Book Description
For years, the most popular classical guitar method ever published! There are exercises, practice studies, and self-tests, a survey of the guitar repertoire and numerous solo and ensemble compositions. Generously illustrated with photos, diagrams, and musical examples. Instruction, including graded exercises, practice studies, and a survey of the guitar repertoire. With CD.
Customer Reviews:
Frustrating book but Very good material .......2007-09-19
I have been playing guitar since I was 14 but only recently I started a systematic study of classical guitar. Once I got the book I was surprised at how thorough it is. The exercises are very well built and the progression seems to be very natural. Actually the exercises sound like pieces of music. I was playing them once and a friend of mine thought I was actually playing a "piece." Speaking of pieces, they are very well selected, in my opinion. I study the notes and then I get to it. The CD helped me tremendously: once I get the piece down, I have the tendency of speeding up. I tried to play with the CD and I am getting better at keeping the tempo stable.
Two negative things though: The binding of the book is not good for this kind of books. The book doesn't stay open on the music stand. Also, the layout needs to improve. Both the exercises and the musical selections are often printed in a way that you have to turn the page. That in itself is annoying but considers also the fact that the book doesn't stay opened flat. The result? A lot of frustration !
Guitar learning book for beginners.......2007-07-20
This is indeed a very excellent book for the beginners. It teaches very good techniques, how to read music, different bits. One can learn a lot just by going through the book. The CD provided with this book is additionally helpful for the people who are learning by themselves. However, it is always advisable to take some initial lessons from a professional.
Classical guitar.......2007-04-12
As someone completely new to guitar this book is very intensive and easy to understand.
Beginning Guitar Books.......2007-03-18
Excellent book. Perfect for the beginning student. Highly recommend this book to all students.
ITEM NOT RECEIVED YET.......2007-03-13
Just to let you know that I have not received the ordered item. The latest delivery date is March 21, so I'm still waiting to receive it.
Regards,
Sandra Rosa
Book Description
In this compulsively readable, fascinating, and provocative guide to classical music, Norman Lebrecht, one of the world’s most widely read cultural commentators tells the story of the rise of the classical recording industry from Caruso’s first notes to the heyday of Bernstein, Glenn Gould, Callas, and von Karajan.
Lebrecht compellingly demonstrates that classical recording has reached its end point–but this is not simply an expos? of decline and fall. It is, for the first time, the full story of a minor art form, analyzing the cultural revolution wrought by Schnabel, Toscanini, Callas, Rattle, the Three Tenors, and Charlotte Church
. It is the story of how stars were made and broken by the record business; how a war criminal conspired with
a concentration-camp victim to create a record empire; and how advancing technology, boardroom wars, public credulity and unscrupulous exploitation shaped the musical backdrop to our modern lives. The book ends with a suitable shrine to classical recording: the author’s critical selection of the 100 most important recordings–and the 20 most appalling.
Filled with memorable incidents and unforgettable personalities–from Goddard Lieberson, legendary head of CBS Masterworks who signed his letters as God; to Georg Solti, who turned the Chicago Symphony into “ the loudest symphony on earth”–this is at once the captivating story of the life and death of classical recording and an opinioned, insider’s guide to appreciating the genre, now and for years to come.
Customer Reviews:
The crisis of classical music?.......2007-08-17
In the last times several books and articles have cast doubts about the future of classical music. Evidences like the ageing of audiences attending concerts or the lack of renewal of repertoires support that thesis. In this context, the writer and critic Norman Lebrecht has published a new book on the subject. To support his thesis, the first part of the book is devoted to the history of the record industry, its rise and its fall, how were founded the companies that lead the sector for half a century; the impact of new technologies (stereophonic sound, digital recording) and formats (LP, CD) in its evolution; and, finally, the present situation where big companies face a shrinking production and a fierce competition from small independent publishers besides the internet and downloads.
Any selection is obviously subjective and the criteria applied can be questioned. Nevertheless it is worth to know the circumstances and fact that were around the making of these records, some of them unanimously considered as absolute references.
What is left after reading the book is a certain air of pessimism. However its reading is worthwhile as it offers a vivid description of the recording industry, well documented with bibliographic references, and what is more important, with the author's personal experiences.
Always entertaining and informative.......2007-07-04
Lebrecht has been placing lilies on the grave of classical music for some time now. A more accurate title would be "The Life and Death of Classical Recording," as classical music itself is alive and well. It is an observable fact that the traditional CD is probably on its way out as a "pop" music vehicle; it would be unrealistic to expect classical recording to be unaffected by the ongoing shift to MP3 and other computer formats. Like the "Death" card of the Tarot deck, signifying not death so much as change, the industry is not dying but evolving in unexpected directions. What must be upsetting for those involved is the unpredictability of change - who, in 1975, would have predicted the prevalence of hip-hop today? The same forces are reflected in classical music, on a smaller scale.
The relative popularity of classical music in the 20th century's midpoint was an anomaly. Through the Baroque, Classical, and Romantic eras, composers were dependent on patronage (Schubert may have been the first serious composer to support himself, primarily through the popularity of his songs for the Biedermeier set, rather than his "serious" music). The typical 19th century European peasant, like his modern American counterpart, may have gone his entire life without hearing a Beethoven piano sonata. The majority, then as now, had their "popular" music.
Lebrecht manages to unearth endless troves of fascinating minutiae. For instance, he relates how Phillips, the inventors of the cassette, partnered with Sony to develop the compact disc. The Dutch wanted the new format to be the same size as the cassette, however, the favorite piece of the Sony chairman's wife was Beethoven's 9th Symphony, too long to fit onto a disk of that size. To accommodate it, the disk's diameter was increased to allow 80 minutes of music, with the center hole corresponding to the size of the smallest Dutch coin.
The list of the "100 best" and "20 worst" recordings don't exactly complement each other. The "100" are sometimes, but not always, the "best;" Lebrecht chose many recordings primarily for their significance, be it artistic, historical, or political. The "20" were not chosen for their lack of significance; in most cases, they represent bad ideas or poor execution by people who should have known better.
Deserves to be placed aside next to the Penguin Guide...........2007-06-21
A fascinating and absorbing read, Lebrecht's expose into the demise of classical music is as revealing as it is heartbreaking. Ten years ago, I was fortunate enough to work at one of the top classical radio stations in the US--(KDFC Classical 102.1 FM in San Francisco)there, I acquired a passion for classical music, reading Grammaphone and the Penguin Guide to Classial Compact Disc's with a fervor as children do with comic books. In short, it was an education in many ways--music as an art form, the aquisition of a refined taste, and a practical education into a highly unpredicatable business.
Lebrecht's book sheds light on all the vanities, egos, and personalities in the industry--past and present. Here is Karajan--masestro grandioso--feared but respected, whose net worth at his death was estimated at over $500 million with most of it derived from reissues of his earlier and better performances. Here is Bernstein, who, considered a somewhat of a second-tier conductor, plagued with insecurities and pretentious self-doubt, would often exasperate orchestras without punctuality or form (often forcing entire orchestras to wait an hour or more before he took to the podium) with his disdain for the inviolate nature of some works that are an inherent part of a country's national identity. Although venerated as a national treasure, Lebrecht paints another dimension to Bernstein; he recalls how the conductor completely botched a recording session with BBC Orchestra to produce one of the "worst classical recordings of all time"--Elgar's Enigma Variations in 1982. A very sloppy and unprofessional approach to a job overall and a personal insult to the dead composer's memory and the English.
What is interesting about this book is how Lebrecht puts it all together; the rivalries between the major labels: Decca, DG, Phillips, EMI and their producers scrambling to be the first to sign an exclusive contract with the industry's power players--Bernstein, Solti, Rattle, among others; how "crossover" discs and performances(a Bono and Pavarotti duo easily comes to mind)ultimately spelled doom for serious classical music fan; how the major labels used sexy CD cover art of young and talented artists like Vanessa Mae, Anne Sophie Mutter and Charlotte Church to increase sales of an already declining market, and the unexpected rise of Klaus Heymann and NAXOS. Here is the budget CD tycoon who taught all the "majors" a valuable lesson by hiring lesser known and Eastern European orchestras looking for work and produced several Grammaphone award-winning discs with Vivaldi's Four Seasons taking away honors as one of the best-selling classical recordings ever produced topping sales of 1.16 million besting even the venerated Arthur Fiedler of the Boston Pops!
If you ever wanted to know the in and outs of a business as fascinating as the classical music industry, this is a must read.
Glad to finally meet Chopin.......2007-06-16
This book is an informative and enjoyable read but I'm most grateful for the Masterpieces List. I bought #15- Chopin Waltzes played by Dinu Lipatti and discovered the Chopin who all the shouting was about. Lipatti's Chopin is sparkling, witty and entirely lacks the dirge-like sound that the other artists in my small collection have. Wow! I can hardly wait to sample others from Lebrecht's list.
A most interesting, if rather depressing, book.......2007-06-15
Norman Lebrecht can always be counted on to stir things up, and this book is no exception. The first half is a brief history of the classical recording industry, which Lebrecht believes to be dead. The second half is an annotated list of recordings, 100 of the most significant of the century, and 20 that should never have been made. The tone is breezy, gossipy, and opinionated; the anecdotes are fascinating, and Lebrecht pulls no punches. One wishes he had checked facts a bit closer, however. For example: Gould's "first on a major label" Goldbergs were preceded by Landowska's on RCA; Rautavaara is by no means a minimalist composer; the Beaux Arts Trio recorded Beethoven's Triple Concerto with Haitink and the LPO, not Masur and the Leipzig Gewandhaus. But these are minor quibbles in what is a very recommendable read.
Average customer rating:
- Calculations are only as good as your numbers
- Pants on fire?
- Accepted History & Chronology Must Be Changed.
- Very Interesting
- History as Science Fiction
|
History: Fiction or Science? (Chronology, No. 1)
Anatoly Fomenko
Manufacturer: Mithec
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Similar Items:
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History: Fiction or Science? Chronology 2 (Chronology)
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History: Fiction or Science? Astronomical methods as applied to chronology. Ptolemy's Almagest. Chronology III
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They Cast No Shadows: A Collection of Essays on the Illuminati, Revisionist History, and Suppressed Technologies
ASIN: 2913621058 |
Book Description
Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.
Customer Reviews:
Calculations are only as good as your numbers.......2007-08-03
Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.
Pants on fire?.......2007-07-19
Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.
Accepted History & Chronology Must Be Changed. .......2007-04-09
There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.
For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.
Very Interesting.......2007-03-07
It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.
History as Science Fiction.......2007-01-10
Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.
I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.
Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.
Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.
I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.
This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.
Average customer rating:
- Chopin: Pianist and Teacher: As Seen by his Pupils
- Must have for anyone seriously studying Chopin
- A must have
- You need this if you play Chopin
- great book on how to play Chopin
|
Chopin: Pianist and Teacher: As Seen by his Pupils
Manufacturer: Cambridge University Press
ProductGroup: Book
Binding: Paperback
Chopin, Frederic
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Chopin's Letters
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ASIN: 0521367093 |
Book Description
The accounts of Chopin's pupils, acquaintances and contemporaries, together with his own writing, provide valuable insights into the musician's pianistic and stylistic practice, his teaching methods and his aesthetic beliefs. This unique collection of documents, edited and annotated by Jean-Jacques Eigeldinger, reveals Chopin as teacher and interpreter of his own music. Included in this study is extensive appendix material that presents annotated scores, and personal accounts of Chopin's playing by pupils, writers, and critics.
Customer Reviews:
Chopin: Pianist and Teacher: As Seen by his Pupils.......2007-02-14
I satisfied with this book very much.
Must have for anyone seriously studying Chopin.......2006-07-14
To the general public Chopin is famous for his beautiful piano music. However, in his days he also was a renowned piano teacher with some revolutionary ideas (at least for his time) about piano technique. His students included rich, aristocratic ladies (he had to make a living) and some very talented students.
Luckily many of the things Chopin told his students during their lessons have been preserved in various diaries and notes by his students and have now been compiled in this book.
Also, Chopin made a start with a piano method (which he did not complete). This method is also included in this book.
If you are a piano student this book is simply a must-have.
If you are not a pianist, but seriously interested in Chopin's ideas about (his own) music and teaching you also should buy this book.
JJ Eigeldinger wrote more excellent books about Chopin which unfortunately are still only available in French.
A must have.......2004-06-06
AAA++++...a must have book if you are serious about playing Chopin. A wealth of valuable information. Very highly recommanded.
You need this if you play Chopin.......2004-02-15
You need this book if you play Chopin. There is a wealth of information on playing Chopin's music directly from the composer and his pupils. It has answered many questions and cleared up some misconceptions I had about this music.
great book on how to play Chopin.......2002-08-17
For those of us who bungle at the keyboard and can always use more guidance, this book offers a great start in understanding Chopin's music. Probably the most difficult piece to play in public is Chopin Ballade No. 4, and Chopin offers some incredible insight into how he wanted it played. As you know, the music notation on the sheet cannot cover every intention of the composer, much like writing cannot capture everything, but most of what we want to say. This book supplements your understanding of the music. I would not be surprised if your great piano teacher pulls material out of this book in order to advise you on how to play Chopin.
Average customer rating:
- Very clear explanations and examples, the best of its kind...
- Good But..........
- Do you know a better one? Tell us !
- Great introduction to Harmony
- Still a gem! I think. Part I of Review
|
Harmony: Fifth Edition
Walter Piston , and
Mark DeVoto
Manufacturer: W. W. Norton
ProductGroup: Book
Binding: Hardcover
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ASIN: 0393954803 |
Customer Reviews:
Very clear explanations and examples, the best of its kind..........2007-05-05
This is volume is basically a text on traditional harmony that is riddled with examples taken from classic music. It is well-organized, very readable and in my opinion the best of its kind.
While this book is indeed a textbook, it is a very readable one and engages the reader while systematically presenting important concepts. I looked at many books before buying this one and I have been using it for years.
If you are not looking for this much depth and instead are focused on practical concepts for modern music, I recommend Harmony and Theory: A Comprehensive Source for All Musicians (Essential Concepts (Musicians Institute).). This is a very concise and well-written book that covers a lot of territory in a small space.
Good But.................2006-12-12
This is a solid text for learning the basics of functional harmony. However, it really needs to be updated. For example most all of the modern music world uses I ii iii IV V vi Viio in Major but Piston just uses I II II IV V VI VII which makes absolutely no since at all!
Do you know a better one? Tell us ! .......2006-11-02
For so many people music is pure magick. Here is a book that uplifts beginner- and intermediate-knowledge to higher knowledge. After each of the 32 chapters there are exercises to measure your understanding of the things teached. Dont steal my copy !
Great introduction to Harmony.......2006-05-21
When I first learned Harmony in the ninth grade, I was taught on an aged and practically antique fourth edition of Piston's Harmony. The first thing I noticed is that the fifth reworked some of the chapters and the order they are in. For example Chapter 10 in the 4th edition was Cadences, but the 5th it is the six-four chord.
After many years away from practice and learning harmony, I came across it again and was tempted. Should I buy it? Would it be changed after all those years?
I am glad to say that it's like an old friend came by. Despite some of the chapters are different in order, the structure remains the same. Piston uses a lot of musical examples to show what he is trying to teach. He starts out with very easy concepts (positions of notes in a chord and intervals). It is assumed that the reader can read music and knows the difference between a whole note and a quarter note, etc.)
The concept of inversions is covered quite thoroughly, giving the reader time to ingest and start to feel comfortable with first inversion, he gets into the second. Finally, in the section on dominants, he gets into third. In between there are chapters on harmonization of a melody, cadences (the old ii-V-I, etc.), triads, modulation, seventh chords, textures, Neapolitan sixths, etc.
One of the greatest strengths of this book is the musical examples that it is drawn from. Once you start getting into triads, etc. you start seeing output from actual composers (usually keyboard reductions) for teaching the works with a piano or keyboard.
If you are a reader interested in learning the craft and the technique of composition, Piston's book will not steer you wrong. It is good to welcome back an old friend.
Still a gem! I think. Part I of Review.......2005-12-26
I received the book today and decided that I would go through the reviews again. I was always taught that if you read the Preface of a book, you get a general idea of the book's purpose. Obviously, your reviewers giving low ratings, never read the preface or introduction to the book. This is especially directed to those who are professionals. Listen to what the 14 year-old wrote. Perhaps this textbook is not intended for students requiring a lot of tutoring, or individuals not wanting a scholarly approach to musical theory. I will finish reading the book and follow-up with Part II of this review. At this time, it is still the bible of musical theory -- bar none! It is a scholarly and historical approach to the history of music theory. Please keep this in mind before writing a bad review.
Average customer rating:
- Amazing Josh Groban piano book
- Simple, but worth the money
- Where's the _real_ music
- I was surprised, both good and bad.
- Average..expecting more but got less!
|
AWAKE JOSH GROBAN
Josh Groban
Manufacturer: HAL LEONARD CORPORATION
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Binding: Paperback
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Book Description
Groban's critically acclaimed third CD features a great mix of classical, opera, and pop songs sung in both English and Italian. Our songbook offers all 13 tunes: February Song * L'Ultima Notte * Lullaby * Now or Never * So She Dances * Solo por Ti * You Are Loved (Don't Give Up) * and more, plus a special 4-page section of color photos.
Customer Reviews:
Amazing Josh Groban piano book.......2007-09-04
This book is amazing!!! Easy to play. Only thing that I was disappointed about was that the song "Awake" was not in this piano book. It is a beautiful song and ought to be printed in this book as well.
Simple, but worth the money.......2007-07-14
Although the arrangements are relatively easy and simple, they're accurate, and I found that it was easy to improvise, if you wanted to. For intermediates, in a few runs through, you could have it down.
The simplest ones are So She Dances, Solo Por Ti, and You Are Loved. In Her Eyes, February Song, Now Or Never, and Un Giorno Per Noi are a little more complicated, but not very. I'd still buy it because there's really no substitute for it and because I love the songs so much. It really isn't that bad.
Where's the _real_ music.......2007-05-15
Seriously, why do publishers do this. If you're going to release a book of music, release the REAL music. And where are the last 3 songs? I want to sing them. C'mon people.
I was surprised, both good and bad........2007-04-11
I was extremely excited when this book arrived. I was pleasantly surprised to see that the printed music contains most of the actual musical arrangement as recorded on the CD of the same name. My NOT-so-pleasant surprise was that nearly half of the songs are written in a different key than the music was recorded, thereby making "playing along" impossible for someone who can't transpose music in their head. (I notified the publisher of my disappointment, and suggested they not do this in the future.)
But the book is absolutely AWESOME!!
Average..expecting more but got less!.......2007-03-28
I was expecting that all the music from the same album will be on this music book, but unfortunately, as previously mentioned by the first person to comment on this product, "Awake", "Verita", and "Smile" were missing.
Musical notations are simplified [based on the comparison that i made on the two previous groban music books: Josh Groban and Closer]. Helpful for beginners but not quite fulfilling and helpful for advance music players.
In this regard, was expecting more but got less.
Book Description
Eye-catching illustrations, engaging text and delightful musical selections on the accompanying 70-minute CD lead children ages 8 to 12 (and parents, too!) on an exciting and educational tour through the instruments and music of the orchestra. Illustrated in exquisite and colorful detail with over 100 original drawings and photographs, this package is a fun and exciting musical journey for children. The engaging text is broken into three sections: an introduction to each instrument of the orchestra from the cello to the timpani, the stories of famous composers from Bach to Stravinsky and an explanation of different musical styles from Baroque to Modern. Each step of the way, children can listen to actual musical examples of what they are learning about. Young readers will hear the sound of an actual violin as they study the instrument and enjoy the playful tune of a Mozart minuet as they read about the composer's precocious exploits as a child.
Customer Reviews:
Will a 2 1/2 year-old like this? YES!.......2007-03-23
Our 2 1/2 year-old daughter loved Zin Zin the Violin (another book-on-tape about an orchestra), so we also bought Story of the Orchestra for her, hoping she would keep learning more about music. We initially thought this one may be a little advanced for her since most descriptions list it for 6+ year-olds. Nope. We've had this book for a few weeks, and she reads the book (with the CD) multiple times a day, citing the name of each composer and instrument. There's nothing better than hearing your child say "Tchaichovsky" or "glockenspiel". Other side benefits are that she's learned how to use her CD player and how count and recognize numbers up to 37 - how many tracks there are on the CD.
The book contains kid-friendly illustrations, quotes, and stories about each composer and instrument that make kids (and parents) easily learn a lot of information about the orchestra. Then, about 80% of the composers and instruments have an accompanying CD track (about 2 minutes/track) that you can play on each page, in order to hear an example. It's usually a prominent composer's example where this instrument is featured. So, your child will actually be well-versed in some classical tunes by the end.
There are a few other books about orchestra's and instruments out there, but we rank this book/CD at the top for young children. My wife's a teacher, and she says this book would be a great part of a lesson plan or two.
Great book-Kids love it.......2007-01-09
My family just loves this book. The music is enchanting and well picked and the page layout allows my young reader to read as much as he wants or just a little, yet he still gets great information either way.
should have this if you teach music.......2007-01-08
This book is great for teaching elementary school kids about instruments! Comes with pictures and facts! must have!
Great book, BUT...........2006-09-22
I play violin & viola and purchased this book for a lesson plan for one of my education courses. The only "issue" you could say, that I have with this book is the example that is given for the viola track. 45 seconds of a concerto that makes it sound like a violin (the Bartok finale!). They could have chosen a better clip to use (like say the Telemann). haha! Maybe I'm a bit bias.
The book is great with all things aside, and very informative for those that know nothing of the orchestra. It's too bad they don't list the performers on the CD! Don't let my bias deter you from purchasing this book! It's great for kids!
Story of the Orchestra.......2006-03-19
An engaging and entertaining way to teach children about individual musical instruments and the four families of instruments.
Book Description
This comprehensive biography of George Gershwin (1898-1937) unravels the myths surrounding one of America's most celebrated composers and establishes the enduring value of his music. Gershwin created some of the most beloved music of the twentieth century and, along with Jerome Kern, Irving Berlin, and Cole Porter, helped make the golden age of Broadway golden. Howard Pollack draws from a wealth of sketches, manuscripts, letters, interviews, books, articles, recordings, films, and other materials--including a large cache of Gershwin scores discovered in a Warner Brothers warehouse in 1982--to create an expansive chronicle of Gershwin's meteoric rise to fame. He also traces Gershwin's powerful presence that, even today, extends from Broadway, jazz clubs, and film scores to symphony halls and opera houses.
Pollack's lively narrative describes Gershwin's family, childhood, and education; his early career as a pianist; his friendships and romantic life; his relation to various musical trends; his writings on music; his working methods; and his tragic death at the age of 38. Unlike Kern, Berlin, and Porter, who mostly worked within the confines of Broadway and Hollywood, Gershwin actively sought to cross the boundaries between high and low, and wrote works that crossed over into a realm where art music, jazz, and Broadway met and merged. The author surveys Gershwin's entire oeuvre, from his first surviving compositions to the melodies that his brother and principal collaborator, Ira Gershwin, lyricized after his death. Pollack concludes with an exploration of the performances and critical reception of Gershwin's music over the years, from his time to ours.
Customer Reviews:
Genius writes about genius.......2007-05-11
We usually apply the term genius to the subject of a biography. With the writing of Howard Pollack, one can also apply that term to the biographer.
When I first heard that Pollack was at work on a biography of Gershwin, I was saddened to think that he would be devoting his time to someone who had been the subject of so many biographies. I thought, what else was there to be said about Gershwin, but when I recalled the balanced and thoroughly considered approach he brought to his biography of Copland, I was curious to read what he would write. Not only was I not disappointed, I was overwhelmed.
Pollack does not question the actions of his subjects, he reports and tells a story, leaving the reader to make his or her own judgements. There is no attempt to sensationalize anything as he lets the facts speak for themselves. Pollack treats his subjects with the greatest respect without losing sight of their humanity. He brings great dignity to his writing and to his subjects.
His use of the language is transparent. You are never slowed down by his words. When he writes about music, Pollack has a remarkable ability to engage both the musician and non-musician alike. As with his volume on Copland, you sense he knows the music so well that he can intuit what the composer intended with each new work. He seeks out so much of the related material one would think he has devoted his entire life to the study of his subjects. You are aware of the detail, but not overwhelmed or encumbered by it.
I found the quotes from Michael Feinstein to be very informative. Feinstein, is not only the great exponent of popular music of the tradition of Gershwin, Kern, Berlin, et al; he is also one of the most informed in the music of that period. The time Feinstein spent as Ira Gershwin's assistant lends credibility to his perspective and recollections, and adds great insight to both the humanity and the music of Gershwin.
This volume is as close to an encapsulation of Gershwin's life and works as one could hope to find in words.
THE Gershwin study.......2006-12-06
Gershwin buffs, run, don't walk to get this book. Pollack has written the definitive study of both "The Life" and "The Work," as per his two fat sections.
Pollack's book is, for one, the first Gershwin bio that takes advantage of the discovery of mountains of original orchestra parts for Golden Age musical theatre scores in a Secaucus warehouse in the early eighties. As such, Pollack analyzes Gershwin's theatre scores closely just as classical music scholars can attend to Mozart or Haydn's works.
Earlier bios could only address the scores largely on the basis of the songs from each score that happened to be published as sheet music, with only a handful of the scores then existing as full piano-vocal scores or as latter-day abridged and heavily adapted recordings. But over the past two decades, most of Gershwin's significant scores have been recorded in full from the discovered materials, such that via these recordings as well as examining the original materials himself, Pollack can address the work as it was presented when it was new, i.e. chorus numbers, character songs not published as sheets, incidental music, etc. Given that musicals constituted the bulk of Gershwin's output in his short life, this alone makes Pollack's book invaluable.
In addition, some Gershwin bios have been written by people focused on pulling him down, devoted to revealing him as an undereducated, boorish parvenu (i.e. the ones by Charles Schwartz and Joan Peyser). Pollack's sleuthing and interviews conclusively demonstrate that these evaluations were incorrect: Gershwin pursued serious musical training throughout his life, it shows in his work, and socially, he was a beloved, charming person who was deeply mourned at his death.
Pollack has truly done his homework, such that just about any question one might have about Gershwin is exhaustively answered. For each show he chronicles not only the score and its critical reception in New York, but also its London and even Australian versions if there were any, all of the revivals across the US, and its recordings -- and he does this even starting with the obscure early efforts. He is equally thorough re Gershwin's concert music.
It should be said that those seeking further engagement with the raison d'etre of Joan Peyser's THE MEMORY OF ALL THAT, the story that Gershwin fathered a love child with a chorus girl and paid him and his mother off to keep it quiet, will not be satisfied. Pollack briefly addresses objections to that thesis from some quarters since Peyser's book was published -- but, in my view, neglects the rather damning facts that 1) said love child looks exactly like Gershwin and 2)was supported in his claim to have made regular visits to Gershwin's apartment by none other than Gershwin's valet. As such, one must consult various sources pre- and post-Peyser to come to conclusions about that issue. One suspects that Pollack, having been granted interviews from surviving keepers of the Gershwin flame, opted on that particular subject to step around giving offense. He is not to be faulted for this.
It should also be said, however, that inevitably of a work so dazzlingly complete, this book is not one most people would want to read from front to back. It is, in its way, a reference book set in prose. There are times when Pollack seems almost obsessive -- such as bringing vast study to bear upon locating the purchase by Gershwin's parents of a piano in precisely late 1910, or letting us know (based on a chance message from abroad) that OH, KAY played in translation in Sweden, or informing us via close examination of the original arrangement of RHAPSODY IN BLUE -- not later arrangements, but the original one, mind you -- that one player doubled on bass and tuba.
But this degree of obsession is what real scholarship is, and though for most it will be a book to jump around in than to read page for page, Pollack has given us an authoritative masterpiece. I am in awe of the man, and happy to have this one on my shelves forever.
Average customer rating:
- classical music appreciation and theory
- Great book
- humor overpowers the content
- Really gets you up to speed on classical music
- A very good entry level book
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Classical Music for Dummies
David Pogue , and
Scott Speck
Manufacturer: For Dummies
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ASIN: 0764550098 |
Amazon.com
In a time when school music classes (if they exist at all) teach their students the finer points of the themes from The Twilight Zone and Jaws instead of real music; when classical radio stations are converted to Lite Rock or switched to a "top 100" classical jukebox format; and when even churches increasingly favor banal "Jesus Is My Boyfriend"-style slop instead of Bach, Mozart, and Vaughn Williams, classical music may legitimately be seen as an endangered cultural species. Enter Scott Speck and David Pogue, who take out the unnecessary mystery, and offer an easy-to-swallow quickie education, ranging from Gregorian chants to contemporary composers such as John Adams and John Corigliano. If you can't tell an oboe from a bassoon, there's also a dandy guide to the instruments of the orchestra, and once you're through that information you'll know the difference between a concerto and a sonata. Best of all is the introduction to music theory, which actually makes a daunting subject seem easy. It's all supported by a helpful enhanced compact disc (it works in your CD-ROM drive; it plays on your stereo's CD player) containing more than an hour of representative musical tidbits from good EMI recordings. Although the tone is unremittingly flippant and the jokes are, for the most part, pretty bad, Classical Music for Dummies is one of the better works in this series, and really does provide a useful reference for a subject too often seen as arcane.
Book Description
The more you know about classical music, the more you love it. Now, thanks to Classical Music For Dummies, you can achieve a whole new level of insight into both the composers and the compositions that have made classical music one of the great accomplishments of humankind.
Classical Music For Dummies doesn't assume that you have a degree in musicology -- or even that you took a course in music appreciation. Rather, the multimedially gifted David Pogue and renowned conductor Scott Speck explain classical music in terms you can understand, and they describe musical elements so that you can hear them for yourself.
A reference you can dip into at any point, Classical Music For Dummies covers such topics as
- The various forms that classical music takes -- from symphonies to string quartets
- What goes on behind the scenes and on stage to fill a concert hall with great classical music
- How to recognize, by sight and by sound, the many instruments that make up an orchestra
- The nuts and bolts of classical music -- from rhythm to harmonic progression
Plus, Classical Music For Dummies comes complete with a CD containing over 60 minutes of masterpieces compiled especially for the book. The CD also includes a demo version of the Angel/EMI Classics For Dummies
TM multimedia interface to try out on your Windows-based PC or Macintosh computer.
Customer Reviews:
classical music appreciation and theory.......2007-09-04
This book is incredibly well written. It was totally absorbing, entertaining and informative. By the time I finished it, I felt like I had earned a degree in classical music appreciation and another in music theory.
Great book.......2007-08-23
My husband had never been exposed to classical music and when we got married, he wanted to be able to carry on a conversation with the rest of my family. He has loved this book and it has really taught him a lot about classical music.
humor overpowers the content.......2007-08-09
You have to be careful with the Dummies series. Some authors use humor with discretion, others, as in this case, lard on so much humor that it gets in the way of learning and turns what should be a pleasure into an ordeal of extracting the useful information from the attempt at clever wise-cracks, puns and general satire.
Yes, there is information here if you are willing to work to get it, but a good 50% of the text is gratuitous laughs. There are other books, such as "The Classical Music Experience" by Jacobson, that treat the reader as someone intelligent who seeks to know rather than to be entertained.
The best advice is to go to the library and look in the music appreciation section. You'll find many superior alternatives to this book.
Really gets you up to speed on classical music.......2007-07-08
If you love--or would like to at least understand--classical music, then this is the book to read. It is fun, quick and not so technical or snooty as many books on this subject. In fact, it's not snooty at all. I learned a bunch I had no idea of, reaffirmed things I did know, and corrected several misconceptions. Read this if you are going to be around "high-brow" snooty types and then just smile quietly as they rattle on and on. Little will they know that you "understand the language."
A very good entry level book.......2005-09-14
This is a very good entry level book, about classical music.
It's fun to read and it's written in an easy to understand level.
I recomend this book for all the people who likes classical music and wants to learn more before moving to more serious books.
Book Description
A complete education in classical music, written with verve and wit. No music lover can pick up this one-volume compendium without becoming a more knowledgeable, discerning listener. • The
sonata form revealed, and why it's been deeply satisfying for three centuries. • What to listen for in
Brahms, a self-described Classicist who was one of music's great innovators
. • Pizzicato, fioritura, parlando, glissando. • The transformative power of
Toscanini–who earned more conducting the New York Philharmonic than his contemporary Babe Ruth made with the Yankees. • And throughout, more than 2,000 recommended recordings.
Log on and listen. Created with Naxos, the world's largest classical music label, the book includes a unique Web site featuring more than 500 examples cited in the text. Look up
barcarolle. First read about its swaying 6/8 meter and Venetian origins; then log on to the music Web site and hear it performed in Act IV of Offenbach's
Les contes d'Hoffmann. If that whets your curiosity about Offenbach, click to hear the cancan in his
La vie parisienne. All online samples are marked by an icon in the text.
Customer Reviews:
A delightful experience for any classical music lover........2007-06-24
"The NPR Listener's Encyclopedia of Classical Music" is a delightful combination reference book and video game for all classical music buffs. Besides its nearly 1,000 pages of listings, from Claudio Abbado to Ellen Taaffe Zwilich, the book gives you access to a page on the Naxos Music website which allows you to listen to more than 500 musical selections online. I just signed on to the page for the first time, and listened to the very first listed selection--John Adams' "Shaker Loops." I look forward to hours of fun with this wonderful new toy! I appreciate the breadth and depth of knowledge author Ted Libbey brings to the project, as well as his inclusion of favorites of mine who aren't necessarily well-known to today's listening public, such as the Danish tenor Aksel Schiotz. In his introduction, Libbey notes he tried to avoid the gaps and errors in such standard reference works as Grove's Dictionary of Music and Musicians, and adds, "Doubtless there will be errors still, and for these I accept full responsibility." Alas, I have already caught him in two. The first is the listing of Beethoven's birthday as December 17, 1770, when even "Peanuts'" Schroeder and Lucy know that Beethoven was born on December 16. Of course, that could have been a printer's or proofreader's error, but the second mistake is more serious--when Libbey states that Vladimir Horowitz withdrew from the concert stage in 1953 in a severe depression over the suicide of his only daughter. Actually, Horowitz's daughter, Sonia, did not commit suicide until the 1970s (which caused Horowitz a second bout of severe depression); I'm not sure exactly what caused Horowitz's 1953 breakdown, but I had always understood that an addiction to prescription drugs was at least partly to blame. Nevertheless, these are minor caveats to an otherwise enjoyable and informative volume. Any classical music lover with computer access would be happy to own it.
A handy reference.......2007-06-13
Don't get this if you are looking for an overview of music history, this is a reference book--exactly as advertised.
It comes with a login to naxos.com that allows you to listen to literally hundreds of hours of music from the naxos library for free! This is a tremendous value.
I was most impressed by the sheer amount of information--not just the historic information, even my favorite 20th and 21st century composers were given a fair amount of coverage.
NPR is better.......2007-06-10
Couldn't choose between the NPR ecyclopedia and the Vantage Guide so bought both. The NPR book is younger, more detailed, more information on a wider variety of artists and composers and in my opinion ; much better.
NPR LIstener's Enclyclopedia of Classical Music.......2007-06-08
Even for the true classic music afficiando, this is a helpful compendium of names and selections to use when purchasing albums or for general hands on reference.
The NPR Listener's Encyclopedia of Classical Music.......2007-01-17
What I like about The NPR Listener's Encyclopedia of Classical Music is that it's small enough to fit on my home bookshelf but concise and comprehensive enough to have the information on music terms, biographical sketches of famous composers and performers--from antiquity to present.
Another plus about this book is that at the end of each biographical entry, there is a list of recommended recordings by the artist. It is a handy ready-reference book for both public and academic libraries; it is also a great gift idea for old-time classical music lovers as well as for people who begin to develop interest in classical music. For its size and price, it can be added to any home-music collection.
One small minus point, Joshua Bell is in there, but his "Romance of the Violin"--my favorite CD-- is not listed.
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