Product Description
This is a reproduction of a book published before 1923.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process.We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide.We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

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Customer Reviews (1)

Saturday mornings of pleasure
The first nottice I had about Burney's book was in a radio program in a spanish station exclusively devoted to classical music. This program was emited on saturday's morning about ten years ago and, during several weeks, all the text as well as music of that time was its content. I remember that in those days I was working in a photographic project and it was a true delight to be developing my pictures listening those wondering memories and music. Now, many years after, I,ve found the book again and I'll try to retake all those sensations. ... Read more

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General Books publication date: 2009Original publication date: 1876Original Publisher: H.S. King ... Read more

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This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

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The Peanuts characters guide the beginning collector in starting, storing, and displaying collections and give instructions for making a variety of associated projects. ... Read more

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Charles Mingus was a pioneer figure in modern jazz. Besides being a virtuoso bass player who played with the top jazz musicians for four decades, he was also an accomplished pianist, bandleader and composer who recorded more than 100 albums and wrote more than 300 original and innovative scores. This incredible collection explores Mingus' background and prestigious career as well as 55 of his pieces. The stories behind each song are given and accompanied by notes on how Mingus played the piece. Mingus photos, anecdotes, quotes and an extensive discography fill this volume that collectors will treasure. A truly personal work that celebrates the genius within this jazz legend. Songs include: Fables of Faubus * Sue's Changes * Better Get Hit in Your Soul * Weird Nightmare * and more. ... Read more

Customer Reviews (8)

the best
This was a gift to my son who is a musician. He calls it the absolute best gift I could have given him.

Mingus as a compositional genius.
As an avid fan of Charles Mingus, naturally this book is a must have. The compositions featured are very accurate and precise, it is always a treat to not only be able to see the music, but to know its origins. Even those who are not fortunate enough to be a musician can pick up this book and enjoy the commentarys and the other fun tidbits(i.e the Mingus Cat-alog and the comic stip). I highly recommend this to anyone who is a fan of Mr.Charles Mingus. Anybody (musician or not) can enjoy this product.

Now you can see how it's done
This has transcriptions of Mingus's best and most popular songs.The transcriptions seem to be accurate, though the nature of Mingus' music means that sometimes the transcription is the average of two or three versions.Some of the songs have a paragraph of two written about them.Also interspersed throughout the book are various writings and blurbs from Mr. Mingus himself.All in all an excellent book for a musical Mingus fan, or someone intent on playing his music.

Nice book
I'm a big fan of Mingus and this book have a nice collection of transcriptions of his songs. But for we the bassplayers there's a lack of info about his bassplaying and his way of play each song...

The Great Lost Mingus Band Album
While the book is supposedly a fake book for musicians, it includes trio and quartet recordings by key members of the Mingus big band including Seamus Blake, the outstanding Thelonius Monk Award-winning saxophonist who doesn't yet have his own CD out. The two CDs is an excellent introduction to the music of Monk and holds up well on its own. Listen and enjoy and don't worry if you are NOT a musician. ... Read more

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As a centre for jazz and blues, vaudeville, and a budding recording industry, Chicago and its environs probably spawned more nationally recognized dance bands than any other city in the United States in the 1920s and 30s. While ample attention has been paid to their black counterparts, Charles A. Sengstock Jr.'s That Toddlin' Town looks at the history of the white dance bands, theater orchestras, radio studio ensembles and night club bands. Sengstock examines these bands not only in terms of the music they played but also in the context of the venues in which they played and Chicago's volatile economic and social climate. Viewing the bands as an economic system, he analyzes them as businesses with all the usual pressures brought on by ambition, personality clashes, and the overriding need to serve clients. More than a mere popular phenomenon, these dance bands--along with their charismatic leaders, powerful booking agencies, and the Chicago Federation of Musicians--had a major impact on the music industry at large and influence over other entertainment media. ... Read more

Customer Reviews (1)

An economic history the band business of Chicago
The latest volume in the "Music in American Life" series, That Toddlin' Town: Chicago's White Dance Bands and Orchestras, 1900-1950 is an economic history the band business of Chicago prior to World War II. Written by an experienced jazz and dance band researcher, That Toddlin' Town covers big names such as Edgar Benson, Jules Stein and James Petrillo, and more, as well as the endeavors of dance bands, the role of early dance halls, ice rinks, and beer gardens, how dance bands earned popular respect, the impact of the Great Depression, and much more. A thoroughly researched account, featuring an extensive bibliography and index, That Toddlin' Town is a "must-have" for jazz and dance band historians.
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This volume shows Charles Ives in the context of his world in a number of revealing ways. Five new essays examine Ives's relationships to European music and to American music, politics, business, and landscape. J. Peter Burkholder shows Ives as a composer well versed in four distinctive musical traditions who blended them in his mature music. Leon Botstein explores the paradox of how, in the works of Ives and Mahler, musical modernism emerges from profoundly antimodern sensibilities. David Michael Hertz reveals unsuspected parallels between one of Ives's most famous pieces, the Concord Piano Sonata, and the piano sonatas of Liszt and Scriabin. Michael Broyles sheds new light on Ives's political orientation and on his career in the insurance business, and Mark Tucker shows the importance for Ives of his vacations in the Adirondacks and the representation of that landscape in his music.

The remainder of the book presents documents that illuminate Ives's personal life. A selection of some sixty letters to and from Ives and his family, edited and annotated by Tom C. Owens, is the first substantial collection of Ives correspondence to be published. Two sections of reviews and longer profiles published during his lifetime highlight the important stages in the reception of Ives's music, from his early works through the premieres of his most important compositions to his elevation as an almost mythic figure with a reputation among some critics as America's greatest composer. ... Read more

Customer Reviews (3)

Excellent Collection of Primary Sources
With most scholarly periodicals now digitized and searchable through JSTOR and Project Muse, collections like these risk becoming dinosaurs and--or rather, unnecessary. Not so with this collection. The articles are of course diverse and thought-provoking (especially when read alongside other Ives scholarship), especially cogent walk-through of Ives' un-summarizable political beliefs and how they play out in his wartime works. But where this collection really shines is in the excellent primary sources appended to the back of the collection, giving a more-or-less thorough-going account of Ives' contemporaneous reception and saving the casual researcher hours spent paging through musty old periodicals to find a single citation. The generous selections from Ives' letters whet the appetite as well and draw connections between Ives and the American musical avant-garde more effectively than secondary scholarship on the same topic. I picked this up in a used book store about a year ago, and while it shouldn't be your first Ives book, it is a valuable companion to the many Ives bios and studies.

"[...] only an inventor knows how to borrow."
Beginning in 1990, Bard College (Annandale-on-Hudson, NY) has held an annual music festival celebrating the music and related cultural/aesthetic background of composers, with the festival "proceedings" published as a Festschrift volume. The consideration for a composer being celebrated would seem to be that the composer's works represent a measurable break with "the past," in terms of musical aesthetic. Only one of these composers has been American. It is fitting that this American should be Charles Ives. This volume is from the 1996 festival for the music and life of Ives. It nicely summarizes why it is that Ives was important to the development of a uniquely American musical aesthetic, and how that aesthetic was closely tied with the man's life in other respects.

The volume is in four unequal parts: Part I, ESSAYS (five in-depth pieces covering key aspects of Ives the composer, philospher and businessman and ethicist, filling nearly half the book), and briefer Parts II, III and IV, providing, respectively, LETTERS (to and from Ives), REVIEWS (of music and performances), and PROFILES (of Ives during his lifetime).

The essays cover distinct aspects but have some overarching themes:

[1.] Consistently (and persistently), Ives composed in four styles: American popular music, Protestant church music, "art" music in the European classical sense, and experimental music, frequently combining two or more of these styles in a work. Ives did not "progress" from the simple to the complex (as had earlier been put forth, before musicologists and critics could achieve perspective on his output), but always had each of these in his "composers' toolbox"; even at the end of his composing career, he remained grounded in European "art" music, and continued to call upon the vernacular music of his childhood while at the same time his music grew in depth and profundity of expression.

[2.] Ives's use of vernacular music, as nostalgia and as "writing music about music," and his creating a naturalistic sound stage by adding aural perspective to his scoring, were unique for their time, although they found application in the contemporaneous works of Gustav Mahler, quite by accident.

[3.] We cannot separate the composer from the philospher and/or the businessman without risk of arriving at an incomplete picture and failing to understand the music that is the principal surviving entity of his life's work. The fullest, most accurate picture emerges only when it becomes clear by what route his philosophical leanings reached their fullest flower, affecting both his musical and business lives, and how the fullest flower didn't really arrive until he redirected his business efforts and ethics, and married, with his wife providing the "quiet space" and the gentle encouragement for this fulfillment.

[4.] Ives developed a new musical aesthetic that was revolutionary in its break from the past, as represented by the example of Beethoven. It was his connection with the philosophy of Emerson, and resonances with Emerson's writings, that led him to this aesthetic, which reached its zenith in his monumental Concord Sonata.

Another theme, not an essay but clear from a complete read of the book, is that Ives - because he was a "private, spare-time" composer - was significantly ahead of his time and not really "discovered" and understood until years after his composing ceased. Most of his works were substantially completed prior to 1915, but performances and recognition were to wait another fifteen years or more, until the rest of the music world caught up to him, and early assessments of his works were badly flawed.

There is no better example of the initial misunderstanding of Ives's music and the time lag "until appreciation" than his Concord Sonata for solo piano, now properly considered one of the greatest 20th century keyboard works and the topic of both a major essay and a large portion of the critical reviews in this bood. A few paragraphs about the breadth and depth of commentary on this work can serve to represent the overall quality of the book.

Completed in 1915, the Concord didn't receive its premiere until a quarter-century later, in a landmark 1939 Town Hall/NY performance. In the meantime (in 1920), Ives self-published the sonata, as well as a companion volume, "Essays Before a Sonata," rationalizing his aesthetic for the work.

David Michael Hertz's essay ("Ives's Concord Sonata and the Texture of Music") makes clear that this was a revolutionary - and difficult - work because of the new ground it broke. Despite "borrowing" identifiable themes from Beethoven and vernacular music, and stylistic devices from Liszt, Chopin, Scriabin and Debussy (leading to my review title), the Concord represented a departure from the past not because it used and subsumed these materials but because of how the materials are organized and developed from the fragmentary to the complete (an aesthetic that Hertz calls "cumulative form"): it is only at the end of each movement of the work that a full statement of the thematic materials emerges, a reversal of the ordinary course of events in composing.

The reviews covering the period from Ives's publication of the Concord up to the work's premiere, performed by John Kirkpatrick, are almost universally dismissive; the score was incomprehensible to critics and fellow composers). It was only with Kirkpatrick's successful premiere of the Concord (an effort that took twelve years of study on his part) that composers and critics began to accept this work for the masterpiece that it is.

The rest of the volume is "of a piece" with this Concord Sonata example. This is a splendid critical overview of Ives, a fresh view, if you like, of "Ives reconsidered, after the dust has settled."

Those interested in a more "linear" biographical account of the life and works of Ives are recommended to read Jan Swafford's splendid "Charles Ives: A Life with Music" (also 1996).

Bob Zeidler

A "must read"
For anyone interested in the life of Ives, in addition to his music, this book is a "must read." It is enlightening in it's approach to his personal life - which is so obvious in his music. There is an equitableblend of personal and musical background information by many notablecomposers, friends and business associates. The book has just enoughphotography to support context, not that Ives was a camera hog.

I had theopportunity and priveledge to attend the Bard Music Festival forperformances of some of my favorite Ives pieces. It was fantastic.

Ihighly recommend this book to anyone interested in the Ives legacy andespecially to any student of composition. ... Read more

Product Description
Boyhood in a small Connecticut town, the imprint of a free-thinking father, a formal music education at Yale University, a lucrative career as a New York City insurance executive, and a personal philosophy balancing individuality and idealism: these are the conditions that formed and informed the controversial music of Charles Ives. His works were rescued from obscurity--in many instances, long after their creation--and introduced to the concert world. For some time the accomplishments of this Yankee renegade have been recognized as central to the American musical experience. His Third Symphony, conceived early in the twentieth century and only given its premiere in 1946, was identified by the composer himself as a pivotal effort in his compositional odyssey and, perhaps ironically, earned him the Pulitzer Prize in 1947.

In this study Dr. Zobel reviews the complicated narrative of the Symphony's composition, explains why Ives considered it a turning point between the "old ways" and the "new ways," explores the structural implications of its camp-meeting program and the sophisticated manipulation of hymn tunes in its fabric, and places it in the context of Ives's idiosyncratic worldview. In the process he interprets the timing of its first public performance as a means to appreciate evolving attitudes toward modernism in the American musical establishment. The text is enhanced by a sampling of critical commentary dating from the past sixty years and a later one with these details of Ives's original conception restored. ... Read more

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From the mid-1940s until his death in 1979, Charles Mingus created an unparalleled body of recorded work, most of which remains available in the 21st century. While there have been several volumes devoted to Mingus's colorful and tumultuous life, this is the first book in the English language to be devoted fully to his music. General jazz fans as well as musicians and music students who would like a better understanding of Mingus's complex, often difficult music, will find a complete, chronologically arranged, listener's guide to all of his legitimate recordings, from the 78s he recorded in Los Angeles and San Francisco in the mid-1940s, through the legendary albums he made for Columbia, Candid, Atlantic, and his own labels. In the process of providing these in-depth examinations, Jenkins corrects common errors and clears away old misconceptions about certain recordings. His approach will illuminate long-obscure aspects of this imposing and incredibly creative man's contributions to the art of jazz.

Touching upon Mingus's many innovations as a jazzman, I Know What I Know explores his advancement of the art of bass playing; his assimilations of Ellington and Monk with ideas leaning toward free jazz; his experiments with ensemble dynamics, instrumentation, and extended form; and his working relationships with partners such as Jaki Byard, Eric Dolphy, Jimmy Knepper, and Dannie Richmond. The book provides a broad, informative overview of Mingus's work without veering into technical musical terminology. Readers without an extensive background in music will thus understand and appreciate the analyses provided, and be able to use them to enhance the experience of listening to the brilliant work of this legendary jazz great.

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Lavishly illustrated with photographic and musical examples, this book provides the first comprehensive evaluation of Koechlin's life and works. As well as concentrating on major symphonic works like Koechlin's jungle Book cycle, it also discusses his attraction to the early sound film and themusic inspired by such stars as Lilian Harvey, Marlene Dietrich and Charlie Chaplin in the 1930s.
Koechlin's career provides a fascinating study of the triumph of integrity and independence over almost overwhelming odds and his rich and varied output offers a veritable treasure-trove for performers, scholars and enthusiasts alike.
In 1942, Wilfred Mellers classed Koechlin ''among the select number of contemporary composers who really matter'', yet it is only in teh 1980s that Koechlin began to achieve the recognition he deserves as a composer of breadth, vision andpowerful originality: a pioneer of polytonality and a master orchestrator who was greatly admired by contemporaries such as Faure, Debus ... Read more

Customer Reviews (1)

comprehensive,analytical and provoking
Robert Orledge is a consummate musicologist working in Liverpool, and this work on the neglected French composer Charles Koechlin is a wonderful profile of his entire life's work. Koechlin was a contemporary of Debussy, and Satie, yet we seldom have heard his music. Even today there is scantrecordings, and what there was in the past was inferior to our modern earsnow. I recall an excellent early disc however with the BBC Orchestra underAntal Dorati with Koechlin's Bander-Log, with Messiaen and Boulez worksincluded.Today however there are exceptions with conductor Simon Rattle,and David Zinman here.The Koechlin aesthetic followed a lifelongfascination with a full spectrum of conceptual complexities in nature, butalso classical mythology, Roman civilization, the jungle, the night,starlit sky, dreams and fantasy, yearnings for distant shores, also the seaand water. Water in particular inspired the wonderful set of piano solos"Paysages et marines (1915-16) subtitled Landscapes andSeascapes.There you will find the piano evoking a fluidity largly bysustained sounds in the lower regions of the piano,shaped yet waiting forits full decay.Creativily Koechlin was a miniaturist finding genres(as thepiano solo)as deep recepticles for these countless images,where one workcould scour through some 40 images. The Chants de Nectaires is an exampleand has an unusual premise as well, it is a work for unaccompanied flute ofsome three hours,with an array of dances,prayers, and songs. The virtuosoPierre-Yves Artaud has edited a performing version, after years ofneglect.Koechlin's other side is the Sonatinas for piano which arechildlike in their harmonic simplicity,yet not facile in their conception.Orledge identifies all of the genres in Koechlin's creative edifice with adeep focus on the elements of music at work here. Rhythm was not asimportant as harmony for instnace,yet inmelody reigns supreme.He abhorredrhythmic excursion for the mere sake of it. If anything at all Koechlin'screativity utilized his innate gift for lyricism.And being lyrical impliesa reduced focus on harmonic progression of rhythmic complexity. Orledgeadmirable covers each in succession. His life is treated in periods ratherthan genres, in that he wrote in each,however incomplete and at timesimmature that creative process proved to be.Also there is a look at hisuniqueness as an orchestrator.There are wonderful vintage photographs aswell as numerous musical examples, many being reductions and transpositionsfrom the original source. ... Read more

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Whether you realize it or not, you already have been involved in the "chicken dance" many times in your personal life and in your career.It's all about the actions and the antics people use to position themselves to gain power or to gain something of perceived value.Recognizing it when you see it will enable you to use the lessons from this book to enhance your chance of success.

This book has something for everyone.It will provide you with real examples based on Newman's real world experiences.The "learnings" and negotiating techniques will provide you with valuable insights to enhance your personal relationships as well as your business dealings.It provides a fast paced, often humorous, yet practical approach to better understanding human interactions and communications.

In addition, the three processes provided in the book have broad applicability.They have been proven to work in many businesses, irrespective of size,as well as non-profit charitable organizations.They also are applicable in the public sector.Success in all of them means mastering the "chicken dance" and applying the processes.
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Customer Reviews (9)

Beyond The Chicken Dance is worth your time!
There is a lot of good advice in the book that can be used in any negotiation or business setting - it is certainly not limited to just setting up an alliance.Using real life stories, the information is presented in a way that was easy to understand, and thus easier to put the suggestions into practice. Beyond The Chicken Dance is worth your time!

Thankful
Mr. Newman has done something rare ... he's written a business book that is actually readable and enjoyable!"Beyond the Chicken Dance" comes from places most of us can't imagine and provides insight into the world of high-octane negotiating.Newman draws on his years of considerable experience to take the reader through an easily-understood treatise on the subject of win-win negotiating and partnering.Couldn't put it down...very applicable to business of any era.

'Must Read' for Successful Negotiating and Building Alliances
Anyone considering entering into a partnership, business alliance, acquisition, or just basic negotiating should read this book in order to gain successful, tried-and-true knowledge of what does/doesn't work!Charlie's book is witty, interesting, and a valuable read - one of those "you can't put it down until you finish it" kinds of books that you feel like you wish you would have read/learned years ago!Great book!

Many a True Word is Spoken in Jest
I had the pleasure to work with Charlie,as a fellow consultant to Conix Corp. -and the opportunity to learn firsthand about "The Chicken Dance" and many other of his many practical, no-nonsense techniques that simply put, work. I went on to use many of them in creating an alliance for them. Now I, and others have the opportunity to read and benefit from his experiences and recommendations in this new book. It was thoroughly enjoyable reading it (especially as I know some of the people and situations in it that he so aptly brought to life) - and I look forward to using it in my practice now.I strongly recommend it as a "must read" for anyone involved in, or planning a business alliance.Nice work, Charles!

Real-world Negotiating
Mr. Newman does a wonderful job of condensing decades of real-world experience into a readable, entertaining book.His no-nonsense style and amusing anecdotes make it impossible to put it down until the last page is read.I wish I had the benefit of his practical approach when negotiating past business deals.In todays economic environment, negotiation is an absolutely vital skill for survival.Congrats to Mr. Newman on a wonderful book. ... Read more

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This digital document is an article from Encyclopedia of Recreation and Leisure in America, brought to you by Gale®, a part of Cengage Learning, a world leader in e-research and educational publishing for libraries, schools and businesses.The length of the article is 1597 words.The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase.You can view it with any web browser.From rodeos to quilting bees, stickball to stock car racing, American pastimes comprise a broad range of activities. The two-volume Encyclopedia of Recreation and Leisure in America provides a comprehensive survey of these activities from the Colonial era to the present. This title examines how the pursuit of leisure has changed over time, reflecting shifting social, cultural, political and economic trends in the United States. Particular attention is paid to how leisure activities have varied by region, class, ethnicity, gender and age. ... Read more

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Commentary (music and lyrics not included).Chapters: Joy, The Absolute Game, Days in Europa, Scared to Dance, Charles EP, The Saints Are Coming: The Best of The Skids, Dunfermline: A Collection of the Skids' Finest Moments, Fanfare,. Source: Wikipedia. Pages: 32. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Joy is the final album by the Scottish band Skids. It was the fourth studio record and their first after the departure of signature guitarist Stuart Adamson, who then founded Big Country. As such, it represented a change of direction from rock to folk music, amplifying the traditional Scottish element already hinted at in previous releases. The band line-up featured Richard Jobson and Russell Webb, with J. J. Johnson (drums / percussion), Paul Wishart (saxophone / flute / keyboards / percussion / vocals) & a collection of musical friends. They all went to Britannia Row Studios in London for rehearsals and song development. Sessions in July 1981 led to the release of the first single from the upcoming album. The single "Fields" (Virgin VS-401) was released in August 1981, with Kenny Hyslop on drums. The song also featured Billy MacKenzie (vocals), and Alan Rankine (guitar), who were the core members of the band The Associates. Guesting, early in her career, was Virginia Astley (flute). The strummed guitar and marching band elements (bagpipe emulation, percussion) signalled a change in direction, though the rabble-rousing melody and football pitch vocal delivery were standard Skids fare. Sessions continued through September 1981 and produced a second single, the harmonically rich Iona (named for the Scottish island). It was the only song on the album to be recorded at Highland Studios in Inverness, Scotland. Released in October 1981 (as Virgin VS-449) this was the last Skids track to featu...http://booksllc.net/?id=2214009 ... Read more