As a non-expert reader seeking an introduction in the field, I "learn" on the first couple of pages about a list of composers - Beethoven among them - being born in Vienna. How much is the reader to believe of the information he doesn't already know better by himself?

In contrast to a previous reviewer, I found this volume interesting and well worth reading, if hardly up to its subtitle of Music in Europe Since the Rite of Spring. I think what happened was that Peyser intended to update her Boulez biography of 1975 (she says as much), had already started a book about music since the Rite, and finally gave up and combined the two in an unfortunate mishmash, adding bits and pieces of scattered information about other composers as it seemed appropriate to her. It is, however, simply untrue to say that Peyser makes Boulez out to be a saint. That she seems to have some personal feelings for him does not detract from her biography or its assessment of his music, which is certainly not always positive. That she would at least like to have a bias in Boulez's favor I wouldn't deny. Peyser's book does bring Boulez--an infamously private man--to life, and does actually help in approaching his music, whatever the flaws of the book may be. It would be a great buy in paperback. Do not look for any technical information, however: while not a Boulez expert, I might recommend Peter Stacey's Boulez and the Modern Concept as an approach for those familiar with some music theory.

This work is the combined result of two previous books by Peyser, the first a study of Schoenberg, Stravinsky and Varese; the second a biography of Pierre Boulez up to the mid-seventies. Although Peyser has edited her work to eliminate some overlapping material, and has added a short chapter on Boulez' last three decades, there is still a feeling of jerry-rigging and overall incompleteness that cannot be avoided, and one is left craving for more material on Boulez' latter life and composers from the late seventies on.

No matter. These flaws pale in comparison to the value of the work itself -- a lucid, emphatic, and highly readable account of modernism in music. Avoiding serious technical discussion that would alienate anyone but a composer, Peyser casts her subjects in a dramatic light, detailing their works in terms of impact, emotional content, and the challenges they either met or failed to overcome. Of course special attention is paid to Boulez, who emerges as a complex, thorny, enigmatic and passionate figure -- very much like his music, in fact. As Boulez is notoriously private, her objective and highly researched biography is doubly valuable, and some of the anecdotes are simply priceless.

Highly recommended to any enthusiast of modern atonal or experimental music.

This book was just plain bad. I had read Joan Johnston's books The Cowboy, and the Texan and loved them so I expected this book to be the same. It was very poorly written, and it seemed at times that a fourth grader wrote it. The two main characters were kissing each other before they had time to build chemistry together, and it was very choppy. This must have been one of Johnston's first books ever written. I usually do not talk badly of people's work because I know they work hard on writing these stories, but I felt I should warn people, Don't buy this book. SAVE YOUR MONEY!

The problem with re-issued books is that they tend be be "dated," this book is no exception. Times change, writing styles and preferences... The premise of the story was good, but the story and the writing could have been better. It was okay but nothing great, and I think a lot of it had to do with the fact that this book was written over 10 years ago. The author has obviously grown a great deal as a writer in the last 10 years, fortunately for us.

Another problem with re-issued books: they're released with new covers and we, the readers, are rarely told they're re-issues! I really resent that!

I gave it 2 stars because I loved the cover art, even if the story and the writing were a bit too simplistic.

Another great book from Joan Johnston. The male and female characters were strong and evenly matched. Even though it was a reissue of a book the author wrote ten years ago, the alterations in this edition only made for a better story.

Is there a hall of fame for terrible lines? I love cheezy books and have no problem with the politically incorrect, but I must share with you my all time favorite worst literary [?] line. It's from NIGHT STRIKER, the second book in the volume:

"Tugging on his hair, she drew his face to hers. 'Make me real, Rio. Breathe your life into my dead body."

Indeed, who can resist a book with lines like that?

Morgan Wade of MORGAN WADE'S WOMAN also has a great and often repeated line. When his twenty-five-year old wife wants to do something, he will say, "If you're a good girl."

I realize that it's a re-issue, but it could have been edited and updated. And by the way, I was married in 1981 when the book was published, and, even in the unlightened eighties, most men, even macho hombres, saved lines like that for their children.

I purchased Joan Hohl's book, Never Say Never, because of Nora Robert's recommendation on the cover. Ms. Roberts you have disappointed me! I enjoy all of Nora Robert's books and expected a story line reminiscent of hers. I was more than disappointed, I found the Ms. Hohl's book disturbing. In the first of the two stories, Morgan Wade's Woman, the relationship between the two primary characters, Samantha and Wade, is sick. Wade is abusive and controlling. Samantha is increasingly depressed to the point of anorexia. In a jealous rage over Samantha's choice of a dress for a party Morgan rapes Samantha. Yet she loves him and stays with him!!! Sick. Despite my increasing discomfort with the story and characters, I finished the first of the two stories. I even started the second story, Night Striker, which opens with the same characters. But when on the third page of the story Samantha complements Morgan on his ability to control her and berates herself as a "horrible creature" I had had enough. As I said before, sick. I enjoy romance. I even enjoy the tension and conflict between the sexes that is part of the genre, but it must always reflect respect and love. I will never read another Joan Hohl book.

I MUST disagree with the review that's posted. HELLO, DEAR READER! Did you even BOTHER reading the reader letter included in the book by Ms. Hohl? These books were originally published in the 1980s and at that time the guidelines for romance were much different that what they are now. Joan Hohl admits that! If anyone loves Joan Hohl, and I certainly do, I want to get my hands on everything she's ever written. Two books for the price of one is a bargain in my book and these books DO NOT disappoint!

it was horrible she just repeated the same stuff over and over. Definitely not a good read!

I like it.
It's kind of funny.

The three stories that make up this compilation were written in the 80's. I am telling you this because, the stories reflect what was prominent in romance at the time.

Each of these stories is made up of a tyranical man & a weak, sniveling woman. At no point, are you rooting for these men to win their women, instead your saying, "run lady as fast as you can"!! And what is it with this step brother thing anyway??

Thankfully we have evolved and most of the stories that you will read these days will have female characters with a modicum of self respect.

Courtesy of A Romance Review

The plots and characters of the stories in I Do are similar. The heroes are rich, handsome, successful but arrogant. The heroines are hardworking, successful but weak. The only excuse the heroes have in marrying the heroines is to solve the heroines' financial problem but actually they are desperate to make them their wives. Although the heroines fight hard to support themselves, they finally concede to marry the heroes under different circumstances. I Do isn't an unpleasant read though the stories are a bit outdated.

This is a hack job of work done by better professionals, and is all to be easily found elsewhere in much better presentations.

This book is very helpful for experience teachers only. Budding teachers should consider to get "100 lessons in classical dance" instead.

Forgettable characters and slow plot. Too many references to music vocabulary (it's part of the plot and you can't avoid it).

Yes, this is a mystery for musicians to enjoy. I read it and gave it to two other friends who loved it. While the music of Mozart plays no part in the story whatsoever, all of the main charactors have cleverly been named after people in Mozart's life. See if you can figure it out!

I also enjoyed the description of the live concert. Anyone who has been on a stage trying to perform live will empathize with these musicians.

Obviously, most of these writers spent too much time in front of the mirror while blabbing on about nothing, after having read these essays. They go on and write about blatant issues, most of them have too much time on their hands. They go on and blab about nothing. These essays shouldn't be given the light of day. Do not attempt to read or buy this book. Don't even give it a glimpse at the bookstore or library. It is not worth your precious time. It certainly wasted mine, only because I had to use this book for my Composition II course in college. It is that bad, and not worth a single penny. Mirror On America is nothing more than a piece of "FILL IN YOUR WORD."

This book was used in my college English Lit. class to help students be more critic of things that they read, whether it be a textbook or a magazine article. Most of the essays in the book have major flaws. The one that I remember the best was written by Dick Clark and was about Elvis Presley. Clark makes the comment that Elvis didn't write his own songs, which is untrue (as blanket statements tend to be). Anyway, Elvis wrote at least 2 hits, one with Vera Matson (Love Me Tender) and another with Otis Blackwell (Don't Be Cruel).

Though many of these essays are poorly written, this is a good textbook for developing with critical reading skills.

I wish I could give this book 0 stars. I read it because it was oz related, and now wish I hadn't used that logic. I already despised screenplay novelizations, and this was one of the worst. The writing is awful, and the author is awful at description. All I can say is, Leave this site and do someting else, RIGHT NOW.

i always loved the movie retutn to oz,and this movie novelizatin is one of the best i have ever read but...it is simply not the same land of oz. the characters are much too different than the original and i would hate to see what vindge would have done if she wrote the story herself instead of novelizing it from the movie.return to oz the movie had the oz magic but this novel based on it rather stole the innocence that l.frank baum had intended in his original books.