From Library Journal
Nicholas (The Beginner's Guide to Opera, Crescent, 1994) draws on his background in broadcasting and music journalism for this popular treatment of 500 composers and their works. Major composers (e.g., Bach, Beethoven, and Brahms) receive several pages of coverage, while lesser figures appear in brief articles or in just a line or two in the chronologies. The chronologies provide useful timelines for music and for composers from around A.D. 1000 to the present decade and include links to contemporary, historical, and cultural events. Even though intended as a listening guide, specific recordings are seldom mentioned. Instead, Nicholas provides entertaining, concise, and knowledgeable descriptions and recommendations for many of the works often heard on classical FM radio. With its clear organization and fine index, the book is ideal for browsing. Recommended for those likely to be tuned in to classical FM stations and for readers in need of an up-to-date listener's handbook.?James E. Ross, WLN, Seattle
Copyright 1997 Reed Business Information, Inc.
From Booklist
With classical music wending its way into television commercials, this guide will be a popular source for those who are interested in learning more about the composers of this music. The book is arranged alphabetically by composer with more than 400 biographies. One hundred of the entries are two to three pages in length, with sections on the composer's life, music, and a discussion of major works. Each entry begins with a quotation (Leonard Bernstein--"A born entertainer of a superior sort" --D. Henehan, New York Times), birth and death dates, type of music, influences, and contemporaries. Contemporaries who are also included in the volume are noted in capital letters. Black-and-white photos and cartoons are provided for some entries. The rest of the entries are shorter--less than half a page--and combine the life and major composition of the composer.
Nicholas writes in an entertaining style with sidelights such as the fact that Adolph Adam's Cantique de Noel was featured in Home Alone and that Alan Sherman popularized the ballet music from La Giocanda. The biographies are fair and to the point--the role of Richard Strauss in Nazi Germany is described as inexcusable.
The choice of whom to include is balanced, with the author commenting in the introduction that the majority of Western classical composers are white males. Surprising omissions are Fanny Mendelssohn and the twentieth-century composers Philip Glass, John Adams, and Steve Reich. The last three are included in a chronology of composers that is preceded by a chapter on the history of music. A glossary and excellent index complete the source.
Discovering Great Music by Roy Hemming (2d ed., 1994) is a comparable title but covers fewer composers. The Classic FM Guide is a recommended source for public and academic libraries. It would also find a place in home libraries of classical music aficionados. --This text refers to an out of print or unavailable edition of this title.
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拿到这本书后,我最惊喜的是它对“如何聆听”这个核心问题的处理方式。很多音乐指南只是告诉你“听什么”,但这本书似乎更专注于“怎么听”。它没有一上来就抛出大量复杂的结构图表,而是非常巧妙地从听众的感官体验出发,去解构音乐的魅力。比如,书中有一章专门探讨了“动机”(Motif)在一部奏鸣曲中是如何像一条无形的线索,贯穿始终,引导听众的情绪起伏。作者用了大量的比喻,将抽象的音乐语言转化为听众可以理解的画面感,这对我这个非科班出身的人来说,简直是醍醐灌顶。我记得有一次,我尝试着按照书中的指引,去重新听一张我以前觉得“沉闷”的布鲁克纳交响曲,书里让我注意低音弦乐组如何像地基一样支撑起整个宏大的建筑结构,以及木管乐器如何像不经意的闪光点缀其间。仅仅是这个小小的视角转换,立刻让那部作品在我心中“活”了起来,不再是僵硬的音符堆砌,而是一个有血有肉的、充满张力的空间。这种引导式的阅读体验,远比简单罗列作品名称要有效得多,它教会了我一种新的、更有深度的“耳朵”,让我从一个被动的接受者,转变为一个主动的探索者,去发掘每一部作品背后那些精妙的、常人不易察觉的匠心独运之处。
评分这本书的排版和插图设计,也极大地提升了我的阅读舒适度和效率。在阅读严肃的音乐类书籍时,眼睛很容易疲劳,尤其是在处理那些涉及曲式分析和乐谱示例的部分。然而,这本书采用了高质量的纸张,使得墨迹清晰不反光,这对长时间阅读至关重要。更重要的是,它对图表的运用达到了教科书级别的专业水准,却又避免了专业书籍的枯燥感。无论是乐器配置的示意图,还是关键主题的简要乐谱摘录,都标注得极其准确和美观。例如,在介绍奏鸣曲式的呈示部、展开部和再现部时,它不仅用文字清晰界定,还配有颜色区分或图示箭头来标明主题的“旅行路线”,这种视觉化的辅助,极大地降低了理解复杂结构的门槛。我记得我曾经试图用其他资料学习“赋格”,但总是迷失在各种复杂的声部对答中,而这本书提供的图解,就像是为我铺设了一条清晰的“声音迷宫地图”,让我能够轻松地追踪到每一条旋律线的运动轨迹,理解它们之间精妙的模仿与交织,这对我来说是阅读体验上的一个巨大飞跃。
评分对我而言,这本书最珍贵的价值或许在于其提供的“自信感”。在古典音乐的世界里,很容易因为知识的鸿沟而产生一种“局外人”的疏离感,担心自己理解得不够深刻,或者听错了作曲家的本意。这本书就像一位谦逊而博学的私人导师,它既没有居高临下地指点江山,也没有过度简化内容以至于失去深度。它提供的知识是坚实的、有据可查的,但其传达的语气始终是鼓励和开放的。它引导你建立起一套属于自己的音乐鉴赏框架,让你在面对全新的作品时,不再感到手足无措,而是知道应该从结构、和声、配器或者历史背景中的哪个角度去切入。这种能力上的赋权,才是真正有价值的“指南”。它真正做到的,是把通往古典音乐殿堂的钥匙交到了读者手中,而不是仅仅带领读者走了一条预设好的、单向的走廊。这本书真正培养的是一种持久的好奇心和独立思考的习惯,让我相信,每一次的聆听,都将是一次全新的、个性化的发现之旅,而这本书,无疑是这段旅程中最可靠的导航仪。
评分这本书的封面设计实在让人眼前一亮,那种深沉的蓝色调配上烫金的字体,散发着一种低调的奢华感,仿佛预示着内里知识的厚重与精妙。我是在一家老旧的书店角落里发现它的,当时我正为找不到一本真正能引导我入门古典音乐的“向导”而感到沮丧。市面上的入门书籍要么过于学术化,充斥着晦涩的术语和复杂的乐理分析,让人望而却步;要么又过于肤浅,仅仅停留在“贝多芬很伟大”、“莫扎特很天才”这类人尽皆知的陈词滥调上,无法满足我深入探索的渴望。这本书的装帧给我的第一印象是“权威”与“易读性”达到了一个精妙的平衡。它没有采用那种过于花哨的排版,而是非常工整、清晰地将目录结构呈现出来,光是目录里对不同时期、不同体裁(如交响曲、协奏曲、室内乐)的细致划分,就让我感到了一种被尊重和被引导的踏实感。我当时心里就在想,这本书可能不会仅仅停留在介绍几位“耳熟能详”的大师,而是会像一位耐心的老教授,手把手地带我穿越巴洛克到浪漫主义的漫长历史长河。那种期待感,就像等待一场期待已久的音乐会开场前的序曲,充满了对未知美妙的憧憬,让人忍不住立刻翻开第一页,渴望进入那个由音符构建的宏伟殿堂,去探寻那些流传百世的旋律背后,隐藏着的时代精神与作曲家们跌宕起伏的人生故事。这种初遇的体验,决定了我对后续阅读的基调,它必须是那种能让我放下手机,沉浸其中,甚至愿意在某个阳光午后,泡上一壶茶,慢慢研读的“陪伴型”书籍。
评分这本书的体例结构安排得极为清晰,但这种清晰并非是呆板的教条主义,而是充满人文关怀的引导。我尤其欣赏它在处理不同作曲家传记时的平衡感。它没有把重点完全放在那些猎奇的、花边新闻式的轶事上,而是精准地将作曲家的生活环境、当时的社会思潮与他们的音乐风格的演变紧密地联系起来。例如,在讨论德彪西时,它没有泛泛而谈“印象派”,而是深入分析了巴黎社会审美趣味的转变,以及他如何从印象派绘画和诗歌中汲取灵感,从而开创出那种“流动的色彩感”的音乐语言。这种“时代背景—个人经历—音乐语言”的三角关系分析,极大地丰富了我对作品的理解层次。当我再听到《牧神午后前奏曲》时,我不再只是听到那些飘渺的旋律,我仿佛能“看见”十九世纪末法国午后那种慵懒、朦胧而又充满精致感的光影。此外,书中对一些相对冷门但极具艺术价值的作曲家或作品的挖掘,也展现了编纂者深厚的学术功底和广阔的音乐视野,这使得这本书的价值超越了一般的“畅销指南”,更像是一本可以伴随听众成长、随着阅历加深而不断有新发现的参考工具书。
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