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Better Together
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Editorial Reviews
From Publishers Weekly
America's greatest tunes were composed by George Gershwin, Jerome Kern and Richard Rodgers, among others, but, as this popular/critical survey demonstrates, those who wrote the words for these songs were equally important figures. Furia, a Univeristy of Minnesota professor of English, perceptively assesses the styles and careers of such masters of light verse as Ira Gershwin, Oscar Hammerstein, Lorenz Hart, Howard Dietz, Yip Harburg and Al Dubin, and of two--Irving Berlin and Cole Porter--who were proficient in both words and music. He concludes with an anomaly, the country boy of Savannah, Johnny Mercer, whose blend of earthiness and elegant urbanity made him one of the few lyricists who could skillfully set to words the jazz melodies of Harold Arlen, Hoagy Carmichael and Duke Ellington.
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Readers who can hum "Puttin' on the Ritz" or "Anything Goes" and who know the musicals Show Boat or Oklahoma will appreciate Furia's study of the lyrics of the "great standards." These lyrics, he argues, contributed almost as much as the melodies to a "golden age" of popular song, spanning the 1920s to the 1950s. Irving Berlin, Ira Gershwin, and Cole Porter are among those whose work is examined, but because Furia tries to survey so many writers, we get only hasty glances at each, and the prose tends to bog down in laborious analyses of rhyme scheme, alliteration, and assonance, making this read like a Ph.D. dissertation.
- Paul Baker, CUNA, Inc., Madison, Wis.
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
America's greatest tunes were composed by George Gershwin, Jerome Kern and Richard Rodgers, among others, but, as this popular/critical survey demonstrates, those who wrote the words for these songs were equally important figures. Furia, a Univeristy of Minnesota professor of English, perceptively assesses the styles and careers of such masters of light verse as Ira Gershwin, Oscar Hammerstein, Lorenz Hart, Howard Dietz, Yip Harburg and Al Dubin, and of two--Irving Berlin and Cole Porter--who were proficient in both words and music. He concludes with an anomaly, the country boy of Savannah, Johnny Mercer, whose blend of earthiness and elegant urbanity made him one of the few lyricists who could skillfully set to words the jazz melodies of Harold Arlen, Hoagy Carmichael and Duke Ellington.
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Readers who can hum "Puttin' on the Ritz" or "Anything Goes" and who know the musicals Show Boat or Oklahoma will appreciate Furia's study of the lyrics of the "great standards." These lyrics, he argues, contributed almost as much as the melodies to a "golden age" of popular song, spanning the 1920s to the 1950s. Irving Berlin, Ira Gershwin, and Cole Porter are among those whose work is examined, but because Furia tries to survey so many writers, we get only hasty glances at each, and the prose tends to bog down in laborious analyses of rhyme scheme, alliteration, and assonance, making this read like a Ph.D. dissertation.
- Paul Baker, CUNA, Inc., Madison, Wis.
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Product Details
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