Book Description
This sequel to A Critical Cinema offers a new collection of interviews with independent filmmakers that is a feast for film fans and film historians. Scott MacDonald reveals the sophisticated thinking of these artists regarding film, politics, and contemporary gender issues.
The interviews explore the careers of Robert Breer, Trinh T. Minh-ha, James Benning, Su Friedrich, and Godfrey Reggio. Yoko Ono discusses her cinematic collaboration with John Lennon, Michael Snow talks about his music and films, Anne Robertson describes her cinematic diaries, Jonas Mekas and Bruce Baillie recall the New York and California avant-garde film culture. The selection has a particularly strong group of women filmmakers, including Yvonne Rainer, Laura Mulvey, and Lizzie Borden. Other notable artists are Anthony McCall, Andrew Noren, Ross McElwee, Anne Severson, and Peter Watkins.
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The Musical Madhouse: English Translation of Berlioz's Les Grotesques de la musique (Eastman Studies in Music)
Hector Berlioz
Manufacturer: University of Rochester Press
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ASIN: 1580461824 |
Book Description
Hector Berlioz's Les Grotesques de la musique is the only one of his books that has never been translated into English in its entirety. It is by far the funniest of all his works, and consists of a number of short anecdotes, witticisms, open letters, and comments on the absurdities of concert life. Alastair Bruce's fluid translation brings to life this important composer and bon vivant. He does a wonderful job of conveying all the puns, jokes, and invective of Berlioz's prose as well as the nuances of his stories. He even imitates a Tahitian accent in the translation, as Berlioz does in the original. The notes will give the reader insight into the innuendos and in-jokes that fill the pages. This translation will take its place among other translations of Berlioz's prose writings, bringing to the reader more lively examples of a still misunderstood composer caught up in the musical life of mid-nineteenth century Paris. Alastair Bruce is a London-based management consultant and former treasurer of the Berlioz Society. Hugh Macdonald is General Editor of New Berlioz Edition.
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- A true classic
- Strauss's additions are worth the price alone
- The Book. By the man who "wrote the book."
- Quite possibly the best book on music ever written!
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Treatise on Instrumentation
Hector Berlioz , and
Richard Strauss
Manufacturer: Dover Publications
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Binding: Paperback
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Principles of Orchestration
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Study of Counterpoint
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Orchestration
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Treatise on Harmony
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The Study of Fugue
ASIN: 0486269035 |
Book Description
The most influential work of its kind ever written, appraising the musical qualities and potential of over 60 commonly used stringed, wind and percussion instruments. Includes 150 full-score musical examples from works by Berlioz, Mozart, Beethoven, Wagner and others. Complete with Berlioz' chapters on the orchestra and on conducting. Foreword by Richard Strauss. Glossary.
Customer Reviews:
A true classic.......2007-05-17
The revision by R. Strauss added a lot of technical in-depth, that today remains current.
Strauss's additions are worth the price alone.......2004-06-21
Two of the best orchestrators of all time contributed to this book regarding orchestration and the mechanics of various instruments. With examples from many scores included in alsmost every section (especially Wagner, who Strauss admired highly), this tome is invaluable. Throughout the book limitations, advantages, and effects achievable by a broad range of instruments are discussed in detail with good examples included for each section.
I highly recommend the Treatise on Instrumentation. It is worth the price just to get to hear the personal opinions and thoughts of two master composers.
The Book. By the man who "wrote the book.".......2003-12-17
Two hundred years ago this week, Louis-Hector Berlioz was born. This, then, is a time for me to comment on a few of his works, some of them "favorites by acclamation" and others simply those in which I find special merit.
When Berlioz died, in April, 1869, an obituary in the Musical Times read, in part, "...there can be little doubt that he will be remembered by his able and acute contributions to musical criticism than by any of the compositions with which he hoped to revolutionize the world."
These words by the Musical Times were addressed to Berlioz's feuilletons (musical criticisms in a largely satirical style). Berlioz captured many of his best feuilletons in his anthology Soirées de l'Orchestre ("Evenings in the Orchestra"), and his trenchant wit is also evident in his Memoirs.
But Berlioz did leave behind one work for which musical education for generations of composers to come had been the purpose: his "Treatise on Instrumentation," or, if one likes, "the art of writing for musical instruments of the orchestra to achieve maximum effect." The Treatise was the very first serious effort to fully describe these matters of instrumentation and orchestration, instrument-by-instrument and orchestral-choir-by-orchestral-choir. Paraphrasing a portion of a recent Berlioz Bicentennial article by none less than Norman Lebrecht, the Treatise was closely studied by Gustav Mahler and Richard Strauss (who themselves were masterly orchestrators), Modest Mussorgsky had died with a copy of the Treatise on his bed, and, as a result of wildly successful concerts led by Berlioz in Moscow and St. Petersburg, Nicolai Rimsky-Korsakov was motivated to write his own equivalent, "Principles of Orchestration," which would serve as a model for his Russian school of composers.
In point of fact, the revolutionary uses to which Berlioz put orchestral instruments in his compositions cannot be gainsayed, and his compositions, as well has the Treatise, served to redefine orchestral possibilities - and serve as a learning tool for subsequent composers - for the remainder of the 19th century and well into the 20th century. He was an inveterate "tinkerer," in terms of constantly assessing and writing for newly-invented instruments of his era, and, as well, he "borrowed" instruments freely from military bands of his time, to create orchestral "sound worlds" that were new and novel.
As the Treatise demonstrates, Berlioz was no mere dilletante, experimenting in willy-nilly ways, but was in fact thoroughly "grounded" in his understanding of such basic principles as acoustics and the creation of sound. In its original French form (virtually all of which, in translation, survives in this revised edition), the Treatise clearly set out all of these principles, applied to the instruments of his time by means of examples drawn from a wide range of musical compositions, and the French-language original seemed not to have been a problem for all the German, Russian, Italian, English and what-have-you composers who learned from it.
A half-century later, in 1904, Richard Strauss was requested to review and "revise and update" the Treatise by the publisher. It is in this form, with emendations by Strauss and translated ably into English, that the Treatise currently exists. Needless to say, familiarity with musical notation is important if one is to fully appreciate the value of the Treatise. But the narrative, including descriptions-in-words of musical examples of individual instruments and instruments used in various combinations, is clear enough that even those not knowledgeable in musical notation can bypass the notated examples and simply read the narrative with benefit. Berlioz was an exceedingly gifted writer, blessed with clarity in all that he wrote.
Strauss's emendations are rather clearly set out separately from Berlioz's original effort, so that the two do not get confused. By and large, Strauss doesn't trample too much on Berlioz's efforts, but deals with instruments not available to Berlioz, with many of his own examples drawn from the works of Richard Wagner. But Strauss's comparative measures of - and prejudices regarding - Berlioz and Wagner as composers are quite well established in his own separate Foreword.
The most recent instrument invention included in Strauss's emendations is the heckelphone (baritone oboe), which invention Strauss commissioned Wilhelm Heckel for Strauss's use in his "Symphonia Domestica." Obviously, then, the Treatise is not the reference to which to turn for descriptions and applications of instruments that are of 20th century invention, nor, for that matter, instruments in use elsewhere than in Europe that subsequently found application in 20th century "Western" music (such as the Indonesian gamelan).
A side benefit of the Treatise is in its historical value as a repository of capabilities, sonorities, techniques and usages of instruments long deemed obsolete, but in current use during Berlioz's careers as composer and conductor. Where else can one find such a wealth of detail on instrumental esoterica and arcana like the ophicleide, bombardon and serpent (all forerunners of the tuba), as well as various instruments invented by the highly-creative Adophe Sax, inventor of the saxophone but also the various saxhorns, saxtrombas and saxtubas now obsolete? In fact, I could find only one oversight on Berlioz's part, that of the sarrusophone, invented by Auguste Sarrus, a contemporary "competitor" to Adophe Sax.
It's a small oversight. Unless, of course, one takes a personal interest in the sarrusophone and its musical possibilities. I happen to, but that's just me.
Anyone interested in the course of musical instrument usage and history should have this inexpensive Treatise in his or her library. If you can't read the musical notation and examples, you'll nonetheless come away with an excellent understanding of Berlioz's contributions to the field.
Bon anniversaire, M. Berlioz!
Bob Zeidler
Quite possibly the best book on music ever written!.......2000-04-02
Every time I open up this book I find something completly new and exciting. I have never seen an author(s) so enthusiastic about every instrument. Every instrument of the day (keep in mind that it was written in the 1840's and later revised in c. 1900) gets special attention with music examples from great composers like the authors and Wagner. Each musical selection is shown in its full score so that the reader/listener can get a better image of what their reading about or hearing (the only way one can understand some of these examples is to go out and listen to these examples otherwise their just notes on a page). Quite possibly my favorite section is the one where Berlioz describes his "perfect" orchestra. It is one so massive that it sends chills down my spine! A must have for any music library.
Book Description
In this masterpiece of "program" music — a genre invented by the composer — an obsessed musician is overcome by increasingly bizarre visions of his lover. This miniature score version is handy, inexpensive, and perfect for use in the classroom or concert hall.
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- Berlioz Finest Soloist-Choral Work
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LA Damnation De Faust: Dramatic Legend in Full Score
Hector Berlioz
Manufacturer: Dover Publications
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ASIN: 0486401693 |
Customer Reviews:
Berlioz Finest Soloist-Choral Work.......2000-07-05
You will find in this book a very thorough writing of this magic 19th century masterpiece. The text is in both German (the original Goethe's) and French and all the Hector Berlioz indications are written down (French only). As nothing can be perfect it lacks at many pages the indication of which instrument is playing, although you can figure out who they are when you are reading music you have no time for this.
Book Description
Five widely played and recorded overtures by great French Romantic composer: famous Roman Carnival and Corsair Overtures, also overtures to three operas: Benvenuto Cellini, Beatrice and Benedict and Trojans in Carthage. Reprinted from definitive Breitkopf & Härtel Complete Works edition.
Customer Reviews:
Great Value.......2003-07-30
Dover scores are always a great bargain because they're high quality and economical. This collection of Berlioz Overtures is no exception. I only wish that all of his overtures were included in this collection, otherwise a good value.
Recommended.
and the "other overtures" are..........1999-04-01
In additon to Roman Carnival, op. 9 (1844), the other Berlioz overtures in this collection are: Overture to Benvenuto Cellini, op. 23 (1834-37/1852); Le Corsaire, op. 21 (1844); Prelude to Les Troyens a Carthage (1856-63); Beatrice et Benedict (1860-62). From Dover's Bibliographical Note: "This Dover edition, first published in 1995, is an unabridged republication of five works originally published in the section "Ouvertueren (Serie II)" of Hector Berlioz, Werke: Herausgegeben von Ch. Malherbe und F. Weingartner, Band V, by Breitkopf & Haertel, Leipzig, n.d. Titles are in French, German and English. The Dover edition adds lists of contents and instrumentation, accompanied by information about the source of each work, its librettist(s) (where applicable), and dates of composition and first performance."
Average customer rating:
- Hector Berlioz - the literary composer
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The Art of Music and Other Essays (A Travers Chants)
Hector Berlioz
Manufacturer: Indiana University Press
ProductGroup: Book
Binding: Hardcover
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ASIN: 0253311640 |
Book Description
Hector Berlioz (1803-1869) was equally prominent as composer and music critic. A Travers Chants is the collection of writings he himself selected form his 30-odd years of music journalism. This new translation, phrased in lively, idiomatic English and annotated for the modern reader, is illustrated with lithographs and drawings from Berlioz's lifetime.
Customer Reviews:
Hector Berlioz - the literary composer.......2000-03-30
Hector Berlioz is remembered mainly as the composer of Symphony Fantastique, but he was also a gifted music critic and writer. This collection of essays is entertaining and witty; Berlioz's satirical and biting humor is liberally spread throughout. This book is accessible to amateurs and professionals alike, filled with anecdotes and insight into the mind of a creative genius.
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Berlioz et l'art lyrique: Essai d'interpretation a l'usage de notre temps (European university studies. Series XXXVI, Musicology)
Joseph Marc Bailbe
Manufacturer: P. Lang
ProductGroup: Book
Binding: Unknown Binding
Berlioz, Hector
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ASIN: 3261049162 |
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Berlioz Orchestral Music
Hugh MacDonald
Manufacturer: Olympic Marketing Corp
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ASIN: 0295950242 |
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Berlioz Studies (Cambridge Composer Studies)
Manufacturer: Cambridge University Press
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Binding: Hardcover
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ASIN: 0521412862 |
Book Description
This book contains nine essays by leading Berlioz scholars on various aspects of the great nineteenth-century musician's life and work. Among the pieces studied closely are Romeo et Juliette, La Damnation de Faust and Les Nuits d' été. An essay on newly discovered documents gives us a revealing portrait of the artist as a young man; another essay which examines little studied manuscripts shows us how precisely Berlioz arranged Gluck's celebrated opera Orphée. The practical question of Berlioz's metronome marks are studied thoroughly for the first time, and the volume closes with a novel piece in dialogue form by the elder statesman of Berlioz scholars, Jacques Barzun, who treats with exceptional grace the profound issues raised by Berlioz the man and the musician.
Customer Reviews:
Stellar view of a majestic kingdom.......2000-06-09
This is a classic Ed Greenwood treatise on the ins, outs, and forbidden hideaways of Cormyr - taverns, guilds, palaces, dungeons, new magic, it's all here! Lots of it exclusive and hard to find. Details include - the passwords and secrets of Cormyr, the great cities of Suzail, Marsember and Arabel, the lands of the coast, the fascinating heartlands (including the festivals of Jester's Green), the Knightswood, Waymot, the people and cultures, the Sword Heralds, new magic, and more!
Book Description
Nonprofit Internet Strategies offers every charitable organization the opportunity to analyze their options and select the appropriate strategy to integrate traditional marketing, communications, and fundraising practices with their online efforts.
It is an excellent how-to guide--a practical manual for nonprofit staff written in non-technical language--prepared by experts in the field based on real-life experiences and case studies.
Download Description
Nonprofit Internet Strategies offers every charitable organization the opportunity to analyze their options and select the appropriate strategy to integrate traditional marketing, communications, and fundraising practices with their online efforts.
It is an excellent how-to guide--a practical manual for nonprofit staff written in non-technical language--prepared by experts in the field based on real-life experiences and case studies.
Customer Reviews:
Guide for Non Profits Fundraising.......2007-04-23
This source is a wonderful collection of information for non profit companies who want to expand to the Internet. It has real world suggestions, as well as IRS guidelines important to keep the tax status of the non profit. Recommend to all.
Essential.......2007-03-03
Frankly, I was feeling a bit out of touch. The most frequently asked questions in my workshops were about Internet fundraising, and I didn't have good answers. My quick fix: reading this book and coming away amazed, astounded, and shocked. First, by all the profitable Internet strategies out there (the book is packed with examples of stuff that works). Second, by the thoroughness of this book. Another reviewer said it was like a textbook. Don't think academic, though; think "everything you need to know between two covers" comprehensive. And practical as soup on a cold day. If I had to limit my library to just six books about fundraising communications, this title would be among them. I haven't had the privilege of hearing co-author Michael Johnston speak, but I have heard both Ted Hart and Jim Greenfield present at conferences. Purely useful, well spoken, based on vast experience.
Non-Profit Internet Strategies.......2006-03-18
This is a very complete guide to using the Internet for marketing and fundraising. It could almost be a text book for a college course - if colleges offered marketing for non-profits as a course. Great reference material.
One of the few must-reads for any nonprofit organization manager responsible Internet strategy.......2005-08-09
Those of us who manage nonprofit organizations have learned to use the Internet as a powerful communications medium. We invite the public to learn about us via our web sites and even to donate to us from a web browser. We've learned that this is just the beginning of the cultivation process, not the end. We've learned how to keep them coming back to the site. More importantly, we've learned to move them into our traditional cultivation processes once they make contact.
Our development officers have become accustomed to following up with those who've knocked on the door of our web site. We know that a donor who makes an on-line donation is often open to going deeper with the organization, and of increasing support -- if asked. We've learned to take these new-found supporters into our fold, and how to encourage more significant contributions from them.
Here's what else we've learned. We've learned to manage information in complex, server-based relational databases -- ours or those provided by firms who do this for us on their hardware. We share information internally via local networks and Intranets, and tie discrete offices together via virtual private network secure tunneling. We use extranets to facilitate strategic alliances with other organizations. To save money, we use voice over IP to replace traditional telephone circuits. We've even gone wireless.
Throughout all this, we gather information on our supporters and prospective supporters. We do so at Internet speeds, and with the organizing and retrieval efficiency of computers. We've learned to treat the information we gather with great care. The public support, we know, is a fragile thing.
Yes, we've learned a lot. If we haven't yet put all of what we've learned into place, we suspect that would if we had a clear, sensible roadmap to doing so within the confines of our budgets.
The simple truth is that the use of technology is one of the more challenging aspects facing those who manage nonprofit organizations. First, it's complicated. (Virtual private WHAT?!) Second, it's hard to have a clear idea of how to think about technology in the unique context of running a nonprofit organization. Third, it's hard to determine the best way to implement technological solutions when there are so many being thrown at us. Lastly, how can we be sure we're following best practices?
We need help to sort all of this out -- even those of us who are not exactly new to all of this. As it happens, I've been deeply immersed in technology in the nonprofit context for years, having designed and lead the team that created one the first on-line systems utilzing the donor-advised fund gift methodology as the means to enable the public to donate to any 501(c)(3) public charity from a single web site donation portal. I designed and built some of the first on-line charitable donation systems for nonprofit organizations and educational institutions. I am a programmer and a web site developer. I am a computer science student; one of my hobbies is exploring the theory of utilizing quantum mechanics to construct a computing device. I am a lawyer. I have administered large and small fund development programs, and advised them. I even co-founded a couple of nonprofit organizations -- a pre-K through 8th grade school and a charity that feeds and clothse the poor. I have read just about every posting to every CharityChannel forum since inception, and read every article on the topic that I can get my hands on. I've written some articles, too.
Yet I am the first to admit that the Internet, even the Internet in the nonprofit context, is too big and complex to try to make sense out of it without turning to those who have specialized in a particular aspect of it. It's no different in law. My field is tax-exempt organization law. I wouldn't be the one to advise you on your automobile accident.
That is what interested me in the new book Nonprofit Internet Strategies: Best Practices for Marketing, Communications, and Fundraising. It taps the experts in each subject to write a chapter. This approach makes great sense to me.
The book sets out to show us how to leverage the Internet to:
--Advance our organization's or institution's cause.
--Raise more money both on-line and off by establishing relationships with new donors, and deepen the commitment of existing donors.
--Inform the public and our stakeholders.
--Raise public confidence and trust through better communication and transparency.
It succeeds. Each of its chapters is contributed by a leading expert in the topic discussed. The editors -- Ted Hart, James M. Greenfield, and Michael Johnston -- also contributed chapters of their own. Some of the writers will already be familiar to many of my CharityChannel colleagues because they've taught a Summit session, or a distance class. Some have penned articles for CharityChannel, or posted to one of the professional forums.
I recommend the book for anyone who is serious about doing a better job harnessing the Internet for their organization or institution. You can read it cover to cover as I did. It is also suited to picking and choosing particular chapters of interest.
The book is for busy nonprofit managers who must work within real-world budgets and who are pulled in a thousand directions by the demands of their jobs. It is for those who want to have a clear roadmap of how to proceed. The book is not for techno-geeks, as such. Even if you barely know how to turn on a computer, you can read this book without difficulty. Of course, if you happen to be technologically savvy, so much the better.
This book is for large organizations with big budgets and complex needs. It shows how to think about technology, and how to approach it even if the organization is well down the road with technology.
It is also for small organizations with limited budgets and big dreams. That is because technology in our sector has matured to the point where there are strategically-powerful solutions that do not require large expenditures. What is required, rather, is a clear understanding of where and how to proceed.
Of course, no book can do it all when it comes to the Internet and the nonprofit world. But this book is one of the few must-reads for any nonprofit organization manager responsible Internet strategy.
College Textbook with all the liberal bias.......2005-08-06
The information in Nonprofit Internet Strategies is sound until about page 100. The information comes from a variety of those working in the field and is an amalgamation of over 15 authors. This book tends to be redundant and far left leaning politically, unfortunately. It is clear to me that these individuals wrote their chapters at the same time and did not coordinate who was to discuss what subject, also.
The examples and case studies are without a doubt far left leaning politically at best and in some cases downright anti-american. A case study example from page 158 lists President Bush and Tony Blair on a deck of cards that Greenpeace sold had the actual letter to their donors saying the following:
"These limited edition playing cards are hot! Back by popular demand, they're a spoof of the 'Iraq most wanted' deck. The Greenpeace cards name and shame world leaders who are sitting on the true weapons of mass destruction-nuclear weapons."
This book is filled with left-wing examples of cyber-activist companies dubbed "nonprofit companies." Having worked with 3 multi-million nonprofit companies, I think the two are different.
There is no way a person can make it all the way through this book because the information repeats itself so often.
The book would make a stereotypical college textbook. I do not recommend this and its a shame because the experts seem to really know their stuff. It could have been a must-read for nonprofit management, marketing, and IT personnel - but it isn't. They ruined it with their hidden agendas, lack of chapter/author coordination, and poor editing.
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Books Index
Books Home
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A Critical Cinema 3: Interviews with Independent Filmmakers
A Critical Cinema 4: Interviews with Independent Filmmakers (Critical Cinema)
A Critical Cinema 5: Interviews with Independent Filmmakers (Critical Cinema)
Visionary Film: The American Avant-Garde, 1943-2000
Film As A Subversive Art
