Rating: 
Summary: FOR THOSE WHO LOVE AMERICAN POPULAR MUSIC
Review: ALEC WILDER himself a composer has written what is generally considered the bible of AMERICAN POPULAR MUSIC.More than thirty years have gone by since the first édition of this book and it remains fresh.Like many i am proud to say that this book was really for me what i needed to start digging into the history of many songs before the rock era.From BERLIN and KERN to the often forgotten greats like DONALDSON and McHUGH they are all there and mister WILDER knows what he is talking about;he had talked to many writers and composers who were at the time of the first édition still with us.Personal opinions are of course a matter of taste;we are for example not obliged to believe everything he says.Most of the time mister WILDER is right:EXAMPLE:he believes that RICHARD RODGERS was perhaps the most gifted composer of his time.Few can really disagree with that.In fact,there is only one major problem with this book,if you don't read music it won't be too enjoyable for you,because there are many examples with sheet music to proves the points he wants to make.Everyone who has an interest in the history of AMERICAN popular music should buy that book.
Rating:
Summary: FOR THOSE WHO LOVE AMERICAN POPULAR MUSIC
Review: ALEC WILDER himself a composer has written what is generally considered the bible of AMERICAN POPULAR MUSIC.More than thirty years have gone by since the first édition of this book and it remains fresh.Like many i am proud to say that this book was really for me what i needed to start digging into the history of many songs before the rock era.From BERLIN and KERN to the often forgotten greats like DONALDSON and McHUGH they are all there and mister WILDER knows what he is talking about;he had talked to many writers and composers who were at the time of the first édition still with us.Personal opinions are of course a matter of taste;we are for example not obliged to believe everything he says.Most of the time mister WILDER is right:EXAMPLE:he believes that RICHARD RODGERS was perhaps the most gifted composer of his time.Few can really disagree with that.In fact,there is only one major problem with this book,if you don't read music it won't be too enjoyable for you,because there are many examples with sheet music to proves the points he wants to make.Everyone who has an interest in the history of AMERICAN popular music should buy that book.
Rating:
Summary: If you love great songs,then you must own this book!
Review: Alec Wilder's brilliant book contains insightful commentary and musical examples of the songs of Kern,Gershwin,Rogers,Berlin,Porter,Arlen,and just about every other significant American songwriter and lyricist...except for Alec Wilder himself. This book is an excellent resource for all teachers,students and music lovers alike.
Rating:
Summary: I like Mr. Wilder's analysis
Review: I agree with Mr. Wilder about Gershwin. While Gershwin undoubtedly wrote many great songs I find that he can also be very overrated. "Porgy and Bess" and "An American in Paris" have several pieces which I think are grandiose and pretentious. I cannot stand listening to those two musicals. The music seems to not quite be "pop" and not quite "operatic". The music in those two works also sound as if Gershwin is straining to sound important but somehow sounds artificial and shallow. I much prefer the gentler and timeless music written by Richard Rodgers and Jerome Kern. I also like Arlen whose music is always hip.
Rating:
Summary: I like Mr. Wilder's analysis
Review: I have had this book since it was originally published in 1972. I keep it because it is an insightful commentary on some of America's greatest composers, Rodgers, Kern, Gershwin, etc. I would have to agree with Mr. Wilder that Richard Rodgers' music represents "the highest degree of consistent excellence, inventiveness, and sophistication." And since Mr. Wilder is himself a fine composer, he should know. He supports his opinions with intelligent, knowledgeable analysis.People seem to have a knee jerk reaction whenever the name "Gershwin" is mentioned, but I agree with Mr. Wilder's assessment that RICHARD RODGERS' music was the most CONSISTENTLY masterful in the history of musical theater. Rodgers' range was incredible from the playful jazziness of "Manhattan" and "Lady is a Tramp" to the sophistication of "If I Loved You" and the lesser known, "Do I Hear A Waltz". Rodgers was an astonishing talent. Rodgers even wrote the lyrics and music to the lovely musical "No Strings". I get so tired of only hearing about Gershwin's greatness. Rodgers was every bit as good, if not better than Gershwin. I think Rodgers gets penalized at times because not only was his music great, but it was very accessible and popular with everyday audiences. A part of Gershwin's music strikes me as somewhat pretentions as are some of the tunes in "Porgy and Bess" and "An American In Paris". Rodgers seems to touch a familiar cord with audiences young and old, from generation to generation. As I video store owner, I know that people were willing to pay $50 or more for an out of print edition of the video "Sound of Music". None of my other videos could fetch such a good price.
Rating:
Summary: Courageous and intelligent analysis
Review: I have had this book since it was originally published in 1972. I keep it because it is an insightful commentary on some of America's greatest composers, Rodgers, Kern, Gershwin, etc. I would have to agree with Mr. Wilder that Richard Rodgers' music represents "the highest degree of consistent excellence, inventiveness, and sophistication." And since Mr. Wilder is himself a fine composer, he should know. He supports his opinions with intelligent, knowledgeable analysis. People seem to have a knee jerk reaction whenever the name "Gershwin" is mentioned, but I agree with Mr. Wilder's assessment that RICHARD RODGERS' music was the most CONSISTENTLY masterful in the history of musical theater. Rodgers' range was incredible from the playful jazziness of "Manhattan" and "Lady is a Tramp" to the sophistication of "If I Loved You" and the lesser known, "Do I Hear A Waltz". Rodgers was an astonishing talent. Rodgers even wrote the lyrics and music to the lovely musical "No Strings". I get so tired of only hearing about Gershwin's greatness. Rodgers was every bit as good, if not better than Gershwin. I think Rodgers gets penalized at times because not only was his music great, but it was very accessible and popular with everyday audiences. A part of Gershwin's music strikes me as somewhat pretentions as are some of the tunes in "Porgy and Bess" and "An American In Paris". Rodgers seems to touch a familiar cord with audiences young and old, from generation to generation. As I video store owner, I know that people were willing to pay $50 or more for an out of print edition of the video "Sound of Music". None of my other videos could fetch such a good price.
Rating: 
Summary: proves that the worthiest critic is the practitioner
Review: Lord knows there is a place for criticism in music. The problem is that too often the most ill-qualified, wrongest people practice it, and are rewarded with the bully pulpit of widely read publication and nice paychecks to boot. Alec Wilder is a "right" person, if ever there was one. He's no outsider or "wannabe". His insights on the procedures and content on the songwriting of his brethren come from his own long, hard struggle with the form. And he did it VERY well, giving his observations yet more credence. He has the courage of his convictions, putting a hard critical ear to the work of his peers, betters, "worsers"---whoever, while owning up to his prejudices and acknowledging that it is, after all, only his opinion. I'm glad he covered the people he did, and only disappointed and perplexed that he passed on Strayhorn (I suppose because his work was outside the theater/movie/pop song orbit of the others). I would have appreciated his insights. Such skill, courage, and honesty in criticism is at the very least a breath of fresh air. Neither music lovers, nor especially fellow composers should take Wilder's words as the gospel, though, as I feel he'd be the first to implore. It's hard enough to compose and ignore the criticism in one's one head, let alone hear the muse over the strains of a duet. Another thing to consider in placing importance on even as eloquent and well-formed criticisms as these is Wilder's harrowing self-doubt about his OWN composing, and general worth (which comes through loud and clear in his autobiographical "Letters I Never Sent") And listeners should follow their own ears and hearts. Take Wilder's survey for what it is, very high quality opinion.
As for MY opinion, the only thing that leaves a bad taste in this and similar books (Copland's survey 20th century composers, for a much more egregious example) is a certain elitism cutting through that, at its worst, is downright snotty. According to the preface (by Gene Lees, a talented man and friend of good music, but himself no stranger to the banshee wail of the conservatively cranky)Wilder stated that "after 1955, the amateurs took over". I can understand the horror Wilder and other gifted musicians, weaned on European and even jazz traditions, felt when rock's arrival landed a knockout blow to their careers and values. But it wasn't and isn't all garbage---the best of it is as valid as anything. Perhaps its greatest virtue is that it doesn't take itself that seriously as "art". If nothing else, it loosened us all up a bit. Wilder's cynicism, however justified in his mind, peeks through these pages a bit, although not so much as to be harmful. It's just frustrating and a bit of a bore. I so want to believe that so rare a musical wit felt affection, not disdain toward the the race he wrote about and for. So with these things in mind, enjoy and learn as I have from a very valuable piece of writing.
Rating:
Summary: Great material, presented by one of the top songwriters!
Review: This book is an invaluable source of matrial for both the casual reader and the dedicated student of popular music. Alec Wilder is a very knowledgeable authority on this subject, having contributed a number of fine songs of his own to the music of Tin Pan Alley!
Rating: 
Summary: Way Too Opiniated
Review: Wilder really tore apart some of my favorite songs and he loves songs that I think were mediocre. He is very vicious towards Gershwin and he LOVES Harold Arlen. A lot of his explanations for why he likes or doesnt like a song were short and weak. However, it is a lot of fun to sift through the book and agree or, in my case, disagree with this guy.
Rating:
Summary: A fine reference, but in some ways, Forte is better
Review: Wilder's book is invaluable to a serious student or fan of our greatest pop music. If you're really into the subject, you'll need both Wilder and Forte.
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