Book Description
Fun-to-play, pedagogically sound piano arrangements include themes from Beethoven's "Pathétique" Sonata and Haydn's Surprise Symphony, along with such favorites as Schumann's "Träumerei," Brahms's "Lullaby," Chopin's "Prelude," Tchaikovsky's "Marche Slave," Moussorgsky's "Promenade" (from Pictures at an Exhibition), and many more. Includes 20 piano arrangements.
Customer Reviews:
First classic Piano Book.......2007-09-11
The book arrived in perfect condition. I am anxious to have my granddaughter try it out. It is one of her upcoming birthday presents.
Thank you.
Great Book.......2007-09-03
This is a great book for beginners to get aquainted with the classics. I teach piano lessons and I'll use this one over and over for recitals! I usually like to see the music before I buy but I took and chance on this one and it paid off. I hope to try other Bergerac books.
Great Supplement!.......2007-05-12
I purchased this book some time ago as a "promise" to my little girl that she would one day have piano lessons. We now have a wonderful piano teacher who encourages us to explore other pieces besides what she assigns us and was happily surprised when we showed her this book that she hadn't seen before. The title is a little misleading; our teacher says that it's more appropriate for a level 3 child student, but it works well for us (a teenager and her middle-aged mom in their 2nd year of study.) What I really appreciate is the way that the pieces can dovetail with the material that we're studying. For example, while I was working on the 1st inversion of the C Major chords, I serendipitously found in this book "Beautiful Dreamer", an arrangement that utilizes the very chords I was studying. Our teacher calls this "an excellent little book" and I recommend it to those who would like to play something more than the pieces found in their lesson books.
My daughter likes it!.......2007-03-30
My daughter is a beginner -- but she loves classical music. This book is probably a bit advanced for her but she is already playing Fur Elise and Ode to Joy...
My first Book of Classical Music: 29 themes by Beethoven, Mozart, Chopin and other Great composers in Easy Piano Arrangements.......2006-08-28
I would have preferred a sample page of the music to preview prior to purchase. The pieces are too simple for me.
Book Description
Themes To Remember, Volume 1 is a 124 page hard bound book with a CD inside the back cover. The product is designed to help anyone {particularly children) to recognize 40 classical music themes, to know the name of the composer of each theme, and to be knowledgeable about and love classical music.
It is a light-hearted, fully illustrated book that includes portrait sketches of the 24 composers and definitions of musical terms. Piano, a quiet little cat, and Forte, a rather noisy little dog, will accompany you through the pages of Themes To Remember. The book also includes "good listening" suggestions for each of the four classical music periods covered in the book.
The CD contains 80 tracks, 40 tracks of the classical music themes without lyrics and 40 tracks of the same themes with lyrics written by the author. The nature of the lyrics, often humorous, results in an amazingly successful teaching method that was developed over many years by the author. Additional volumes are planned to cover additional classical music themes.
Customer Reviews:
Love It!.......2007-07-24
My boys love this CD! I use the book/CD in our homeschool with my 5-year-old. My surprise was when my 3-year-old autistic son started singing along! If I play the CD, they both come running! Thanks, Classical Magic, for introducing my kids to the beautiful world of classical music!
Love it! Love it! Well worth the money!.......2007-01-12
I have two boys, ages 4 and 6, and they are always asking to play the cd that goes with this book. Although I haven't used the book much, the cd itself was worth the money. A few days ago, my 6 year old was watching tv and suddenly said, "Hey mom, that was Beethoven's fifth," after hearing the music on a commercial. Each theme plays twice on the cd, one time with lyrics, one time without lyrics, and my boys usually sing along as best as they can. This cd plays at bedtime, in the car, and during the day when we are doing legos or play-doh. I actually have a hard time keeping track of it! The book contains short biographies of each composer, as well as the music for each theme. The combination of the book and cd are an excellent introduction to classical music and appreciation for it. I would highly recommend this book to homeschoolers who wish to add music education to their curriculum as well as to parents and teachers of preschool and elementary children.
Fun for all ages.......2002-02-13
I am a music teacher who works with students ages 3 through adult, both privately and in classrooms. I really appreciate both Volumes I and II for their clever lyrics, short lengths to engage even the most wiggly children, stories that can be presented as plays, and especially the CD that allows one to quickly find any track when under pressure! I have used the Four Seasons by Vivaldi in Volume II as a art/listening project. The children drew pictures of the four seasons and learned the lyrics at the same time. They loved the Fall especially--"watch that spider!" Boys and girls alike will enjoy Saint Saens' "Danse Macabre," Stravinsky's "Infernal Dance," and the challenge of the high speed lyrics of Chopin's "Valse Brilliante." Even if the children are too young to read the lyrics, believe me, it won't take them long to learn them. Just take this CD with you on a car trip and you and your children will know classical music like never before! The older children and adults especially appreciate the humor that sails over the younger ones' heads. It doesn't come off as silly or juvenile, for which I am so grateful. It is especially appropriate for those times one gets caught teaching all ages at the same time.
I cannot wait for Volume III. Thanks for a great classroom teaching aid I will use over and over.
Great for young children!.......2002-02-08
I am an early childhood teacher with experience using Classical Magic in the pre-kindergarten, kindergarten, and special needs classroom. It is a exciting way to expose children to classical music. Through lyrics Mrs. Persons has written to classical pieces, young children learn to sing the lyrics and in turn learn the composer and the title of the piece. Parents have come to me in amazment that their 4 or 5 year old can tell the family what piece Bach, Mozart,or Sousa wrote and then proceed to sing it for them! The best part is that the children ask me almost daily, "When are we going to do classical magic?" They love it! I recommend this concept of learning classical music to teachers, parents, and grandparents. Never underestimate the ability of young children!
IT'S ABOUT TIME !!!!.......2002-01-18
It's about time! Finally an author who found a way to introduce classical music to children on their own terms! My children take violin lessons using the Suzuki method and I am always looking for ways to slip classical music into their lives amongst the Disney tunes and pop-rock groups. It won't be long before your kids start recognizing classical pieces and their composers. If you are a homeschool teacher, this book is a wonderful way to teach your children about classical music. I highly recommend it.
Book Description
Understanding Early Christian Art offers an insightful, erudite and lavishly illustrated analysis of the meaning and message of early Christianity as revealed in the texts and images of its first practitioners. Robin Margaret Jensen examines the motifs and subjects of early Christian art, integrating them with the symbols and themes of Christian literature and liturgy. Beginning with an analysis of the non-narrative subjects of the early art--the Good Shepherd, the praying figure, fish and birds--Jensen goes on to explore the narrative images found in Roman catacomb painting, sarcophagus relief sculpture, early mosaics, ivories, and manuscript illumination. Finally, the book examines iconographic themes such as Jonah, Daniel, Abraham offering Isaac, and Adam and Eve.
Book Description
By the end of the 15th century, the remains of the ancient gods littered the landscape of Western Europe. Christianity had erased the religions of ancient Greece and Rome and most Europeans believed the destruction of classical art was God's judgment on the pagan deities. How, then, did European artists during the next three centuries create such monumental works as Botticelli's The Birth of Venus and Raphael's Parnassus? In The Mirror of the Gods, Malcolm Bull tells the revolutionary story of how the great artists of Western Europe--from Botticelli and Leonardo to Titian and Rubens--revived the gods of ancient Greece and Rome. Each chapter focuses on a different deity and sheds dazzling new light on such familiar figures as Venus, Hercules, and Bacchus. Bull draws on hundreds of illustrations to illuminate the ancient myths through the eyes of Renaissance and Baroque artists, not as they appear in classical literature. When the wealthy and powerful princes of Christian Europe began to identify with the pagan gods, myth became the artist's medium for telling the story of his own time. The Mirror of the Gods is the fascinating and extraordinary story of how Renaissance artists combined mythological imagery and artistic virtuosity to change the course of western art. The Mirror of the Gods profoundly deepens our understanding of some of the greatest and most subversive artwork in European history. This delightfully told, lavishly illustrated, and extraordinary book amply rewards our ongoing fascination with classical myth and Renaissance art.
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The Oxford Guide to Classical Mythology in the Arts, 1300-1990s: 2 Volumes
Jane Davidson Reid , and
Chris Rohmann
Manufacturer: Oxford University Press, USA
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ASIN: 0195049985 |
Book Description
Daring in concept and astonishing in scope, The Oxford Guide to Classical Mythology in the Arts is a unique reference work: a topically classified chronology of more than 30,000 artworks from circa 1300 to the present day that take as their theme the subjects of Greek and Roman mythology. In more than three hundred major entries, alphabetically arranged by subject, artworks are listed in chronological order, delineating the history of artistic interest in the subject, including painting, sculpture, music, dance, opera, drama, and literature over the last seven centuries. By bringing together information heretofore segregated by discipline, time period, or other constraint, Jane Davidson Reid has created an invaluable tool for the study of the history of the arts in the Western world. Ranging from Achilles to Zeus, entries cover all the important mythic beings of the classical world, from gods, goddesses, and heroes to nymphs, shepherds, and satyrs. A headnote to each entry identifies the subject, briefly describes relevant events and episodes recounted in Greek and Roman myths, and explains thematic cross-currents represented in the list of artworks that follows. A list of classical literary sources follows the headnote. Each listing of an artwork includes the artist's name, the title of the work, and the date of its creation, publication, or first performance, as appropriate. Also noted are the medium or genre of the work, the present location of works in the fine arts, and other pertinent information. Sources of data on each artwork appear in each listing. Enhanced by a comprehensive system of cross-references, a complete list of the sources of data cited in the listings, and an extensive artist index, which will enable readers to locate works by a given artist across numerous entries, this work presents its vast body of data in a way that is easily accessible to specialist and nonspecialist alike. No other work equals its interdisciplinary scope; no other work matches its usefulness to historians of the arts; and no other work possesses its appeal to scholars, students, and general readers interested in classical mythology and its enduring popularity in Western traditions of artistic expression.
Average customer rating:
- Wonderfully representative of Pompeii
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Eros in Pompeii: The Erotic Art Collection of the Museum of Naples
Michael Grant
Manufacturer: Stewart, Tabori, & Chang
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Binding: Paperback
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Eroticism in Pompeii
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Looking at Lovemaking: Constructions of Sexuality in Roman Art, 100 B.C. - A.D. 250
ASIN: 1556706200 |
Customer Reviews:
Wonderfully representative of Pompeii.......2000-06-18
When one visits Pompeii one of the first things that becomes evident is the erotic nature of the art. Even many of the souvenirs are erotic in nature. So, this book seems particularly appropriate. While eros becomes a theme uniting the book, it discusses the history and daily life in Pompeii as well as giving information of the excavation and discoveries of Pompeii.
The book also points out the important fact that many of these erotic art ojects were not strictly for brothels but appeared in every day life. The penis, for instance, was a good-luck charm that appeared on buildings, erotic images were carved onto ordinary household items, so these things did not hold the controversy for ancient Pompeii that they might for readers of more "modern" sensibilities.
This is an excellent book, which, I believe, gives readers a real feeling for the ancient city of Pompeii . It would be quite useful for anyone planning a trip or interested in learning more about the culture of the city.
Average customer rating:
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Early Ancient Glass: The Toledo Museum of Art
David Frederick Grose
Manufacturer: Hudson Hills Press
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Glass from Islamic Lands
ASIN: 093392092X |
Book Description
Definitive history reproduces 713 vessels and objects. Nearly 1,000 illustrations, 130 color.
Customer Reviews:
My girlfriend said she loved it...............2000-07-21
I gave this to my girlfriend as a gag gift for her birthday and she said that she loved it..........I really wouldn't know....but anyway.......anyone who buys it, enjoy it like she did......
Book Description
Between the third and sixth centuries, the ancient gods, goddesses, and heroes who had populated the imagination of humankind for a millennium were replaced by a new imagery of Christ and his saints. Thomas Mathews explores the many different, often surprising, artistic images and religious interpretations of Christ during this period. He challenges the accepted theory of the "Emperor Mystique," which, interpreting Christ as king, derives the vocabulary of Christian art from the propagandistic imagery of the Roman emperor. This revised edition contains a new preface by the author and a new chapter on the origin and development of icons in private domestic cult.
Customer Reviews:
Refutes a long-dead theory of derivation from political emperor-art.......2005-11-07
Mathews is primarily concerned to refute a particular early 20th-Century German and Eastern European ideological theory that the portrayal of Jesus in art was derived directly from the detailed portrayal of Roman emperors in art and that this artistic portrayal of Jesus as emperor legitimates imperial political structure, with an emperor, in the contemporary era (of 1920-1950).
Mathews shows that the early artistic portrayal of Jesus presented him as a counter-Jupiter and all-ruler (pantokrator), not as a worldly emperor (kosmocrator). Jesus was also portrayed in early Christian art as androgynous and as the most powerful magician, and as a philosopher. The portrayal of Jesus in art consciously and deliberately presented him as anti-emperor.
Sometimes Mathews confusingly asserts that the way Jesus was portrayed had absolutely nothing to do with the emperor, but in other chapters, originally published as separate articles, he asserts that Jesus was portrayed consciously and deliberately as a non-emperor. Mathews' extremist manner of expression and apparent self-contradiction reveals his succumbing to political fear of 20th-Century re-institution of emperors, resulting in a polemical mode of expression, which lacks precision. Mathews' overweening concern to refute an early 20th-Century political theory causes him to misstate or inconsistently describe his theory about how Jesus was portrayed and what the portrayals meant in the first few centuries.
He ought to strike most of his invective against the very specific, quirky, and particular early 20th-century theory of artistic derivation that he confusingly labels with the ambiguous term "the emperor mystique", and instead explain consistently his positive position about how the Jesus figure did relate to or refute the figure of the emperor -- and, more to the point, how the Christ religion overall was artistically portrayed in relation to how the Roman imperial system of Pax Romana was artistically portrayed.
Mathews ought to engage with the latest theories of Roman imperial theology/ideology, starting with the work of S.R.F. Price, and contribute directly to that effort, rather than devoting so much coverage to a particular 1930s-era view. That's the hardest aspect of reading this book: today's reader comes to it expecting commentary on Price and Horsley, but instead, finds a concern that seems to affirm most of Price and Horsley while being positioned as somehow "against the Emperor Mystique".
This book is dissonant and confusing polemics until you figure out how to harmonize it with the sensible views of Price and Horsley. By the phrase 'the Emperor Mystique', Mathews doesn't have Price and Horsley's view in mind as one naturally expects these days, but rather, a particular quirky, specific theory of artistic-elements derivation of Jesus' portrayal, a theory that was in service of 20th-Century pro-emperor politics.
No scholars are currently asserting that the artistic portrayal of Jesus is directly derived from the portrayal of emperors in their "purely political" function. Rather, what Price, Horsley, and N.T. Wright are stressing these days is that the New Testament books were highly intent on presenting a rebuttal and sociopolitical alternative to the religiously legitimated political ideology and imperial theology of Pax Romana and Roman imperial Ruler Cult -- a view that is supported by Mathews' Christ Pantokrator (almighty all-ruler), magician, and personally caring philosopher.
The book presents a somewhat useful picture of Jesus as philosopher, counter-Jupiter, and healer-magician, but unfortunately that clarification is tangled up with confusing polemics in a self-contradictory, overheated manner of expression, all the more confusing because you get that battle (tilting against a long-dead windmill of 1930s German politics) where you expect instead an engagement with more recent scholarship clarifying the relationship of Christianity and the late-antique Roman empire.
As a rebuttal to the particular artistic-derivation theory of Grabar, the book succeeds, but it doesn't engage with the more general, recent, systematic studies of Christianity as rebuttal and alternative to the system of the Roman empire.
A necessary tool for the understanding of early christianity.......2001-03-28
While Mathews has crafted an thorough polemic against what he calls the "Emperor Mystique" prevalent as a key hermenuetic of early christian art, he stimulated me to go beyond the declared intent of his thoughtful book. The author opens the door to the polyvalence of the symbolism of the art of the church, particularly from the third through the sixth centuries. Mathews presents the adaptation of Greco-Roman art forms and their translation into the competitive contexts of christian origins. While I was persuaded that Alfoldi and Grabar probably went too far in their attempt to link the art of the church with an exclusively imperial model, I still believe that many christians would have recognized elements of this model in viewing the paintings and mosaics of the church. Religious symbolism can function in multiple ways, both singly and in combinations depending on various religious, political, social, and economic agenda. This book is a useful complement to Averil Cameron's "Christianity and the Rhetoric of Empire."
Mathews explains clearly why Christanity won over Antiquity........1999-01-23
This is a bold and clear reinterpretation of Early Christian Art. It moves the reader through a cany reseeing that respects and illuminates both the message and the people who received it. Mathews explains in an open and well documented way how Christian images fought and defeated the pagan gods. As an art historian trained with the rather confusing cannon of earlier scholarship I found it delightful reading.
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Food and Society in Classical Antiquity (Key Themes in Ancient History)
Peter Garnsey
Manufacturer: Cambridge University Press
ProductGroup: Book
Binding: Paperback
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Food in the Ancient World (Ancient Cultures)
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Food: A Culinary History (European Perspectives)
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Cities, Peasants and Food in Classical Antiquity: Essays in Social and Economic History
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The Classical Cookbook
ASIN: 0521645883 |
Book Description
This is a broad-based, comprehensive general study of food in antiquity. The book deals with food as food or nutrition, the discussion revolving around the concrete issues of food availability and the nutritional status of the population. It also treats the nonfood uses of food, focusing on the role of food in forming and marking the social hierarchy. Food defines the group, whether social, religious, philosophical or political.
Download Description
This is the first study of food in classical antiquity that treats it as both a biological and a cultural phenomenon. The variables of food quantity, quality and availability, and the impact of disease, are evaluated and a judgement reached which inclines to pessimism. Food is also a symbol, evoking other basic human needs and desires, especially sex, and performing social and cultural roles which can be either integrative or divisive. The book explores food taboos in Greek, Roman, and Jewish society, and food-allocation within the family, as well as more familiar cultural and economic polarities which are highlighted by food and eating. The author draws on a wide range of evidence new and old, from written sources to human skeletal remains, and uses both comparative historical evidence from early modern and contemporary developing societies and the anthropological literature, to create a case-study of food in antiquity.
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