by Jr. Floyd ‧ RELEASE DATE: April 1, 1995
A wide-ranging, jargon-laden discussion of African-American music. Floyd (director of the Center for Black Music Research, Columbia College, Chicago) combines history and theory, beginning with African-American music's roots and progressing chronologically from early spirituals through blues, jazz, R&B, gospel, Motown, pop, and concert-hall music. Dozens of figures, both well-known and obscure, are mentioned, along with key musical works that are analyzed with a blend of anthropological, musicological, and self- made terms. Floyd believes that ``Signifyin(g)''—using metaphoric or indirect means as a mode of artistic expression—is the key element of African-American musical style. He identifies ``Call- Response,'' the use of a structure based on theme (the ``call'') and counter-theme (``response''), as a basis for much African- American expression. He shows how, in this tradition, the performance itself is far more important than the piece performed. Some of Floyd's ideas are controversial, such as his essentialist assertion that there is an African ``racial memory'' among African- Americans that influences the kinds of music they produce—a notion that oversimplifies a complex process including cultural, musical, social, and individual innovations by which a musical style is shaped. Floyd also tends to lump together such varied performers as early bluesmen Blind Lemon Jefferson and Mississippi John Hurt, calling both ``Mississippi Moaners,'' although Jefferson was from Texas, Hurt sang in a relaxed, open-voiced style, and neither is a typical representative of the Mississippi blues school. Many of the practices Floyd ascribes solely to African-American musicians, such as improvising new words based on stock sets of lyrical themes, are found in folk cultures throughout the world. Finally, his personal predilection for black concert-hall music over traditional or popular forms distorts the work. Of limited interest to the general reader, though it will inspire discussion in the musicological community.
Pub Date: April 1, 1995
ISBN: 0-19-508235-4
Page Count: 352
Publisher: Oxford Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1995
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by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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