rodriguez and the Transnational Flows of Latin Popular Music (Studies In Latin America & Car)

Average customer rating:

Arsenio Rodríguez bio
Great Resource and Interesting Read

Arsenio Rodriguez and the Transnational Flows of Latin Popular Music (Studies In Latin America & Car)
David F. Garcia
Manufacturer: Temple University Press
ProductGroup: Book
Binding: Paperback

General | Music | Entertainment | Subjects | Books

General | World | History | Subjects | Books

Look Inside Entertainment Books | Trip | Specialty Stores | Books

Look Inside History Books | Trip | Specialty Stores | Books

All Titles | Qualifying Textbooks - Fall 2007 | Stores | Books

Arts & Photography | Qualifying Textbooks - Fall 2007 | Stores | Books

Entertainment | Qualifying Textbooks - Fall 2007 | Stores | Books

Nonfiction | Qualifying Textbooks - Fall 2007 | Stores | Books
Similar Items:

ASIN: 159213386X

Book Description

Arsenio Rodríguez was one of the most important Cuban musicians of the twentieth century. In this first scholarly study, ethnomusicologist David F. García examines Rodríguez's life, including the conjunto musical combo he led and the highly influential son montuno style of music he created in the 1940s. García recounts Rodríguez's battle for recognition at the height of "mambo mania" in New York City and the significance of his music in the development of salsa. With firsthand accounts from relatives and fellow musicians, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music follows Rodríguez's fortunes on several continents, speculating on why he never enjoyed wide commercial success despite the importance of his music.

García focuses on the roles that race, identity, and politics played in shaping Rodríguez's music and the trajectory of his musical career. His transnational perspective has important implications for Latin American and popular music studies.

Customer Reviews:

Arsenio Rodríguez bio.......2007-06-10

The book all of us Arsenio-ologists have been waiting for, the discography and sidemen info are worth the double its sale price alone....

Great Resource and Interesting Read.......2006-11-21

What a treasure to have an English-language resource that shines light on this important figure, a man who was, and is, simultaneously revered and neglected. The source of many of salsa's most enduring innovations, Arsenio Rodriguez' contributions spanned the mambo era and found resonance when this music re-emerged later as "salsa." Garcia does a fine job of illuminating this for the reader. It should not surprise Americans, as Garcia points out, that these innovations were inspired by Arsenio's profound understanding of Cuba's African traditions. Most refreshing, however, is finding an author who also understands the importance of Arsenio's music as "music for dance." Garcia engages his reader on this point and drives home the critical relationship between Arsenio's music and the dancers, and the importance of this rapport in energizing and sustaining his innovations. Arsenio emerges in this biography as a critical voice in dispelling an entrenched notion that music for dancing cannot be serious music (I am reminded of Ned Sublette's "dancing is an intense listening state," from Cuba and its Music.) And Garcia makes this statement forcefully.

I also applaud Garcia's dissection of this musician/dancer connection--one that is enlivened by interviews with musicians and dancers. He missteps, however, in his definition of the son montuno "basic step." What he describes is more likely a "variation"--one that reflects the inventive styling and footwork of dancers responding to the push and pull of Arsenio's "clave feel." Son montuno was indeed danced using timing that Cubans call "contratiempo." Garcia's analysis of that timing, however, is simply too idiosyncratic.

Overall, this book is substantive. It presents English-language readers with another important resource in moving the discussion of Afro-Cuban music and dance (including salsa), and its West African roots, forward.

Books:

Books Index

Books Home

Recommended Books