From Oxford psychiatrist Storr (Churchill's Black Dog, 1989, etc.): a lucid and absorbing study of the relationship between music and the human experience. Storr's fluidly logical exploration begins with an assessment of various theories on the origins of music. After considering theories connecting music to natural phenomena like bird-song or linguistic features, Storr concludes that, although the origins of music will never be established conclusively, ``it seems probable that music developed from the prosodic exchanges between mother and infant which foster the bond between them.'' Using terms such as ``arousal,'' ``expectation.'' and ``fulfillment,'' later chapters explore physiological and psychological responses to music, bravely probing the issue of musical meaning as both an intellectual (objective) and emotional (subjective) stimulant. Occasionally, Storr's own musical observations are a bit simplistic: ``Bach's extraordinary skill maintains our interest; but it is an interest based on elaboration, symmetry, and rhythmic pulse, rather than upon progress.'' But this does not detract from the author's larger vision. The bibliography reveals an incredible breadth of erudition: Storr quotes widely and with equal comfort from scientific, philosophical, and literary sources, ancient to modern. Like Oliver Sacks, he leads his reader effortlessly through a capacious synthesis of diverse material without resorting to unnecessary technical jargon. Readers with their own inchoate reflections on the nature of music will be grateful to have Storr investigating and clarifying their experiences in such elegant, taut prose.
Pub Date: Nov. 30, 1992
ISBN: 0-02-931621-9
Page Count: 250
Publisher: Free Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 1992
BOOK REVIEW
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.
Pub Date: Feb. 23, 1955
ISBN: 0670717797
Page Count: -
Publisher: Viking
Review Posted Online: Oct. 25, 2011
Kirkus Reviews Issue: Feb. 1, 1955
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