Reading Lyrics(ISBN=9780375400810) 英文原版 chm 下载 lrf pdf 阿里云 azw3 kindle 网盘

A huge gathering of the finest American and British song lyrics

from 1910 to 1975. Robert Kimball, editor of the complete lyrics of

Cole Porter, Ira Gershwin, Lorenz Hart and next year's Irving

Berlin, and Robert Gottlieb, editor of the recent Reading Jazz,

have collaborated to choose the 800 or more most distinguished

lyrics of the century, from early P.G. Wodehouse and the Irving

Berlin of Alexander's Ragtime Band through the greats of Broadway

and Hollywood -- Gershwin, Hart, Porter, Berlin, Oscar Hammerstein,

Yip Harbourg, Dorothy Fields, Frank Loesser, Noel Coward -- to the

early triumphs of Stephen Sondheim. Plus many writers who are

barely remembered today -- Don Raye ("Mr. Five by Five", "I'll

Remember April"), Bobby Troup ("Route 66", "Daddy") -- with

surprises like Ogden Nash, Maxwell Anderson, Dorothy Parker, and

Truman Capote. Over 100 lyricists in all, each one introduced with

a brief biography and commentary, and presented chronologically, so

that this big volume not only presents the core of an entire

literature that we love, but will serve as a reference book and a

history of the lyric and the lyricist in the 20th century.

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From Back Cover

“Indispensable, stellar new anthology. This eclectic book provides

enough humor, romance and sophistication to make you forget that

Seussical even existed.”

–Jason Zinoman, Time Out New York

“This music is an amazing art form; it’s a substantial cultural

phenomenon.”

–Newsweek

“’Reading Lyrics’ is both a groundbreaking social document and

its own pleasure dome. Its seven hundred and six pages confirm the

accomplishments of the greats, but they also provide

surprises.”

–The New Yorker

“America was the laboratory that proved Plato’s contention that

songs are ‘spells for souls for the creation of concord.’ If you

read between the lines of many of the lyrics in the anthology, you

hear an alarmed society calming its frazzled nerves.”

–The New Yorker

“[‘Reading Lyrics’] defies literary categorization. It’s

reference work. It’s a singalong book. . . It’s a shadow history of

taste and mores over much of the past century. It’s a valentine to

a now-vanished artistic craft. And it’s an act of fond

provocation.”

–The Boston Globe

“’Reading Lyrics’ demonstrates one of the may magic tricks that

words can do: the way that letters and lines on a page can (with

years of practice) learn how to carry a tune.”

–Elle

“With around 170 lyricists on offer, the book makes its share of

worthwhile rediscoveries. . . . That’s the fun of ‘Reading Lyrics.’

Readers can hum along with songs they know, while songs they don’t

will have them hurrying off to the nearest music megastore.”

–New York Times Book Review

“Sparklingly entertaining, ‘Reading Lyrics’ exalts the lyrical

sublimity of such cunning wordsmiths as Porter, Gershwin, and

Coward.”

–Vanity Fair

“Tuneless, but what joy! . . . . For no sooner do the lyrics

appear before one’s eyes than reading gives way to song.”

–Billboard Magazine

“This wondrous and magical concoction is highly

recommended.”

–Wall Street Journal

“This is one of the finest collections of words there is. To

quote P.G. Wodehouse. . . ‘And I wish someday I could find my wayTo

the land where the good songs go.’ That land is Reading Lyrics. ‘S

wonderful.”

–Newsday

From Booklist

~Most people remember a song better than they remember a poem.

During the 1900^-75 scope of this sterling anthology, remembering a

song was remembering a poem. That span was the heyday of the

classic American popular song, which re-expressed all the old

emotions in language invigorated by the dialects of all the

external and internal immigrants drawn to America's burgeoning

industrial centers. The typical classic American popular song--any

of the 1,000-plus examples editors Gottlieb and Kimball have

chosen--is rife with those pnemonic aids par excellence, rhyme and

wordplay. Accordingly, you could use the book for a party game, the

object of which would be seeing who recalls the most songs and,

beyond that, can sing them. With lyricists including all the

superstars, from Cohan to Sondheim, and plenty whose songs' fame

have outlived that of their names, such as Haven Gillespie ("Santa

Claus Is Comin' to Town") and Edward Eliscu ("Without a Song"), the

party could take all of a grand night for singing. Oh!--get a copy

for the reference desk, too. Ray Olson

Copyright © American Library Association. All rights

reserved~

媒体评论

Indispensable, stellar new anthology. This eclectic book

provides enough humor, romance and sophistication to make you

forget that Seussical even existed.

Jason Zinoman, Time Out New York

This music is an amazing art form; its a substantial cultural

phenomenon.

Newsweek

Reading Lyrics is both a groundbreaking social document and its

own pleasure dome. Its seven hundred and six pages confirm the

accomplishments of the greats, but they also provide surprises. The

New Yorker

America was the laboratory that proved Platos contention that

songs are spells for souls for the creation of concord. If you read

between the lines of many of the lyrics in the anthology, you hear

an alarmed society calming its frazzled nerves.

The New Yorker

[Reading Lyrics] defies literary categorization. Its reference

work. Its a singalong book. . . Its a shadow history of taste and

mores over much of the past century. Its a valentine to a

now-vanished artistic craft. And its an act of fond

provocation.

The Boston Globe

Reading Lyrics demonstrates one of the may magic tricks that

words can do: the way that letters and lines on a page can (with

years of practice) learn how to carry a tune.

Elle

With around 170 lyricists on offer, the book makes its share of

worthwhile rediscoveries. . . . Thats the fun of Reading Lyrics.

Readers can hum along with songs they know, while songs they dont

will have them hurrying off to the nearest music megastore. New

York Times Book Review

Sparklingly entertaining, Reading Lyrics exalts the lyrical

sublimity of such cunning wordsmiths as Porter, Gershwin, and

Coward. Vanity Fair

Tuneless, but what joy! . . . . For no sooner do the lyrics

appear before ones eyes than reading gives way to song. Billboard

Magazine

This wondrous and magical concoction is highly

recommended.

Wall Street Journal

This is one of the finest collections of words there is. To

quote P.G. Wodehouse. . . And I wish someday I could find my way/To

the land where the good songs go. That land is Reading Lyrics. S

wonderful. Newsday -- Review

书籍介绍

A vast anthology bringing together more than one thousand of the best American and English lyrics of the twentieth century, this is an extraordinary celebration of a unique art form.

Reading Lyrics begins with the first masters of the colloquial phrase, including George M. Cohan (“Give My Regards to Broadway”), P. G. Wodehouse (“Till the Clouds Roll By”), and Irving Berlin, whose versatility and career span the period from “Alexander’s Ragtime Band” to “Annie Get Your Gun” and beyond. The Broadway musical emerges as a distinct dramatic form in the 1920s and 1930s, its evolution propelled by a trio of lyricists—Cole Porter, Ira Gershwin, and Lorenz Hart—whose explorations of the psychological and emotional nuances of falling in and out of love have lost none of their wit and sophistication. Their songs, including “Night and Day,” “The Man I Love,” and “Bewitched, Bothered and Bewildered,” have become standards performed and recorded by generation after generation of singers. The lure of Broadway and Hollywood and the performing genius of such artists as Al Jolson, Fred Astaire, Ethel Waters, Judy Garland, Frank Sinatra, and Ethel Merman inspired a remarkable array of talented writers, including Dorothy Fields (“A Fine Romance,” “I Can’t Give You Anything but Love”), Frank Loesser (“Guys and Dolls”), Oscar Hammerstein II (from the groundbreaking “Show Boat” of 1927 through his extraordinary collaboration with Richard Rodgers), Johnny Mercer, Yip Harburg, Andy Razaf, Noël Coward, and Stephen Sondheim.

Reading Lyrics also celebrates the work of dozens of superb craftsmen whose songs remain known, but who today are themselves less known—writers like Haven Gillespie (whose “Santa Claus Is Coming to Town” may be the most widely recorded song of its era); Herman Hupfeld (not only the composer/lyricist of “As Time Goes By” but also of “Are You Makin’ Any Money?” and “When Yuba Plays the Rumba on the Tuba”); the great light versifier Ogden Nash (“Speak Low,” “I’m a Stranger Here Myself,” and, yes, “The Sea-Gull and the Ea-Gull”); Don Raye (“Boogie Woogie Bugle Boy,” “Mister Five by Five,” and, of course, “Milkman, Keep Those Bottles Quiet”); Bobby Troup (“Route 66”); Billy Strayhorn (not only for the omnipresent “Lush Life” but for “Something to Live For” and “A Lonely Coed”); Peggy Lee (not only a superb singer but also an original and appealing lyricist); and the unique Dave Frishberg (“I’m Hip,” “Peel Me a Grape,” “Van Lingo Mungo”).

Robert Gottlieb and Robert Kimball have created an indispensable reference work and history. The lyricists are presented chronologically, each introduced by a succinct biography and incisive commentary. Reading Lyrics is a magnificent gathering of words whose power to stir memories and evoke romance is akin to that of lyric poetry. Collected in one volume, it represents one of the twentieth century’s most enduring and cherished legacies.