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Comedy Quotes from the Movies: Over 4,000 Bits of Humorous Dialogue from All Film Genres, Topically Arra Nged and Indexed (McFarland Classics)
Larry Langman , and
Paul Gold
Manufacturer: McFarland & Company
ProductGroup: Book
Binding: Paperback
 Humor
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Reference
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ASIN: 0786411104 |
Book Description
Clever repartee, double entendres, punch lines and many other variations of humor have been a staple of movie dialogue since the advent of talkies. Collected here are over 4,000 of the best comedic lines from the movies. The compilers of this book have tried to bring together some of the funniest, wittiest and most outrageous snatches of dialogue on film over a sixty year time period. For each entry the authors set the quotation in context, provide the name of the actor or actress, the name of the movie and the year of release. The quotations are arranged by a broad range of categories, such as politics, food and eating, gambling, and many others. A title index and a name index follow the body of the book.
Book Description
The ever-increasing number of performances of Bach's music is a sign of its enduring vitality. Yet there exists a diversity of interpretation of a magnitude that probably applies to no other composer. Assessing the varying merits of these interpretational approaches, and getting to grips with the sources and documents on which they are based, can be extremely difficult for a modern performer. Paul Badura-Skoda, who has been studying and performing Bach's keyboard music for more than forty years, here presents a host of valuable new insights drawn from his deep knowledge of the sources and of the problems of interpretation. He looks in detail at the various aspects of Bach's music, providing chapters on rhythm, tempo, articulation, and dynamics. He also examines the instruments for which Bach's music was intended, and discusses interpretational issues arising from this, as well as problems of sonority. The second part of the book is devoted to a comprehensible discussion of ornamentation with a detailed examination of the signs and symbols used by Bach. This discussion is prompted not only by its central importance to baroque music in general, but also because the author believes so much of Bach's ornamentation in current performance practice is monotonous and fails to correspond to the baroque style at all. Sometimes contentious, always stimulating, Paul Badura-Skoda's text conveys a passion for an informed interpretation of Bach's music based upon a recognition and respect for Bach's musical and intellectual intentions. Copiously illustrated throughout with music examples, Interpreting Bach at the Keyboard will take its place as a standard work for all students and performers of Bach's keyboard music.
Customer Reviews:
Interpreting Bach at the Keyboard.......2005-09-04
Thank you to Paul Badura-Skoda for this very excellent and helpful book.
For the Pianist.......2000-08-23
Here is performance information for the pianist without apologies. There are numerous excellent books for organists and harpsichordists from which I have been forced to extrapolate to the piano. Badura-Skoda exhaustively covers all facets of Bach performance on the piano: rhythm, articulation, tempo, and that endless bug-a-boo, ORNAMENTS! He is fearless in expressing his insight and opinion on ornaments and their execution. Musical examples are plentiful, avoiding the need to fetch scores. Of particular interest is his section on the Chromatic Fantasy and Fugue, a short chapter on 18th c. organ-barrels(!), and a Gouldian Imaginary Interview on the "Urtext Problem". "Interpreting Bach" is an informative reference book reminiscent of Rosenblum's "Performance Practices" in scope and ease of use. Well worth the investment for the pianist knocking on Bach's door seeking entry. Badura-Skoda can help open it for you.
Book Description
Takes the reader through an enlightening tour of choral music, emphasizing on the musical style performance practice of different historical periods. The reference provides guidelines on the numerous aspects of performance practice for choral music based on the Renaissance Period, the Baroque Period, the Classical period, the Romantic period, and the Modern Period, with special emphasis on meter and stress, tempo, dynamics, tone quality, pitch, texture, and expressive aspects of the music of each period. Appropriate for Junior/Graduate-level courses in Choral Conducting and Literature..
Customer Reviews:
Too sparse for use in a college setting........2006-02-19
The author, in his introduction, describes this as an attempt to create a text for college and graduate level literature and conducting courses. Unfortunately, it is to thin, inconsistent and dated to be of use for any college course. Most information is covered too briefly to be of much help and is at times inconsistent with scholarship that was current when this book was published. Though the reference lists contain a large and balanced list of sources, the ones cited in the text are almost entirely ones from the 1960's and before.
The best use for the text would be by non-college trained choral conductors and possible a freshman introductory course.
Not too deep but complete!.......2005-10-05
I did not read it all but I became very happy with the some pages I have read today (when I have received it). It is not too deep (35 pages for the Renaissance Choral Music), but there is not too many choral history guides (or I don't know them), and this is quite good and takes under consideration many aspects and parameters of the music of each period (like Society, composers, sort of choirs, musical style and perfomance practice, related arts, references...). But I must tell something, WARNING: it is NOT A FACSIMIL, it is a good normal edition.
Book Description
The twelve essays in this volume reflect the most important trends in the study of musical performance. Three areas are investigated: the psychology of performance, the semantics of performance, and the relation between performance and analysis. The first section broaches fundamental issues such as text, expression, musical motion and the role of practice in the acquisition of expertise. The next four chapters address the shaping of structure and the projection of meaning in performance, while the last four consider performance as analytical paradigm, as dramatic narrative, as act of criticism, as temporal process. Among the distinguished international authorship are many accomplished performers whose practical experience ensures that the book contains vital and stimulating insights into the interpretation of music, and that it will speak to a wide musical audience.
Book Description
Although the music of Brahms is central to the lives of classical performers and listeners, few know how Brahms and his contemporaries performed his music. This study brings most of the available evidence into a single volume, along with commentary by leading Brahms experts. Most importantly, the book contains an unique CD of historic recordings--including an actual performance by Brahms--which provides tangible insight and a greater appreciation of the composer.
Book Description
This is the first book to address the full range of performance issues for the cello from the Baroque to the early Romantic period. The development of playing techniques and stylistic transitions are traced regionally through a comparison of Italian, French, German, English, and East European performance traits. Through a close study of contemporary violoncello methods, music, early instruments, periodicals, diaries, letters and pictures, Walden provides a cohesive overview which examines construction methods for instruments and bows, fingering and bowing techniques, special effects and ornamentation, accompanying skills and the stylistic preferences of the most famous soloists. Richly illustrated with over 300 music examples, plates and figures, this book provides playing instructions which can easily be applied by modern players to their own performance of period music.
Customer Reviews:
The best scholarly book on the cello published in decades.......1998-12-09
Valerie Walden's book on the history of cello technique and performance practice in the 18th and early 19th centuries is an important contribution to the the field of cello history and performance practice research. No other really good, scholarly work on this subject has appeared for decades, and none has been written or researched so thoroughly as Walden's book. Based in part on her excellent and comprehensive Ph.D. dissertation comparing the French and Austro-German schools of cello playing, One Hundred Years of Violoncello covers all important aspects related to the evolution of cello playing of 18th and 19th centuries in substantial detail, including cellists, development of the instrument and bow, technique and performance practice issues. Walden's familiarity with all of the important treatises on cello playing of the 18th and early 19th centuries allows her to treat each topic with authority and in appropriate detail. Although biographical sketches of early notable cellists are based primarily on standard, traditional sources of information, the main body of the book consists of chapters on technique and performance practice and are of particular interest, as they contain fresh insights into performance conventions and aesthetics of the time. These include chapters on bowing and fingering, "The art of accompaniment", "Special effects", and "Elements of aesthetics and style". This volume is a "must-have" for anyone interested in performance practice studies of this period, but for cellists in particular.
Book Description
This is the first book-length study in any language dedicated specifically to lute, guitar, and vihuela performance. Written by specialists of this music, it is intended for players, teachers, and scholars who are interested both in the history of performance, as well as in the specific interpretation of lute, guitar and vihuela music from the end of the fifteenth century to approximately 1850. It brings to light various new ideas about performance and technique for a wide range of instruments, including the fifteenth-, sixteenth- and seventeenth-century Italian lute, archlute, theorbo, French baroque lute, vihuela, and baroque and classical guitar, as well as for lute-accompanied English and Italian song.
Book Description
Until recently, early recordings were regarded as little more than old-fashioned curiosities by musicians. Scholars and musicians now are beginning to realise their importance as historical documents which preserve the performance of composers and the musicians with whom they worked. In this fascinating study, Robert Philip argues that recordings of the early twentieth-century provide an important and hitherto neglected resource in the history of musical performance. The book concentrates on aspects of performance which underwent the greatest change in the early twentieth century, including rhythm, rubato, vibrato, and portamento. The final chapters explore some of the implications of these changes, both for the study of earlier periods and for the understanding of our own attitudes to the music of the past.
Customer Reviews:
The Evidence Mounts Up.......2006-01-15
For what it does, this is an excellent study. Who else would take the time to document in utmost metronomic detail the subtle shifts of tempo in a wide variety of compositions, performed by an extremely varied group of performers so that we can now have a 'performance practice' of early 20th century performers instead of just that of the 16th-18th centuries and earlier?
This book will give back-up to those present day performers who recognize the need for extricating concepts of tempo from the limitations of the late 20th century which Philip discusses in this book and for re-creating in modern interpretations the tempo rubato taken for granted in the late 19th century, to say nothing of earlier centuries.
The reader certainly does not have to agree with all his conclusions to recognize that Philip has done his chosen task very, very well indeed.
Book Description
The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Clive Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music was more radically different from ours than is generally assumed. This is an essential book for all performers and students of Classical and Romantic music.
Customer Reviews:
Very useful, but certainly not even close to all-inclusive........2004-11-02
I realize it's impossible to cover a century-and-a-half of performance practice in just over 600 pages, but I was disappointed to see the accompaniment of recitative virtually ignored. Given the numbers of operas by Mozart alone and the prevalence of secco and recitative accompagnato, I certainly expected some discussion - at least a paragraph! There really is NONE. There's an 8 page section termed "Recitative Accompaniment" and I got all excited when I saw it! But it only talks about the movement in the early 19th century to move away from using keyboard instruments to more cello and strings in general. I didn't need an expensive book to tell me that.
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