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So I've Heard: Notes of a Migratory Music Critic by Alan Rich 2006, Hrdcvr MINT
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Condition:
“Hardcover like new book with the dust jacket in near mint condition. Minimal shelf wear. Please ”... Read moreabout condition
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Located in: Oxnard, California, United States
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eBay item number:303102051478
Item specifics
- Condition
- Like New
- Seller Notes
- Year
- 2006
- Special Attributes
- Dust Jacket
- Genre
- Musicals
- Topic
- Criticism
- Subject
- Music
- ISBN
- 9781574671339
About this product
Product Identifiers
Publisher
Leonard Corporation, Hal
ISBN-10
1574671332
ISBN-13
9781574671339
eBay Product ID (ePID)
49207926
Product Key Features
Book Title
So I've Heard : Notes of a Migratory Music Critic
Number of Pages
338 Pages
Language
English
Publication Year
2006
Topic
History & Criticism, Genres & Styles / Classical, Instruction & Study / Appreciation, Essays
Genre
Music, Literary Collections
Format
Hardcover
Dimensions
Item Height
1.1 in
Item Weight
22.5 Oz
Item Length
9.2 in
Item Width
6.2 in
Additional Product Features
Intended Audience
Trade
LCCN
2006-282244
Dewey Edition
22
Dewey Decimal
780.9
Synopsis
With an introduction by Pulitzer Prize-winning writer and Washington Post music critic Tim Page Penned by veteran music writer, critic, and Grammy nominee Alan Rich, currently a music critic for the alternative paper LA Weekly, this book is a collection of music criticism gleaned from four decades of concert-going, opera-going, and record-listening on both coasts. Pulitzer Prize-winning writer and Washington Post music critic Tim Page provides the book's introduction. Included are reviews and essays on musicians, both well-known and obscure, who have shaped worldwide musical tastes during those years: conductors including Leonard Bernstein, Zubin Mehta, and Esa-Pekka Salonen; performers Glenn Gould and the overexploited David Helfgott; composers both familiar (Baroque masters, Mozart, Schubert) and contemporary (John Adams and John Cage). Probing essays include lively insights on music criticism itself and on where (if anywhere) music may (or may not) be heading in the new millennium. His writing drew from the formidable Virgil Thomson praise as "the most readable music reviewer ... our best muckraker.", (Amadeus). With an introduction by Pulitzer Prize-winning writer and Washington Post music critic Tim Page Penned by veteran music writer, critic, and Grammy nominee Alan Rich, currently a music critic for the alternative paper LA Weekly , this book is a collection of music criticism gleaned from four decades of concert-going, opera-going, and record-listening on both coasts. Pulitzer Prize-winning writer and Washington Post music critic Tim Page provides the book's introduction. Included are reviews and essays on musicians, both well-known and obscure, who have shaped worldwide musical tastes during those years: conductors including Leonard Bernstein, Zubin Mehta, and Esa-Pekka Salonen; performers Glenn Gould and the overexploited David Helfgott; composers both familiar (Baroque masters, Mozart, Schubert) and contemporary (John Adams and John Cage). Probing essays include lively insights on music criticism itself and on where (if anywhere) music may (or may not) be heading in the new millennium. His writing drew from the formidable Virgil Thomson praise as "the most readable music reviewer ... our best muckraker.", (Amadeus). With an introduction by Pulitzer Prize-winning writer and Washington Post music critic Tim Page Penned by veteran music writer, critic, and Grammy nominee Alan Rich, currently a music critic for the alternative paper LA Weekly, this book is a collection of music criticism gleaned from four decades of concert-going, opera-going, and record-listening on both coasts. Pulitzer Prize-winning writer and Washington Post music critic Tim Page provides the book's introduction. Included are reviews and essays on musicians, both well-known and obscure, who have shaped worldwide musical tastes during those years: conductors including Leonard Bernstein, Zubin Mehta, and Esa-Pekka Salonen; performers Glenn Gould and the overexploited David Helfgott; composers both familiar (Baroque masters, Mozart, Schubert) and contemporary (John Adams and John Cage). Probing essays include lively insights on music criticism itself and on where (if anywhere) music may (or may not) be heading in the new millennium. His writing drew from the formidable Virgil Thomson praise as "the most readable music reviewer ... our best muckraker."
LC Classification Number
ML160
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