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In a series of riveting interviews given between 1968 and 1970, Ingmar Bergman talks candidly about life and the movies. Bergman's company of actors and technicians featured some of the most talented artists of the 20th century. It included Max von Sydow, Liv Ullmann, Erland Josephson, Harriet Andersson, Bibi Andersson, Gunner Bjornstrand, and the brilliant cinematographers Gunner Fischer and Sven Nykvist. Bergman provides a behind-the-scenes look at his work with these men and women, as well as revealing insights into the complexity of his acclaimed films The Seventh Seal, Wild Strawberries, Through a Glass Darkly, Persona, and many others.
Customer Reviews:
Not always exciting, but always essential Bergman.......2006-04-20
After heaving read "Trier about von Trier", an interview also conducted by Stig Bjoerkman, it became unavoidable to read the Bergman book, too. So many references to Bergman's films, so huge a relevance he has for today's film-makers not just in Scandinavia, but all over the world. The Interview was conducted quite late, I think 1990, so many films are far and lost in the momories of an old man. He is also very humble about many films, pretending not to remember them propoerly or waving them off as unimportant. Those where he accepts the discussion must be wort seeing, however, and the comments by the two interview partners give you some exciting insight in what it must be like to experience them for the first time (in some repsect, this means, I can be glad that I have hardly seen any Bergman film so far, only "Snake's Egg", I think, and he does not seem to like that one). In particular, I think, the following ones should be on the shelf soon (and maybe seen in the order of initial release): (not sure about the respective English titles): "The Summer with Monika", "For one Summer", Wild Strawberries", "Scenes of a Marriage", "The Silence", "The Face","Hour of the Wolf:, "Light in Winter" "Persona", "Shame", "7th Seal", "Fanny and Alexander". And so on... There's a task at hand!
Essential but dated.......2001-11-26
Ingmar Bergman fans should all get to know this book. It's a series of interviews done in the late 1960s, in which he discusses his entire career in relevant but not excruciating detail. My local art house cinema just put on a big Bergman retrospective, and it was fun to be able to see the films and then read the director's comments on them. The photos are nice too; they include such famous sequences as the first dream from "Wild Strawberries" and the opening of "Persona."
I have a couple of small objections. First, the book stops in 1970 (not that big a problem, as most of his really good films were made before that date). Second, there are some issues I wish he'd covered in more detail; sometimes the journalists direct the conversation too much. But these are minor flaws in an essential book on one of cinema's great directors.
Book Description
Although Ingmar Bergman (1918-2007) holds an undisputed place in the pantheon of major filmmakers, mention of his name unjustly evokes images of monolithic gloom and despair. All of his pictures, including his comedies, deal seriously with faith, morality, and mortality, but audiences and critics too often neglect the extraordinary wit and vitality that can be found in Wild Strawberries, Scenes from a Marriage, Fanny and Alexander, and many others.
In Ingmar Bergman: Interviews, the director discusses various stages of his career and the many facets of his work. The man and his films are revealed to be funny, full of life, and surprising as well as thoughtful, complex, and profound. In interviews with important writers, critics, and filmmakers, including James Baldwin, Michiko Kakutani, John Simon, and Vilgot Sjoman, Bergman describes a grand vision that justifies his affinity with Shakespeare, Ibsen, and Dostoyevsky. The volume begins with a 1957 piece, conducted just as he completed his early masterpiece The Seventh Seal, and ends in 2002, as he was preparing to direct Saraband, his latest film.
Customer Reviews:
best overview of the century.......2001-05-12
Morgan's book is the best that I have found for an overview of the entire 20th century in "classical" music. He divides his analysis into 3 logical sections:
Part 1. Beyond Tonality: From 1900 to World War I
Part 2. Reconstruction and New Systems: Between the Wars
Part 3. Innovation and Fragmentation: From WWII to the Present
This allows for some nuance that a simple list of composers often misses. For instance, Schoenberg's "atonal revolution" is covered in Part 1, along with the "new tonalities" of Stravinsky and Bartok. Part 2 covers the origin of the "twelve-tone system," but makes clear that it did not become influential until years later with the "serial revolution" in France, led by Messiaen and Boulez, in Part 3.
As others have noted, Morgan is not as strong on the more recent period, partly because the book was published in 1991 and thus misses such phenomena as Schnittke's surge of popularity, especially in Russia and Europe, after the collapse of the Soviet regime. I recommend two other books along with Morgan: 1) Gann's "American Music in the Twentieth-Century," which covers developments in the U.S. in greater detail, thus including for instance one of my favorites, Roger Reynolds, and 2) Griffiths' masterful "Modern Music and After," which begins after the Second World War.
Not Completely Comprehensive.......1999-12-12
This is a very good book, but it only covers the first three-quarters of the century. Minimalism is the latest movement that it really covers comprehensively. After that, most composers recieve only two or three lines of text. This is, of course, understandable, given when the book was written. Just be warned that more recent developments in music are often ignored or not given the attention they deserve. Also, it should be noted that the book generally restricts itself to "classical" music. Jazz and Free Improvisation, despite being arguably the most vital and truly revolutionary forces in music of the first 2/3 and last 1/3 of the century, respectively, are mentioned only in passing if at all.
The History of Modern Music for The Layman.......1997-03-15
As we end the 20th century, we may not realize that 20th
century music covers the same time span as the 19th
century Romantic music period. Have we grasped the meaning
of modern music. To do this one needs to understand the
history as well as the dynamics of 20th century music.
Here is a book that fills the bill. Not only does Mr. Morgan
discuss the growth and change in 20th century music but he
does it in it's historical context of our maturing as a
world. For many the atonality of 20th century music is hard
to grasp, especially when concert artists and orchestras
continue to emphasize in their repatoire 19th century music. But as the world changes so will music. A book to awaken your interest in 20th century music and the composers who were the leaders of this period.
Book Description
Offering complete, accurate coverage in a tightly condensed, simple format, this comprehensive exploration of modern music (to 1998) deals primarily with the music itself and musical ideas. It puts the whole century in a unified concept, helping readers make sense out of the heterogeneity. It explains the overall development of 20th century music in relation to the past and to two big cycles of contemporary music; and encompasses classical and experimental traditions as well as popular elements, media, multi-media, and theater. Twentieth-Century Music and the Past. THE BREAKDOWN OF TRADITIONAL TONALITY. The Sources. The Revolution: Paris and Vienna. THE NEW TONALITIES. Stravinsky and Neo-Classicism. Neo-Classicism and Neo-Tonality in France and Outside of France. National Styles. Musical Theater. ATONALITY AND TWELVE-TONE MUSIC. The Viennese School. The Diffusion of Twelve-Tone Music. THE AVANT GARDE. Before World War II. Technological Culture and Electronic Music. Ultra-Rationality and Serialism. Anti-Rationality and Aleatory. The New Performed Music: The United States. Post-Serialism: The New Performance Practice in Europe. POST-MODERNISM. Beyond Modern Music. Back to Tonality. Pop as Culture. Media and Theater. Music Examples. For courses anyone interested in 20th Century Music, Modern Music, or the History of Music.
Customer Reviews:
This book goes beyond an introduction..........2000-08-02
I used this book two graduate level music courses, and had it recommended as a great resource in a third class. While it can be read and understood by someone new to this era in music, it is also full of information that even the most knowledgable musician can appreciate. I highly recommend it to anyone interested in Twentieth-Century music.
Book Description
This book is designed to be the primary text for the first two years of college music theory. It covers all the basics of composition including harmony, melody, and musical form.
Customer Reviews:
Clear and to the point.......2004-05-15
My theory pedagogy class reviewed about a dozen theory textbooks and the general consensus was that the Benjamin and the Kostka/Payne books were the only two that were worth using.
The Benjamin book is the best book for serious teachers. It provides the most complete description of tonal music of any text, and is always accurate, efficient, and very clear. In the hands of a good teacher it is the ideal tool. For students who have already studied theory, it is the perfect reference guide.
However, it is not a good "self-programmed guide" for students who wish study music theory on their own. Neither is it a good book for inexperienced theory teachers. For both of these cases, I would recommend the Kostka/Payne book.
[Full Disclosure: I was a student of Dr. Benjamin at the Peabody Conservatory for several years, studying composition and music theory, where we used his books]
Not a good book for a Theory student........2000-09-21
I'm rather surprised at the positive reviews of this book. It is, in my opinion, the poorest excuse for a Theory book I have ever seen. It is nothing more than a skeletal outline. The language is extremely dense with new terms. For example, the paragraph describing V7-I chord resolution uses the terms "leading" and "tendency" tones, having never introduced them before.
I have an Engineering degree, and am studying for a degree in music composition. This book is more difficult to read, and more poorly written, than most of the books I used in engineering school.
The thought of using this book for three semesters is excruciating. The authors were clearly more interested in showing off their knowledge, instead of teaching it.
Can you tell I hate this book?
Everyone in the class is utterly baffled, and some have just stopped coming to class, thinking that they are not smart enough to get music theory. This book has broken the spirit of young musicians. Way to go.
Outstanding Text on Music Theory.......1998-09-05
This text is an outstanding book on music theory. Complete with exercises, concise examples and reference materials packed into the 282 pages of this text. While not the complete reference manual for theory, it is a great general tool/text for education in music theory and the fundamentals of music notation, musical structure and musical form. Fat paced book covers all the details, and includes a reference section which details and demonstrates the handling of many musical techniques and analysis in a concise, direct way.
Highly recommended!
Customer Reviews:
Great Workbook.......2000-08-25
This is a great workbook for someone who is trying to learn music theory either on their own or with a tutor. I would recommend it to everyone!
Customer Reviews:
Audio CD essential for textbook.......2006-02-25
The audio CD is essential for the textbook - depending on your piano skills you could get by playing most of the examples, but the CD is a great help. Because some tracks have more than one example on them, using it in the classroom can mean you have to skip through some examples. If you don't mind doing this occasionally, there's nothing else wrong with this CD. Overall, an excellent publication.
Book Description
Designed to meet the needs of the two-semester theory curriculum for music majors, Tonal Harmony is a straightforward book that emphasizes practicality and ease-of-use for both the student and the professor.
By focusing on the core elements of the theory curriculum in a single-volume format, the text is both a complete coursebook and a handy and cost-saving manual for students. On the professors side, the supplements package (with a collection of CD audio examples and an extensive Instructors Manual) makes the book easy to use and to teach.
Customer Reviews:
Tonal Haramony.......2006-11-10
Recommended by my piano teacher, I have found this book very helpful for the theory I never studied when I began piano lessons over 20 years ago. I wish I had read this book when I began playing the piano. My practice time would be much more efficient if I had.
Excellent Harmony Text.......2006-03-30
This is an excellent introduction, covering most aspects of theory thoroughly. It is also MUCH easier to read than Walter Piston's Harmony. The problem is that this book is much more abstract than piston's book, breezes over inversions of chords much too quickly and is a tad lax in the rules of voice leading. I do suggest you consider that text as well.
It's still a good introduction that you will ACTUALLY READ. It covers all triads, seventh chords, chord functions, chromatically altered chords like Neapolitan and Augmented sixth chords, covers non-harmonic tones, and even goes off onto other (more abstract) topics.
As to the reviewer below who pointed out that it neglects counterpoint and focuses too much on the vertical aspect of music (for example, in the exercises EVER note is a different chord and almost no non-harmonic tones are employed): this is an ELEMENTARY HARMONY text. Counterpoint is generally approached after the student has mastered all that is contained in this book. The exercises are meant to teach voice leading and chord functions. Fux's treatise on Counterpoint from Gradus Ad Parnassum clearly states that what is learned in the "first part" on Harmony still applies in writing counterpoint. The horizontal aspect of music can be taught better if the the vertical aspect is understood first. Multiple times Fux also says that exercises, whether those in the book on counterpoint or those in this text, are designed to instruct and make future writing of music easier, but aren't the same as writing music.
good book.......2006-01-03
I thought this was a very good text. I have also had a wonderful theory professor who made great use of the book.
Oh well ... nice try........2005-10-18
I've been teaching music theory for 35 years, and have seen a lot of texts that I like less than this one. However, it doesn't make this one wonderful.
As other reviewers have mentioned, there are a lot of errors. Also, there are far too many places in the examples where they say, "Ignore this note", or "Forget about this for now". You'd think they'd have found better examples without making the interested student wonder what's really going on, and the less involved student confused with excess.
This book is heavy in overkill. It's the same problem as in computer manuals: they obviously feel like they have to tell you EVERYTHING, and that nothing is more important than anything else. For example, they go on for pages and pages about chord spacing and voice leading, where a simple grounding in how to write and recognize decent melodies would go a lot farther and reduce dependance on mastering mountains of scrupulous finicky detail.
The authors obviously feel that the inner voices are no more or less important than the soprano-bass counterpoint, whereas perceptually, the soprano and bass carry most of the weight of what's heard and experienced. The emphasis is on recognizing the vertical component of harmony at the expense of the horizontal, but music is experienced as ongoing linear motion, not as successive blocks of stuff. On the other confused hand, they treat Alberti Bass as a note-to-note melodic line, where it's exprienced as just a rhythmised chord with the bass predominant. Minor scales and harmony are introduced as soon as major, and this much complexity before students know what's going on is pedagogically weak. It's the same with triads and seventh chords. And so-on.
You need to understand the simple before getting into the complex.
If you are good at taking a long string of finicky detail where all is of equal importance, and developing it all into a bigger picture with hierarchies, this book might be good for you. Otherwise, keep looking.
Book does not come with Audio CD.......2005-08-21
As the title of this review states, this book does not come with the audio CD that is needed for the book. They expect the student to pay over $60 for the book and about $30 (thats right, I said $30) for the CD. Their avarice cannot be any more obvious. It is a shame.
Customer Reviews:
Good...not Great.......2007-03-10
The 20th Century was a very innovative time period in music. The influence of globalism and technology undeniably effected the musical atmosphere of the world in the 1900s. Yet Morgan seems far more concerned with atonalism and anti-classicism than the influence of jazz, popular music, recording technology, and even cinematography. While he does not fail to mention these influences, I believe that he did not emphasize their importances adequately. However, there is much to discuss in the world of 20th century music, and Morgan provides excellent insight into the topics that he chose to focus on. A good study of the era but not quite a great one.
Anthology of 20th Century Music.......2005-09-18
The order came very quickly. However, the discription wasn't accurate on the product. There is some staining on the last couple of pages and on one page, the last few lines have been completely cut out, as if with scissors. Overall the book is fine, but I thought it would be in better condition.
Average customer rating:
|
Canadian Music of the Twentieth Century: An Introduction
George A. Proctor
Manufacturer: Univ of Toronto Pr
ProductGroup: Book
Binding: Hardcover
 General
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Theory, Composition & Performance
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ASIN: 0802054196 |
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