Book Description
This digital document is an article from Siempre!, published by Edicional Siempre on February 13, 1997. The length of the article is 999 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Philip Glass y la danza.(TT: Philip Glass and dance)
Author: Carlos Ocampo
Publication: Siempre! (Refereed)
Date: February 13, 1997
Publisher: Edicional Siempre
Volume: v42Issue: n2278Page: p62(1)

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Book Description
This digital document is an article from Proceso, published by CISA Comunicacion e Informacion, S.A. de C.V. on October 10, 1999. The length of the article is 826 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Philip Glass, minimizado por compositores mexicanos.(TT: Philip Glass, belittled by Mexican composers.)
Author: Claudia Montoya
Publication: Proceso (Magazine/Journal)
Date: October 10, 1999
Publisher: CISA Comunicacion e Informacion, S.A. de C.V.
Page: 74

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Book Description
This digital document is an article from Notes, published by Music Library Association, Inc. on March 1, 2004. The length of the article is 324 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Philip Glass. Heroes, Low Symphonies.(Sound Recording Review)
Author: Rick Anderson
Publication: Notes (Refereed)
Date: March 1, 2004
Publisher: Music Library Association, Inc.
Volume: 60Issue: 3Page: 772(1)

Article Type: Sound Recording Review

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Book Description
This digital document is an article from Notes, published by Music Library Association, Inc. on June 1, 2002. The length of the article is 1489 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. (Musical Men).
Author: Jonathan W. Bernard
Publication: Notes (Refereed)
Date: June 1, 2002
Publisher: Music Library Association, Inc.
Volume: 58Issue: 4Page: 834(3)

Article Type: Book Review

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Customer Reviews (5)

Groovy, down-to-earth look at early country history
Biographical essays of well-known as well as fairly obscure musicians and industry types.Escott has made a career out of telling outrageous, sometimes salacious, tales -- he gets to the rawer, visceral side of the story pretty quickly, which is relatively easy when you're talking to folks who worked in the scraggly, scruffy early years of country, rock and blues.He's an engaging, consersationalwriter, and this latest collection is a delight. Includes essays on artists such as Dale Hawkins, Don Everly, Johnny Horton, Tim Hardin and a particularly cruel skewering of Pat Boone.In one of the most fascinating sections, Escott profiles the founders of record labels such as Decca, King, Starday and Hi -- a fascinating and very illuminating appoach to presenting the history of popular music.Beautifully laid out, well written and highly recommended.

Fantastic
This Book was all that.Staxx is as Important as Motown.It's a Incredible Story.especially when A Black Label Blows up Down South in the 60's.you only ever here about Sun Records &Sam Phillips and his discovery ofElvis Presley.so this is Very Important on a Social Front.The Many GreatArtists on Staxx.this Book is strong from start to Finish.

Outstanding!
This book is simply amazing. I was only marginally interested in Stax before reading the book, but you will be moved by this story.

The passion shows through and I was unable to put it down.

Out of the hundreds ofbooks I've read, this is one of the finest.

Fascinating read for C & W or Rockabilly Fans
This book is as raw and soulful as the greatest country and rockabilly music gets. Great essays on contemporay stars Dwight Yoakum and Marty Stuart (two of the few "real" artists in today'sGarth-in-the-park, yuppiefied, mall rat Urban Country scene).Also, a lookat Pat Boone (how could such a soulless singer come from Tennessee!), thegreat, but sadly forgotten Johnny Horton and an ex-country wannabe whobecame a segragationist candidate for Govenor of Mississippi.

Excellent, and exhaustive, history of 1 of Soul's best.
Bowman's love for the music and personnel of the Stax label is plainlyclear as he weaves its exciting, sometimes turbulent, history into a storythat is as entertaining as it is informative.The interviews with theinvolved parties is what makes the book what it is, elevating the historyfrom what could be a dry textbook, to a feel of a story told over dinner. The demise of Stax is truly a heartbreaking story that reflects America's,and specifically the South's, experience of the time.Fantastic work! ... Read more

Product Description
Offers the reader a fascinating portrait of American serious music. Though most of the story takes place in the 20th century, it begins in 1562 & examines all the influences that shaped the American music tradition. These include 18th- & 19th-century East Coast genteel musical traditions; Scottish & Irish folk music; North American Indian music; West African music brought over & adapted by slaves; balladry; Creole & Gulf Coast music; & popular music. Also includes a foreword by composer Philip Glass, over 50 photographs, a chronology, a list of basic repertoire & an extensive bibliography. ... Read more

Customer Reviews (2)

Nearly Perfect
I originally purchased this book on account of its nice chapter on minimalism and its introduction by Philip Glass.Fortunately, I was very surprised to see myself devour the book's chapters on non-minimalist 20th century music as well.The book is well written and well categorized.

The book is essentially split into chapters based on style (in chronological order) starting with the very unknown 19th century American composers.The writing focuses more on the personal lives of the composers and how their pieces were received rather than a theoretical evaluation of style or its evolution.I actually prefer it be written this way since this book was my introduction to American classical music.

The minimalism chapter is good, especially when compared to other multi-stylistic books which only cover minimalism (and usually 20th century music) because they have to.

If I were teaching a class on 20th century music, this would definitely be a required text.Of particular interest is the concluding chapter on the author's views concerning the future of music; he brings up some interesting points worth mulling over.

I didn't care enough about the early American composers too much (Griffes, etc...), so my review doesn't reflect those chapters.

I certainly recommend this book to anyone who is interested in 20th century American acoustic music (electronic music isn't really covered).

Informative
Excellent book- full of information and very readable, without being too tecnical or pedantic. I might fault the author for being a bit sparse on 19th C. American composers, but this is a matter of personal judgement and the need to keep the book within manageable length. Also in 1998 fewer works by composers such as Fry, Bristow, Lambert and John Knowles Paine were available for listening. ... Read more

Book Description
Talking Music is comprised of substantial original conversations with seventeen American experimental composers and musicians-including Milton Babbitt, Pauline Oliveros, Steve Reich, Meredith Monk, and John Zorn-many of whom rarely grant interviews. The author skillfully elicits candid dialogues that encompass technical explorations; questions of method, style, and influence; their personal lives and struggles to create; and their aesthetic goals and artistic declarations. Herein, John Cage recalls the turning point in his career; Ben Johnston criticizes the operas of his teacher Harry Partch; La Monte Young attributes his creative discipline to a Morman childhood; and much more. The results are revelatory conversations with some of America's most radical musical innovators. ... Read more

Customer Reviews (2)

A very intertaining and solid introduction
This is a very entertaining collection of interviews. Duckworth takes his time to explore the issues sufficiently deeply with his interlocutors. Hence, there is substance to the book: it certainly is more than a loose collection of freewheeling conversations. And I am grateful for the fact that Bill Duckworth expanded his survey beyond the obvious collection of Minimalists and Cage. I knew nothing about Pauline Oliveros, Glen Branca or La Monte Young and came away refreshed from reading all their stories. I was generally satisfied by the way Duckworth steers the interviews. The tone is relaxed, sometimes earnest, sometimes tongue-in-cheeck. He is at his very best in the long, sometimes rambling conversations with La Monte Young and John Zorn. But in other cases - such as with the more rigorous and perhaps intellectually more intimidating personality of Steve Reich - Duckworth rigidly sticks to his agenda and fails to capture a number of potentially interesting tangents. The interview with John Cage is outright funny in the way Duckworth fails to catch on with what Cage really tries to get across. He keeps asking the wrong questions whilst Cage, with dwindling patience, is making broad excursions in conceptual hyperspace. But if Duckworth fails to capture a number of interesting opportunities to dig deeper in some of the interviews, this remains a very valuable collection, at least for those new to the whole field of American experimental music.

great fascinating interviews on American creativity
Willian Duckworth is marvelous at asking questions,he is so natural at it that he makes you feel you have known his guests all your life. He allows everyone to feel at home, at ease,like catching more flies with sugar quip.Like asking John Cage for instance, "I don't have a very goodunderstanding of what your early musical training was like,". or to LaMonte Young, asking if he is the "father of minimalism", I guessit doesn't matter now, since most of what is discussed has played itselfout. Here Duckworth interviews creators of primary creative genres ofAmericana leaning toward the achievements of all the various,nefarious"isms", experimentalism, minimalism, well just intonation doesn'tfit, and the ubiquitously opaque post-modernity. And progressing from whoare considered the Mammas and Pappas to the younger generation.The genre ofInterviews seem to be occurring with greater frequency,speaking of one ofthe features of post-modernity. It is the most immediate way of knowingsomeone's art, aesthetic, how they feel about the world,about politics, orhow they don't feel. Obsessions are explored in these interviews,as withJohn Zorn's early buying jags of recordings,jazz etc.,and formative yearsas with La Monte Young and his obsessions with sound, listening totelephone generators,or machines, the inherent drone in these industrialobjects,Also professional associations, and disassociations with the NewYork scene,Fluxus which includes,just about everyone here interviewed isprobed, with nice discussions of the early years of performance art in NewYork City.Education away from academia was an important component ofAmerican music,sorry to say, with those of the post war-generation turningto the east, and World Music, as Steve Reich, Phil Glass,Lou Harrison,Pauline Oliveros and La Monte Young. Young in particular reflects on hiseducation with Pandit Pran Nath on intonation and improvisation andlearning it with Marian Zazeela.Professional associations, how to surviveby being a performance artist, Duckworth pursues and explores with MeridithMonk and Laurie Anderson, finding gigs in New York City or Europe again waseveryone's passion.How do you work? is also a wonderful question, Monkreflects that she has to work all the time to feel attached, whereas sheknows composers who don't work for months and claim to feel they don't loseanything. How creators get into ,what they get into, as Ben Johnstonreflects on his early education with instrument iconoclast Harry Partch,how Partch taught Johnston to sing fractional tones, an eleventh/sixteenth,and how Partch would devote mornings to music, and afternoons to physicalwork, building sheds,or home extensions,or gathering wood. Also Johnstonspeaks about his wonderful string quartets, the Seventh in particular whichis based on an 100-tone scale, and how we come to understand it via therelationships it represents rather than hearing 100 isolated tones. WithLou Harrison we have almost a history of American music, in that his lifetraversed through the primary achievements, the interests in World Music,Tunings, percussion music, and extended techniques,living on both coasts.But Harrison claims he was always a melodic composer, he had to singwhatever he wrote first, to attach himself to the world of sound, no matterhow complex his music became.Some interviews are boring however as the theone with Phillip Glass where he simply recounts his life, and hisinterests, there was not a spirit of adventure, of discovery.Whereas MiltonBabbitt has wonderful reflections on his early studies in music with RogerSessions, and how Babbitt felt he needed to start over. The interview withChristian Wolff was over before it got interesting,Wolff primarilydiscussed his early music, the pieces associated with the CageSchool(Cage,Feldman,Brown,Wolff)(nice photo of them)instead of traversingthe set of problematics of dealing with political imagery. That questioncame as the very last one."Are you still writing politicalmusic?".Duckworth admirably gives nice introductions to eachcomposer, and makes you feel the center of where creativity occurs, whatexcites an artist,and where challenge and repose occurs within music.Onegood question here always was"When did you first hear of JohnCage", or what was the first piece of "so and so" you heard.This makes for a marvelous discussion on what were the initial indeliablemoments on one's creative life. Not everyone is gifted at interviews it isa conditioned and practiced art. This work is a great model toward thatgenre. ... Read more

Product Description
On the demand side, exporters and strategic planners focusing on tempered or laminated safety glass in Mexico face a number of questions. Which countries are supplying tempered or laminated safety glass to Mexico? How important is Mexico compared to others in terms of the entire global and regional market? How much do the imports of tempered or laminated safety glass vary from one country of origin to another in Mexico? On the supply side, Mexico also exports tempered or laminated safety glass. Which countries receive the most exports from Mexico? How are these exports concentrated across buyers? What is the value of these exports and which countries are the largest buyers?This report was created for strategic planners, international marketing executives and import/export managers who are concerned with the market for tempered or laminated safety glass in Mexico. With the globalization of this market, managers can no longer be contented with a local view. Nor can managers be contented with out-of-date statistics which appear several years after the fact. I have developed a methodology, based on macroeconomic and trade models, to estimate the market for tempered or laminated safety glass for those countries serving Mexico via exports, or supplying from Mexico via imports. It does so for the current year based on a variety of key historical indicators and econometric models.In what follows, Chapter 2 begins by summarizing where Mexico fits into the world market for imported and exported tempered or laminated safety glass. The total level of imports and exports on a worldwide basis, and those for Mexico in particular, is estimated using a model which aggregates across over 150 key country markets and projects these to the current year. From there, each country represents a percent of the world market. This market is served from a number of competitive countries of origin. Based on both demand- and supply-side dynamics, market shares by country of origin are then calculated across each country market destination. These shares lead to a volume of import and export values for each country and are aggregated to regional and world totals. In doing so, we are able to obtain maximum likelihood estimates of both the value of each market and the share that Mexico is likely to receive this year. From these figures, rankings are calculated to allow managers to prioritize Mexico compared to other major country markets. In this way, all the figures provided in this report are forecasts that can be combined with internal information sources for strategic planning purposes. ... Read more

Book Description
"Encapsulating 143 exhibitions with illustrations of work by 77 of the over 800 artists who participated, Perspectives@25: A Quarter Century of New Art in Houston celebrates the 25th anniversary of the Contemporary Arts Museum Houston's Perspectives series (one of the first in the U.S. to focus on contemporary art developments). In this beautifully designed and lavishly illustrated book, art lovers learn about an important aspect of the history of the Houston contemporary art scene, while scholars gain insight into the history of the contemporary exhibition through a series of texts: essays, facts, reminiscences, and anecdotes. Also included is a complete list of all artists who have exhibited their work at Perspectives, and an illustrated chronology documenting the series and its exhibitions." ... Read more

Book Description
libretto for Philip Glass opera "Satyagraha" ... Read more