Customer Reviews:
Shut up, Withnail! Of course he's the fcuking farmer!.......2007-01-01
I'd seen this movie about twenty times when i received the screenplay as a gift. I wasn't expecting to laugh much, or even read it, having memorized the script, but i was very much mistaken. Reading the screenplay was a completely different experience than watching the movie; robinson's writing is delicious. It's also amazing to see what the extrodinary cast took and turned into the film. Their preformances seem all the more impressive. I'd recomnend this to long-time fans, one-veiwers and non-veiwers alike. Truly a modern masterpiece.
I would love to review this item..........2006-02-25
...but I can't since Amazon doesn't seem to be able to fill my order for it. I love the movie, and I was really looking forward to reading the screenplay, but Amazon keeps telling me that there are "delays" -- and not sending the product to me.
It's a book, but it sure seems like vaporware.
What fu........ said that?.......1998-11-04
It was with great relish and exitement that I read my newly acquired copy of Withnail and I. I think that Bruce Robinson is a literary genius! The charactarisation of Withnail is perfect, the setting of the book is uncanny and uncle Monty reigns supreme. Quotable quotes: "As a youth I used to weep in butcher shops!"
Fantastic reading. If only we knew thehalf of what goes on........1998-09-28
Essential reading - if only everyone wrote with such condor - for anyone who enjoys Richard's work, and is wise enough to realise that Hollywood is a very sick place.
Richard, thank you for giving us insight into the industry in which you work, and how you survived.
I look forward to your next book.
one of the most hilarious screenplays ever written.......1997-11-10
Withnail and I is possibly one of if not the funniest book I have read in a very long time and does not receive the amont of credit it so obviously deserves.
Book Description
Like many texts on musical analysis, FORMS IN TONAL MUSIC equips students to critically examine a wide range of compositions and forms. However, Green's text takes students a step further by enabling them to approach musical works unencumbered by preconceived notions of what characteristics the text should or should not have. Providing specific help on every aspect of musical analysis, this text uses many of the compositions found in Charles Burkhart's ANTHOLOGY FOR MUSICAL ANALYSIS, but it allows students the freedom to explore works that they already own.
Customer Reviews:
A fine text to help students develop skills in analysis of tonal music.......2005-11-20
This is not a book on form in the old sense of the term. That is, it is not a collection of terms for students to use as decals to stick on pieces as they learn them. Green aims to provide the student with skills that aid him or her to understand what the piece is about. What is that the piece says about itself? This is important because every piece, especially the masterworks, takes its own approach to form and for every rule provided, you can find many exceptions. The problem with the label approach is that music, thankfully, is not so standardized that you can say for a certainty how a given piece of a certain type is going to behave.
Yes, Green does use the standard terms, but only as a means of generalization. He is very good at pointing out the range of behaviors one might expect within a given form. He also provides historical notes that discuss how certain composers or historical periods used certain materials in their compositions.
Again, the goal here is to help students to develop a set of tools and intuitions so he or she can look at any (tonal) piece of music and be able to analyze what is going on within the piece. The labels only help the student if they allow the student to look more deeply and directly at the music. However, if the analysis stops with the application of a label the student will actually have been harmed. Remember, most labels are developed after a sufficient body of music has been written to codify a form. So, the living composers often wrote the music without the benefit of the terms we often use to describe their work.
While the book has many fine musical examples and recommended exercises, the teacher may wish to supplement them with examples of her own in order to provide supplementary examples of the principles discussed in the text. I believe the student gets a better idea of how music works through multiple and varied examples from the literature. The more well-chosen examples the student hears the better.
highly informative, but leaving a few gaps.......2005-03-10
This book is jam-packed with facts.
I have just two major criticisms:
--The explanations on binary forms is unnecessarily difficult to understand.
Just in case you're wondering, a binary form is closed, or sectional, if the first half ends on the tonic.
It is open, or continuous, if the first half ends on the dominant or any other chord.
It is rounded if the second part ends with a restatement of the first part.
It is simple if the second part does not end with such a restatement.
That is all in the wide world there is to it!
--The book gives detailed analyses of compositions after offering few or no musical examples. (I should have read Annie Burridge's review and purchased the Burkhart Anthology.)
I also see a few high points which are missed:
--There is no discussion of development themes. An outstanding example is Mendelssohn's Italian Symphony.
--There is no discussion of development canons. An outstanding example is Franck's Symphony in d minor.
--In the discussion on chorale preludes, he doesn't give the familiar example of "Wachet Auf."
--In the discussion on vocal chorales, he doesn't give the familiar example of "Jesu, Joy of Man's Desiring."
--In the discussion on baroque partitas, I would like to see the characteristic rhythms of each of the dance movements. The author probably considers this outside the scope of the book.
--He tells us that the recapitulation does not always treat all the themes in the exposition, but he gives us few examples. I have wondered why we never hear the lyrical theme in the recapitulation of the Dvorak cello concerto. This is such a well-known composition that I think it should be used as an example.
--I'm curious about how the Liszt piano concertos are constructed.
--I'm also curious about how the megalomanic symphonies by Mahler and Bruckner are constructed. It seems that the author was partial toward music of the baroque and classical eras, but nineteenth-century music is popular, like it or not.
--I would like more discussion about keyboard preludes. I have never been able to compose a good keyboard prelude.
--There is no discussion of standard liturgical texts for church vocal music. The author probably considered this outside the scope of the book, also.
Book bought for a class in school.......2002-04-15
This book, Form in Tonal Music, isn't the best of books for use in classes. I have found from using it that it give great examples, however, it doesn't explain definitions of words very well at all. If you are looking for a good book for examples to go with another book that you might be using on the same subject, then I would recomend it. However, if this book is going to be used without another guide, I don't recomend it.
What you must know before you buy this!.......2000-07-25
If you are using this book in a class then your teacher will guide you through it, BUT--if you are using this book to review music theory you must know a few things. 1) ALL the exercises in this book come out of the Burkhart Anthology, so you must purchase that as well. 2)There are no answers supplied for ANYof the exercises. 3) This book covers the analytical form of music (types of phrases, binary and ternary forms), it is assumed you are skilled in complex chord and harmonic analysis already. Overall, the book is fairly clear and well-organized and uses plenty of musical examples.
used this text in undergrad GREAT!.......1999-11-06
I used this text in my undergradaute study of music and find it to be useful even today. Greens' explanations along with exerpts and examples makes form in music an interesting facet. It is for those who are ready to dive into form and analysis head first. I would not recommend it to a beginner with little or no hard-core theory knowledge.
Book Description
For over 150 years the concept of "sonata form" lay at the heart of European instrumental music. Now, in Elements of Sonata Theory, musicologist James Hepokoski and music theorist Warren Darcy rethink its basic principles. Considering not only sonatas but also chamber music, symphonies, overtures, and concertos, their study outlines a new, updated paradigm for understanding the compositional choices present in the instrumental works of Haydn, Mozart, Beethoven, and their contemporaries. It also lays down an indispensable foundation for those working with later adaptations and deformations of these musical structures in the nineteenth and early twentieth centuries. Combining insightful research and analysis, contemporary genre theory, and provocative hermeneutic turns, these original perspectives provide a creative approach to the exploration of meaning within a familiar repertory. The authors map out the background terrain of historical norms at work in this music and provide a flexible mode of analysis for perceiving and assessing what happens--or what does not happen--in any given piece. They guide readers through the formatting possibilities within each compositional space in sonata form, while also introducing new ideas for understanding the ordering of musical modules over an entire movement and, more broadly, over an entire multimovement composition. The product of over a dozen years of research, Elements of Sonata Theory is the most thorough study of the sonata ever undertaken. It serves as a challenge both to students and to experienced musicologists and music theorists to rethink how sonata form is best understood.
Customer Reviews:
The Last Word on "Sonata-Form".......2007-06-27
As a pianist and music-lover, I have long been fascinated by the movement structure called "sonata-form." "Sonata-form" is the structure of the first movements (and many other movements) of almost every major piece of classical music from the Classical Era. Now a clear and comprehensive analysis of "sonata-form" has arrived, in the book "Elements of Sonata Theory."
The most surprising feature to me is that this book is quite readable. Readability is not something that can be taken for granted in the turgid literature of music theory. Therefore, the book is of value to a layperson like myself and not only to specialists. (The final four chapters, on the concerto version of sonata-form, are more difficult to read, but that is quite minor.) Another surprise to me was that a lot of information in the book was new to me. I have read widely in this field, but I still learned a lot.
Like any first edition, a few questionable statements have slipped in. For example, on p.20 the book implies that after about 1760 it became normal to repeat only the first part (the exposition), and not repeat the second part. Apparently, Mozart was not informed of this normal practice. Mozart called for the repeat of the second part in almost every sonata-form movement in his piano sonatas (28 of 31 sonata-form movements). But this is mere quibbling.
If someone is seriously interested in the subject of "sonata-form," this is the book to get.
Book Description
Distinguished music theorist and composer David Lewin (1933-2003) applies the conceptual framework he developed in his earlier, innovative Generalized Musical Intervals and Transformations to the varied repertoire of the twentieth century in this stimulating and illustrative book. Analyzing the diverse compositions of four canonical composers--Simbolo from Dallapiccola's Quaderno musicale di Annalibera; Stockhausen's Klavierstuck III; Webern's Op. 10, No. 4; and Debussy's Feux d'articifice --Lewin brings forth structures which he calls "transformational networks" to reveal interesting and suggestive aspects of the music. In this complementary work, Lewin stimulates thought about the general methodology of musical analysis and issues of large-scale form as they relate to transformational analytic structuring. Musical Form and Transformation, first published in 1993 by Yale University Press, was the recipient of an ASCAP Deems Taylor Award.
Book Description
Musical Form & Analysis provides a balanced theoretical and philosophical approach that helps junior and senior music majors understand the structures and constructions of major musical forms.
Book Description
Learning music's organizing principles . . . Approaching the study of form as an exercise in perceiving the interaction of a number of discrete musical events, Spencer and Temko's book embodies much more than a search for visual clues. Students of form develop perceptual tools that allow them to proceed from the aural experience to an understanding of the arch-principles upon which music is organized. The authors hold that the organizing principles of a given piece of music may be gleaned from studying: the internal attributes that give a section its specific identity; the functional relations between sections; the ordering of those sections.
Customer Reviews:
Problems Lurk for those with Non-Conservatory backgrounds.......2000-12-17
While I applaud the analysis method, based on Jan la Rue's "Five Parameters of Music" (here expanded to nine phenomena), this text poses several problems for the standard college classroom. An anthology is mandatory, though no one anthology seems to work with it. The analysis method itself yields a very densely marked score, with code observations which are more confusing than helpful. As to the standard terminology regarding binary, ternary, and compound forms, the wording is off-putting, requiring a good bit of translation from the professor. While form is a difficult bird for some, I was willing to take time to translate and go the extra mile. I also made use of the examples in the text at the keyboard. I have a doctorate in performance. Heaven help a clarinetist-professor.Very difficult excertps.Three years and out it goes.
Analysing music doesn't need to be this dry........2000-10-13
If you want to learn about forms and modulations, and aren't really concerned about anything else then this book is great. Concise, accurate and well organized. If you don't think that form is more important than content, or if you're looking for an in depth discussion of how musical forms operate (instead of just descriptions) then this book misses the point entierly. Prepare for tedious and ultimately misguided generalizations. Music is much more interesting than this.
A Plain and Painless Route to Music Analysis.......2000-01-14
With Spencer and Temko's focused approach to musical analysis, this intimidating discipline is made interesting and accessible. It does require knowledge of music theory, but even those students who regard theory as anathema can be put at ease within the first twenty pages of this succinct book.
The magic formula (which is an expansion of Jan La Rue's "musical parameters" view of analysis) is found in a chart of what are called musical "phenomena". "Observations" would have done as nicely, since the student is asked simply to state what he sees or hears in a score, using a three letter code. For example, a change in dynamics from loud to soft, signalling perhaps a new theme or key is marked IN THE SCORE with "dyn". This orderly process, indicated above the score in tabular fashion, allows the student to use the composer's own indications to assist in finding those defining points in the myriad of notes which, taken as a whole, can be overwhelming to a college junior. This makes analysis obvious and (in the words of my students) fun.
I use an anthology with this, plus the students' own scores. Later in the course, we meet in the music library, selecting unknown scores to analyze for form, period, and composer, using the same 3-letter codes. Recommended.
Book Description
This study of the use of the golden proportion in classical music shows that 53 of the 70 composers studied used it to structure their works, some of them knowingly. Since this is seldom discussed in courses in music theory, this book should be a major contribution to our understanding of musical structure.
Book Description
Structure and Style, first published in 1962 and expanded in 1979, fills the need for new ways of analysis that put 20th-century music in perspective. It spans forms in use before 1600 through forms and techniques in use today. Anthology of Musical Forms provides musical examples of forms treated in Structure and Style. Some examples are analyzed throughout. Most are left for the student to analyze. These books reflect Leon Stein's impressive background as student, musician and composer. Stein studied composition with Leo Sowerby, Frederick Stock (conductor of the Chicago Symphony) and orchestration with Eric DeLamarter, his assistant. He earned M. Mus and Ph.D degrees at
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Modal Subjectivities: Self-Fashioning in the Italian Madrigal
Susan McClary
Manufacturer: University of California Press
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Petrarchs Lyric Poems: The Rime Sparse and Other Lyrics
ASIN: 0520234936 |
Book Description
In this boldly innovative book, renowned musicologist Susan McClary presents an illuminating cultural interpretation of the Italian madrigal, one of the most influential repertories of the Renaissance. A genre that sought to produce simulations in sound of complex interiorities, the madrigal introduced into music a vast range of new signifying practices: musical representations of emotions, desire, gender stereotypes, reason, madness, tensions between mind and body, and much more. In doing so, it not only greatly expanded the expressive agendas of European music but also recorded certain assumptions of the time concerning selfhood, making it an invaluable resource for understanding the history of Western subjectivity.
Modal Subjectivities covers the span of the sixteenth-century polyphonic madrigal, from its early manifestations in Philippe Verdelot's settings of Machiavelli in the 1520s through the tortured chromatic experiments of Carlo Gesualdo. Although McClary takes the lyrics into account in shaping her readings, she focuses particularly on the details of the music itself--the principal site of the genre's self-fashionings. In order to work effectively with musical meanings in this pretonal repertory, she also develops an analytical method that allows her to unravel the sophisticated allegorical structures characteristic of the madrigal. This pathbreaking book demonstrates how we might glean insights into a culture on the basis of its nonverbal artistic enterprises.
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Withnail and I - Criterion Collection
Smoking in Bed: Conversations with Bruce Robinson
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