Perfect for either novices or lapsed performers who want to embrace music but aren’t sure how.
Making music isn’t just for professionals, according to this guide that aims to make the joys of playing and singing accessible to adults.
Nathan (The Young Musician’s Survival Guide, 2008, etc.), a prolific author of books for children and their parents, turns her attention to adults who want to incorporate music into their lives. Unfortunately, she writes, “many people aren’t aware of the range of music-making options that are available for people who choose not to pursue music professionally.” In this encouraging, engaging volume, she quickly dispels the notion that being musical requires innate talent or years of rigorous training that must begin in childhood. To discover how “avocational” musicians manage to make time for playing, singing, and composing, she assembled a panel of 363 amateur performers who either completed open-ended questionnaires or shared their experiences in interviews. This trove of diverse, real-life stories helps turn this book from what could have been a ho-hum, how-to manual into an inspirational guide. Readers can easily see how people of wide-ranging ages, backgrounds, and levels of musical expertise have found outlets for their creativity and passion. After a brief overview of the advantages of “Keeping On with Music,” which include cognitive benefits, social connections, and reduced stress, she discusses how three broad categories make it work. First are those who began playing as children and never stopped. Though dreams of performing professionally have been abandoned, these individuals have joined choirs, amateur ensembles, and semipro orchestras. There are also those who played in the past but gave it up for a time only to return, as well as adults who are new to making music (or at least new to their chosen instruments). She touches on the unique challenges each of these groups faces, from poor teachers and time constraints to lack of practice space and the belief that one is simply not good enough to play or sing. Throughout, the emphasis is on the pleasure that can come from making music, whatever one’s skill level.
Perfect for either novices or lapsed performers who want to embrace music but aren’t sure how.Pub Date: May 22, 2018
ISBN: 978-0-19-061158-3
Page Count: 292
Publisher: Oxford Univ.
Review Posted Online: Aug. 22, 2018
Kirkus Reviews Issue: Oct. 1, 2018
Review Program: Kirkus Indie
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
IN THE NEWS
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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