Book Description
The Rough Guide to Horror Movies is a comprehensive guide to the world''s most terrifying films. The guide includes all the icons, from Boris Karloff to Wes Craven and Frankenstein to Freddie Kruger, including classics from Argentina, Pakistan, South Africa and the recent chillers from East Asia. The canon of fifty essential horror movies features The Cabinet of Dr Caligari and Switchblade Romance, via Psycho and The Exorcist. Everything you need to know is covered from festivals, adaptations, magazines and merchandise. The guide tells the stories behind the movies that have scared us throughout the twentieth century.
Customer Reviews:
Nice reference guide for horror films.......2007-09-03
The various Rough Guides to movies that have come out over the past couple of years have been hit-or-miss affairs. While not perfect, the Rough Guide to Horror Movies is definitely more on the hit side.
As with the other Guides, this book is divided into several sections, including a brief history of horror movies, a listing of icons of the genre, a look at horror in other countries and various reference sources. The centerpiece, however, is The Canon, an alphabetical look at the top 50 horror movies.
As usual, this list is debatable, though some more than others. Certainly few horror fans can debate such choices as Frankenstein, Cat People, Dracula (both the Lugosi and Lee versions), the Exorcist, Nosferatu, Suspiria or Halloween. Other choices, on the other hand, would get more argument, at least from me: flicks such as The Plague of Zombies, Switchblade Romance (a.k.a. High Tension) or Witchfinder General (a.k.a. The Conqueror Worm). Not that these are bad movies (even Switchblade Romance - which suffers from a trite plot twist - is not awful), but there are, I think better choices out there. What about Invasion of the Body Snatchers, 28 Days Later, Dr. Jekyll and Mr. Hyde (the Fredric March version), Children of the Damned, The Masque of the Red Death or Jesse James Meets Frankenstein's Daughter (just kidding on this one)?
Everyone's tastes will vary, so I don't fault author Alan Jones on his choices, as he does not put forth a good argument for his choices. There are little flaws here and there - missed or incorrect plot points, for example - but generally, this is a worthwhile reference book. Even if not perfect, it gives a good overview of the genre and will give most fans a chance to read of movies they were unaware of.
Highly recommended.......2007-08-10
Reading this book is like shopping while hungry: everything will look good to you. You'll come away from this book with several dozen films you want to see, many of them foreign. Great trivia, like the line 'Don't step on it, it might be Lon Chaney.' (He was apparently known for his commitment to creature effects in the days before CGI).
One of the best introductions.......2006-11-14
This is really a remarkably good overview of horror cinema. It offers a variety of information (historical, filmographic, aesthetic, cultural) which is organized to encourage casual or random browsing but also very readable from cover to cover. The background chapter on horror literature is particularly informative. No special theory is offered; some otherwise excellent horror film books take an overly-specialized perspective, but you won't have that problem here. The genre is taken seriously, but the fun of it is always kept in view. Many very fine (and some rarely seen) photos grace the book throughout. I only noticed one "blooper": in the sidebar on Barbara Steele, Fellini is reported to have "cut her out" of his film "8-1/2." However, when I saw it recently, Babbara was beautifully present in one important scene. Otherwise, this is a very well-done volume and is heartily recommended.
Zombos Closet Review.......2005-12-12
The book is richly informative, presenting a broad vision of American and British horror films, along with a copious amount of horror's international kith and kin. The format is exemplary, as the book is chaptered into sections that provide a linear discussion of the horror genre on the one hand, and a browsable-friendly approach on the other.
Briefly beginning with the literary and celluloid origins of horror, the author, Alan Jones, introduces his canon of 50 seminal horror films that stimulated the genre to new heights. This is a section to be revisited again and again, and while some of his inclusions may arguably be open to debate, the entries provide much to think about and discuss. The remaining, very browsable, chapters include the icons of horror, the global picture of horror films around the world, and a wonderful information section that gives details on film festivals and conventions, books and magazines, and websites the reader may wish to explore further to broaden his or her horizons on cinematic horror. (http://zomboscloset.blogspot.com)
Excellent Guide to Horror.......2005-12-06
Whether your new to the genre or a horror veteren, this book is full of fantastic information on nearly all aspects of horror. I bought this book yesterday and I was not disappointed. It contains history of the genre, all the essential movies and is very up-to-date. From Nosferatu and Freaks to American Werewolf in London and High Tension, this book has it all. I'm an avid fan of horror myself and I strongly reccommend this book.
Customer Reviews:
I agree with other reviewers.......2005-03-24
This book is a good read and done in a very professional way.
You won't regret at all.
An eye-opening view of a great composer's life.......2004-08-28
Richard Toop's GYORGY LIGETI provides a long-awaited biography of the composer in English, balancing well descriptions of his life and his works. I found that Toop's book did not disappoint, and even deepened my appreciation of some of the composer's oeuvre, which I guess is what one hopes for from a musical biography.
The book covers from the composer's birth to 1998. His early years are covered in some depth, and the difficult and horrowing years of World War II and the Nazi persecution explain the composer's distrust of systems and ideologies. Toop does not, however, give much information on what Ligeti was up to before his flight from Hungary. Ligeti has mentioned that he was composing music of fascinating light and dark, but Toop doesn't cover this.
The immediately following period, Ligeti's days in Germany with Stockhausen working on electronic music, is covered in great detail. Toop describes not only what Ligeti was up to, but gives a vibrant picture of the rivalries and disputes between avant-garde composers in the 1950's. The portion about Ligeti's "second period", his compositions since the Horn Trio of the early 1980's, does seem a bit rushed. I would have preferred a much deeper analysis of the Piano Etudes, which are increasingly seeming his masterpiece.
I am grateful to Toop because his book helped me understand how Ligeti's works of the 1970's, such as "Clocks and Clouds", fit into the larger perspective of his oeuvre, highlighting their relation to the minimalist composers and to Ligeti's time at Stanford. The book also changed my impression entirely about the player piano arrangements. I had previously thought these inconsequential gimmicks, but Toop describes how Ligeti considers some of these to be the definitive version, able to be played at speeds which human players cannot acheive.
Since Ligeti has not composed much since the book was published, with the importance exception of the Horn Concerto, this biography does not seem very behind-the-times. It is worth getting even now. I would certainly recommend Toop's book to any fan of this greatest of contemporary composers.
Ligeti Lite.......2003-03-10
Gyorg Ligeti is perhaps the most interesting, and chameleonlike member of the European avant-garde. Not bounded by ideology, Ligeti's music has morphed through nationalism, colorism, avant-garde 60s dadism, minimalism and post modernism without ever loosing it's essential identity. Ligeti is a composer who knows who to control his style, not let his style control him. And his life is as compelling reading as any composer in recent history.
Toop based his book on extensive interviews with Ligeti himself. As Toop admitted, the composer was fairly open about his early years and the chapters on life under first National Socialism and then Communism are harrowing...really compelling reading. WWII is widely believed to have had a fairly strong effect on the post war serialists, but none more than Ligeti, both as a jew and then as an avant-garde composer in communist Hungary. This horrific early life can be heard reflected in the composer's works particularly in the Requiem...and in his distrust of ideology, whether political of musical.
The Toop book is a good introduction to the life of Ligeti the man and a decent descriptive survey of his music, but to me it falls behind on two points...one is not the fault of the author but the other I believe is. The author states in his introduction that Ligeti essentially clammed up in interviews about the composer's later life. Toop didn't pry, so the vivid portrait that we get of Ligeti's early years...up till about the 60s, drys up later in the book. Except for a few tantalizing hints of a personal life, you see nothing of Ligeti the person. This would bother me less if it weren't for the other larger flaw. The author is quite descriptive in his writings about Ligeti's music, but not really meaty. The musical portions of the book read like program notes, not real analysis. In fact, there is not a single musical example in the book. I don't think this is a problem for the general reader. If you just want to know more about Ligeti and a quick introduction to his complete works, this book is fine, in fact, it is probably perfect. But for the serious student who wants to understand Ligeti's style, this is a bit of a disappointment.
All in all, this is a good book as a layman's introduction to the composer. It is better than all current competition. But there is a new Ligeti book in the works which looks more scholarly. I will eager await that one as a supplement to this.
"the least messianic of the post-war avant-garde...".......2001-11-06
"...he distrusts all systems and ideologies." So says Toop of Ligeti, and at this point it seems that Ligeti is likely to be seen retrospectively as the greatest composer of the so-called "Darmstadt Circle" that included Boulez, Stockhausen, Xenakis, Nono and others. This is an excellent book on Ligeti's music -- don't expect much on his personal life, and you won't be disappointed, although there is some on his days in Hungary and early days in Germany following the October 1956 revolution, and Ligeti's flight with girlfriend and baby boy from Budapest to Vienna. The graphic design is excellent, and the thick art-quality pages facilitate loads of great photos.
Ligeti's participation in the revolutionary fervor of the avant-garde of the late 40s and early 50s, his breakthrough to micropolyphony of the late 50s and 60s ("Apparitions," "Atmospheres," "Lux Aeterna," "Aventures," and other compositions, several made famous by their use on the film "2001"), and his later turn to a postmodern incorporation of classical elements as well as non-Western musics, are all covered thoroughly by Toop. Ligeti is one of the most creative composers of the late 20th century, and one of the wittiest. Like Beckett, his work is somehow simultaneously bleak and hilarious. Toop has written a great introduction.
gripping.......2001-03-31
For a good while this book is very difficult to put down. It sags a bit toward the middle, then picks up again. Sounds as if I'm describing a novel, I know, but much of this book does seem like one. On the other hand, I appreciate the author's deep professional knowledge of music and his telling descriptions of Ligeti's music. Ligeti lovers will also want to read GYORGY LIGETI IN CONVERSATION.
Book Description
Fuses biographical and musical analysis to provide a multi-layered portrait of one of the most influential and admired composers of the late twentieth century.
Customer Reviews:
not good gramma.......2006-09-03
His entire biography section in the beginning had numerous grammatical mistakes. It started bugging me so much I underlined every single one and sure enough, almost every page had one grammatical error. Very annoying.
The rest was fine except how some of the reviewers mentioned that the author made it out to be an analysis of Ligeti's music. Rather it is more like he's talking about the background of the piece while touching only the surface of the actual music.
superfluous and amateurish.......2006-06-30
One and one-half stars--say.
The author explains that he set out to write a book of musical analysis informed by the circumstances of the composer's life, not a biography. I agree that he hasn't written much of a biography; he tends to talk around Ligeti's life rather than about it. I disagree, however, that he's written a book of musical analysis. The "analysis" here is all gloss (clumsy references to "letter B" in the score, and so on, notwithstanding), more or less the sort of thing you get in orchestral program notes or in record liner notes--except that orchestral program notes and record liner notes are usually better written. Despite the author's claim (made repeatedly and redundantly) to have interviewed Ligeti himself in depth, great swaths of this are taken directly, sometimes verbatim, sometimes awkwardly paraphrased, from "Ligeti in Conversation". Purple prose, buzz words, and grammatical solecisms abound. No, if you want to read an engaging account of Ligeti's life, read Richard Toop's biography. If you want analytical glosses, get them from the horse's mouth; read "Ligeti in Conversation". Ligeti is a much better speaker than Steinitz is a writer, an articulate, provocative, man of keen intellect.
By far the best of the Ligeti biographies.......2004-11-11
Richard Steinitz's GYORGY LIGETI: Music Of The Imagination is the best biography of this contemporary composer available today, and essential reading for those who are passionate about Ligeti's output. It goes as far as the premier of the "Hamburg Concerto" and the 2000 set of Weores songs, and as Ligeti has composed little to nothing in the meantime, the book is still entirely up to date.
Steinitz's work alternates biographical details with analysis of Ligeti's works. One learns a lot more about Ligeti's life from this biography than from others, as Steinitz was fortunate enough to have several conversations with Ligeti. The analysis of Ligeti's music can occasionally get pretty technical, but even those with a passing knowledge of music theory can learn a lot from the book. The biography certainly expands one's appreciation of Ligeti's music, which is what one hopes for from a musical biography. After this you'll easily hear how "Lux Aeterna" (written, we're told, during an addiction to morphine) and "Lontano" are linked through a similar melody hidden in each. The inspirational basis of each Piano Etude is revealed, and "San Francisco Polyphony" stops seeming like a throwaway work and instead as a key part of Ligeti's maturation.
This is, in a way, "authorised biography". There is a lot of adoration of Ligeti, and Steinitz takes Ligeti's side in the coverage of polemic in the book, such as in Ligeti's opposition to Peter Sellar's staging of "Le Grand Macabre" and the composer's disappointment with the ensembles chosen to complete Sony's "Gyorgy Ligeti Edition" series. Since I am myself a faithful fan of Ligeti, I don't see this as a downside.
If you've been collecting the two series' of Ligeti's collected works in performances supervised by the composer himself (Sony's "Gyorgy Ligeti Edition" and Teldec's "The Ligeti Project"), consider this a vital companion to getting the most out of the music. I really can't find anything to complain about with the book.
A Great Guide to Ligeti's Music.......2003-06-26
Richard Steinitz has written a book that all lovers of Ligeti's music should read. It might well persuade others to try the music, too. It is a book long in the making, Steinitz has been in contact with Ligeti over years, and has had extensive time with him to check details.
There is a mass of biographical information, especially about the early years in Transylvania and in the whirling political confusion of WW2 and the immediate post-war years. Fascinating stuff, although this isn't a biography in the sense of trying to investigate all the ins and outs of Ligeti's psyche (and all the better for that!)
It has to be said that if, like me, you are not musically trained, then some of the analysis is pretty tough. There were places where I had no choice but to skip. Sometimes, as in the discussion of the piano etudes, the sheer density of the musicological argument is daunting.
But I've still given the book 5 stars. When the technicalities got too much I put down the book and listened to a recording of the music instead. Then I found that the ideas I could take from the discussion were stimulating a richer hearing. My ears were bigger! For example, I have never put "San Francisco Polyphony" that high in my favourites of Ligeti's work - but I need to reconsider that now I've read and re-listened. The turn in Ligeti's work with the Horn Trio is clearly established, as are other key turning points in Ligeti's oeuvre and this enables a crtitical, historical, approach to the music.
So I've been helped to sudy (by ear) Ligeti in greater depth. Richard Steinitz, founder of the wonderful and important Huddersfield Contemporary Music Festival in Britain, has already done so much for modern music - and this book is another invaluable contribution.
We can only hope that Ligeti has a late efflorescence (like Elliot Carter), and that this book becomes out-dated and needs to be updated regularly.
Customer Reviews:
Small, but fairly detailed and informative.......2006-11-07
Paul Griffith's study THE CONTEMPORARY COMPOSERS: GYORGY LIGETI was originally published in 1983, but considering Ligeti's immense productivity through the 1980s and 1990s, ending only a few years before his passing earlier in 2006, we are fortunate that Griffith was able to prepare a second edition. It still begins with the 1983 interview with the composer, before a London performance of "Le Grande Macabre", but it covers everything up to the first piano etude of Book III "White on White".
Because Griffith's book is not so widely distributed, it tends to be eclipsed by the lightweight Phaidon Press biography by Richard Toop, and by Richard Steinitz' large, nearly-definitive tome GYORGY LIGETI: Music of the Imagination. This lack of attention is, however, unfortunate, since Griffith's guide provide give many interesting perspectives on Ligeti's music. Unlike Toop's book, written for an audience that can't read music, Griffiths provides plenty of examples from the scores. He also has a greater knowledge of fragments and juvenalia. There is tantalizing mention of Ligeti's early conceptions for his first opera, before his librettist died in a car crash, and of his ultimately unrealized sketches for "The Tempest".
While there is much serious musicological analysis here, it is never terribly in-depth, but this is one of the strengths of the book. For Griffiths' presentation of the works is concise enough that, instead of getting lost in each, one can see the major trends of Ligeti's career. Unlike in Steinitz's biography, I can now better understand why exactly Ligeti retreated from total chromaticism in the late 1960s and rediscovery of harmony (and it wasn't just an addiction to morphine). Still, some works could have used better attention, such as "Clocks and Clouds", the "Piano Concerto", and "San Francisco Polyphony", for which Steinitz's guide serves well.
I must say I cannot understand complaints that Griffiths "mauls the English language" or engages in specious reasoning. The prose is smooth, and nearly all of his comments find corroboration from other sources.
So, if you're a Ligeti fan, Griffiths' guide is worth seeking down. Because of the vastness of Steinitz's work, and the fact he makes it all the way to the end of Ligeti's output, that book provides the best value for one's money and should be where you start, but don't neglect Toop or Griffiths.
Lux aeterna.......2006-06-22
I write this review within a week of the death of Gyogy Ligeti, in my humble opinion one of the greatest composers of the twentieth century, a gifted, talented human being with an impish sense of fun yet at the same time with a broader sense of pattern and colour in music.
This work is far from being the definitive work on the composer, that position being held by Steinitz 'Gyorgy Ligeti: Music of the Imagination', but neither is it such a poor study. One should remember that it was one of the earlier contributions on the work of Ligeti who only came to the attention of the wider public through Stanley Kubrick's unauthorised use of his music in 2001: A Space Odyssey.
I found this book a little hard going due to my lack of a musical education but I enjoyed the words of the composer himself in the interview which graces the early pages and the attributable comments throughout the subsequent chapters.
For those just coming to Ligeti's work, with formal musical training it is a useful point of departure but I would recommend further study of the excellent 'Gyorgy Ligeti: Music of the Imagination'.
As I walked through New York today I noticed a Missoni store and recalled that Ligeti was known for the sweaters from that particular source. It was a coincidence that I was in that location at a time so soom after his passing but I interpreted that as part of a complex pattern, much like his music. Indeed his time on this earth was part of such a complex pattern, and he perhaps played the part of the Cosmic Joker. In time I believe that his significance in music will be much more appreciated than it is now.
ditto.......2001-05-14
All I can do is concur. In all cases you should skip this book, but especially you should skip it if you have any regard whatsoever for the English language. If you are interested in Ligeti (whether or not you're a musician), you should read instead GYORGY LIGETI (20TH-CENTURY COMPOSERS) By Richard Toop.
To Toop first!.......2001-03-31
I'd rate this higher just because I find the subject so fascinating were not two very good alternatives available: Richard Toop's "Gyorgy Ligeti (20th-Century Composers)" and "Ligeti In Conversation". There is no need at all to suffer through "Gyorgy Ligeti: Contemporary Composer"'s extremely affected and nonsensical mauling of the English language, its banal observations, its specious reasoning.
One Of the Best Modern Composers........2000-06-09
In my opinion Gyorgi Ligeti is one of the Greatest composers of the 20th century and this book is a fine introduction on him, it was first published in 1983 but was updated in 1997.
After a short introduction there is an interview with the composer and in part two the author traces Ligetis career and his development as a Composer.
If you have not heard Ligetis music check out the great Sony edition of his works, for those who know him and want to know more about the man and the composer, this is a good book to start with, it is not long, about 180 pages so there is not room for a detailed analysis af his works but it covers the basics well enough and has some notation samples of some his major works. The book ends with a list of Ligetis Works and Recordings.
Another good book by Paul Griffiths is his Modern Music.
Average customer rating:
- Thorough and multifaceted coverage of a fascinating topic
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African Polyphony and Polyrhythm: Musical Structure and Methodology
Simha Arom
Manufacturer: Cambridge University Press
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African Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms
ASIN: 0521616018 |
Book Description
In this detailed study Simha Arom takes a new and original approach to the understanding of the complex and sophisticated patterns of polyphony and polyrhythm that characterise African music. Considering in particular the harp, sanza, xylophone and percussion music of Central Africa, Simha Arom develops a rigorous method for the analysis of the music and for the recording and deciphering of the many strands of polyphony and polyrhythm. Through a systematic breakdown of the many layers of apparently improvised rhythm he reveals the essential structure which underlies this rich and complex music. Inspired also by linguistic techniques, Professor Arom regards the music very much as a grammatical system.
Customer Reviews:
Thorough and multifaceted coverage of a fascinating topic.......2000-03-28
Arom's treatment of African music is fantastic. The reader will benefit from Arom's direct experiences with African music in many ways. Not only does he provide musical transcriptions, but also discusses the equipment and techniques used for recording. He also discusses the social aspects of the music, which are inseparable from it. There is a large section in which he shares the results of his musical analysis--specifically, the ways in which he categorizes African music based on their rhythmic activity. He creates his own analytical methdologies and creates very specific terminology to describe the rhythmic structures found in African music. As a graduate student in music theory I found this book very helpful in my research and analysis of composers who try to emulate the rhythmic structures and phenomena found in African music. It's a terrific resource.
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Die imaginare Gattung: Uber das musiktheatralische Werk G. Ligetis
Maria Kostakeva
Manufacturer: P. Lang
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Die spate Chormusik von Gyorgy Ligeti (European university studies. Series XXXVI, Musicology)
Bernd Englbrecht
Manufacturer: P. Lang
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Gyorgy Ligeti: A Bio-Bibliography (Bio-Bibliographies in Music)
Robert W. Richart
Manufacturer: Greenwood Press
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ASIN: 0313251746 |
Book Description
Gyorgy Ligeti is one of the most significant of contemporary composers. Most often described as innovative, he has been able to combine beauty and emotional meaning with that innovation. This bio-bibliography describes rather than evaluates the considerable body of writings by and about Ligeti. The book is divided into four sections: biography, worklist, discography, and bibliography. The biography is a brief survey designed to acquaint the reader, if necessary, with the basic and widely available facts of Ligeti's life. The bibliography is divided into two parts: writings by Ligeti and writings about him. The largest section in the latter part consists of concert and record reviews. Cross references link all items dealing with each individual music work. An appendix lists, in chronological order, all of the concerts devoted entirely to works by Ligeti. Writings listed in the bibliography are dated from the 1940s onward. The bulk of the material was written after Ligeti's flight to the west in 1956. This first book-length work on Gyorgy Ligeti will be welcomed by music scholars.
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Gyorgy Ligeti: Eine Monographie in Essays
Ulrich Dibelius
Manufacturer: Schott
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Gyorgy Ligeti: Eine Monographie: (German)
Wolfgang Burde
Manufacturer: Schott
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