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What our customer's say!

"History of Western Music", The book was in great condition. It is an easy read, especially considering that it is music history. It's also put together very logically, which is what helps it be so easily read.

"Pleased with product", I was pleased with this seller and the product. The product was as described and it came in a fairly short time. I would buy from this seller again.

"Good", I got the book in good time. I ended up having to mail it back just because I dropped the class, but there was nothing wrong with the book.

"Needed for class", Most recent edition. Does not go along with NAWM 3rd edition. It must be referring to a more recent edition of that book as well.

"Christmas Present", This was a Christmas present for my wife. She sings and arranges music. I can only tell you that she is ecstatic about the book, and is excited at the prospect of going on line for the streaming music that comes with.

Read this reviews before You buy...

"Always perfect music history~", This time is my 3rd time to purchase new edition of A History of Western Music. I studied from 5th edition. This new edition is more easy to study. Fully recommended~

"Lots of facts, no analysis", When I found what I believe to be the first edition (from 1960) in a thrift store for $1, I had no idea that this was considered the pre-eminent music history textbook. Consequently, I approached it as "pleasure" rather than assigned classroom reading. And I am in full agreement with the assessment that the writing is dry in the extreme - and I admit that I skimmed certain sections rather than reading them all the way through. Compared to the writing of critics such as Donald Tovey, Norman Lebrecht, Alex Ross, Jonathan Saville, or August Kleinzahler, Grout is not "entertaining;" as I explain below, he does not even meet the definition of "critic."

My own systematic introduction to Western art music began with the Baroque period, with a brief mention that there was something called "Gregorian Chant" which preceded it. Grout's treatment is the polar opposite of this approach; he begins with Greek antiquity and proceeds forward through the medieval and renaissance periods in such detail that Bach is not encountered until the book's halfway point. Yet despite this inclusiveness, there is no mention of Hildegard von Bingen, who I had assumed to be a major early Renaissance composer. As an introduction to the field, this may not be the most useful approach; the neophyte may wish for greater concentration on the composers he is more likely to hear. Sensibly, Grout limits his presentation of the 20th century to the giants (Stravinsky, Schoenberg) whose significance was apparent at the halfway point, with brief mentions of others; he may be forgiven his extensive section on Hindemith, who may have appeared more important in the 1950s than he has since become. Nevertheless, I give the book five stars for inclusiveness.

I must temper this position by awarding three stars for the nearly complete absence of any context within which the music took form. Grout not only neglects any discussion of the historical events surrounding the composers; there is no mention of events within the composers' own lives that may have affected their creativity. It is as if the music took form within a vacuum, with no relation to anything except the music that came before it, whether in continued development or opposition. The timeline in the appendix is woefully inadequate in this regard, a mere chronology with no relation other than temporal to the events noted.

It is a modern convention that art is more properly understood through historiographical analysis; that some relationship exists between artistic creativity and the society within which it is created. It goes without saying that an artist's work also springs from his own life experiences. Shostakovich cannot be understood without the awareness that his music was an expression of his opposition to Soviet Communism; it is of interest to note Mozart's complete subservience to his own political environment. If it is unfair to criticize this edition of Grout for not exploring pathways which to us seem obvious, then by the same token, the book is itself subject to historiographic deconstruction. It is valuable not so much as a resource for information on Western art music composers, but as a snapshot of the academic attitude toward those composers current in the 1950s. As I have not read any later editions, I can't comment on whether this deficit has been corrected - but this would have required a complete reorientation of the author's philosophy.

Most inexcusably, Grout concludes with a brief observation of the rift between the public and classical music composers (especially the modern ones), with no thoughts as to the implications this may have on the future of this art form. Again, the music is viewed as existing in a vacuum, unrelated to the world at large and the lives of the composers who created it. This bespeaks the astonishing opinion that Western art music has no importance for anyone outside the small circle of specialists directly concerned with it. It was, and is this very attitude that to a large extent is responsible for the peripheral place this great tradition has in society today, and the risk of its continued marginalization in the future.

"history", I had to buy this new volume for my last history class. I'm a tad bit pist that I had to spend so much but it is indeed alot better and more indept.

"A bit dry...", The entire book has a plethera of amazing and interesting information, yet, the information is presented in a little bit of a dry way... but hey... it's a textbook, what can you expect?

"History is history", History is history. We cannot change it, no matter how we try to rewrite it to make it sound better. This book is a fair account overall, of the path that western music has taken. If you are looking for a novel, try finding something about Mozart or Beethoven, more specifically. This book is not meant to entertain, although I find it very interesting. If it were to go into minute detail, it would be a three-volume set. Thanks Norton. I give this book five stars.