Music is a powerful art. We sing it, we dance to it, and we listen to it because it moves us as little else can. Classical music in particular has fascinated people for hundreds of years. The works of such composers as Bach, Mozart, and Beethoven have proven so appealing that generations of listeners have returned to them again and again. Young People's Guide to Classical Music invites you to join these listeners.
Music is a powerful art. We sing it, we dance to it, and we listen to it because it moves us as little else can. Classical music in particular has fascinated people for hundreds of years. The works of such composers as Bach, Mozart, and Beethoven have proven so appealing that generations of listeners have returned to them again and again. Young People's Guide to Classical Music invites you to join these listeners.
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
Provides information about the history of the orchestra since its beginnings in the seventeenth century, instruments of the orchestra, and famous composers of classical music.
The most readable and comprehensive guide to enjoying over five hundred years of classical music -- from Gregorian chants, Johann Sebastian Bach, and Wolfgang Amadeus Mozart to Johannes Brahms, Igor Stravinsky, John Cage, and beyond. The Vintage Guide to Classical Music is a lively -- and opinionated -- musical history and an insider's key to the personalities, epochs, and genres of the Western classical tradition. Among its features: -- chronologically arranged essays on nearly 100 composers, from Guillaume de Machaut (ca. 1300-1377) to Aaron Copland (1900-1990), that combine biography with detailed analyses of the major works while assessing their role in the social, cultural, and political climate of their times; -- informative sidebars that clarify broader topics such as melody, polyphony, atonality, and the impact of the early-music movement; -- a glossary of musical terms, from a cappella to woodwinds; -- a step-by-step guide to building a great classical music library. Written with wit and a clarity that both musical experts and beginners can appreciate, The Vintage Guide to Classical Music is an invaluable source-book for music lovers everywhere.
Offering comprehensive coverage of classical music, this guide surveys more than eleven thousand albums and presents biographies of five hundred composers and eight hundred performers, as well as twenty-three essays on forms, eras, and genres of classical music. Original.
My First Classical Music Book is a delightfully colorful introduction to classical music, designed to fire the imagination of children aged 5-7 years. Readers are asked to think about the different places in which we might hear music. Then, each of the major composers and musical instrument families are introduced and brought to life in a vivid and enchanting way. Throughout the book, children are referred to the accompanying audio CD so that they can hear examples as they read. This is the most exceptional book of its kind, providing an absorbing experience for both eyes and ears.
Which philosopher threw himself head first into a volcano to prove he was a god? Who formed a secret society and banned its members from eating beans? Is it true that one philosopher operated on his friend's liver and fitted it with a silver tap? Which philosopher insisted that his students sit in deckchairs? Why did another have to have a special niche cut into his table? Who was cut to pieces by sharpened seashells?
