Founded in 1852 amid dense forests and the mosquito-infested Great Black Swamp; Wauseon became the county seat of one of the last areas in Ohio to be settled. Named in honor of a local Potawatomi chief; Wauseon is the birthplace of Ohio�s last surviving Civil War veteran and early race car legend Barney Oldfield. Wauseon was one of the first communities in the United States to implement rural mail delivery and establish a public phone service. Among its manufacturing operations is a company that made flashlights used on the Apollo moon landings. Wauseon is truly a city people take to heart; reflecting strong Midwestern values.
#1000591 in eBooks 2011-06-09 2011-06-09File Name: B00Q2Z6YGG
Review
1 of 1 people found the following review helpful. Five StarsBy dale campbellwell written and comprehensive.8 of 10 people found the following review helpful. On REussian Music by TaruskinBy Renato BasergaYou may not agree with everything Richard Taruskin says; but you can rest assured he will never bore you. Taruskin is one of those rare scholars who can give you a lot of information in a readable; witty way. On Russian music; he is certainly the authority in the English language; both from the point of view of music and of musicology. Taruskin exacts from artists high moral standards that artists simply do not have; but even in this position he is informative and well documented. A lovely book.11 of 11 people found the following review helpful. Hugely stimulating; often provocativeBy Dr. Richard M. PriceThis is a book that no lover of Russian music should miss. Just in case you dont know; Richard Taruskin is one of the brightest and most trenchant musicologists around today; with a formidable range of expertise; as his six-volume `Oxford History of Western Music has demonstrated; particularly since his idea of musical history is not just a story about notes but places them in a cultural and historical setting. The present volume is made up of occasional articles and reviews; but they form a satisfying sequence; leading us from Glinka right down to the present day. Particularly impressive is a series of pieces on Tchaikovsky; where Taruskin criticizes the conventional picture that treats nineteenth-century German music as normative and everything else as `nationalist; not to say provincial. He shows how Tchaikovsky is just as indebted to Russian sources as Mussorgsky; but must be treated as primarily a composer in the European mainstream. He is effective in demolishing the view that Tchaikovsky was a guilt-ridden homosexual; whose music is self-indulgent and at times hysterical. In what is perhaps the best chapter in the book he argues that we are wrong to enjoy Evgeny Onegin condescendingly; as it were great fun but not worthy of Puskhin; since the orchestral accompaniment makes all sorts of subtle points and connections; akin to the authorial voice in the Pushkin poem. This volume has nothing; strangely; on Stravinsky and Scriabin and their generation; but a whole series of pieces on Prokofiev and Shostakovich. Taruskin adds powerful support to Laurel Fays demolition of the pseudo-Shostakovich Testimony. The volume concludes (almost) with a wide-ranging piece on post-Shostakovich Russian music; though omitting Schnittke and Gubaidulina. It is a real strength of the volume that it does not; however; reduce the reader to dumb admiration; but often provokes disagreement. I would particularly protest against his view that any interpretation of music that satisfies our private; selfish interests is justified by securing these benefits (p. 356) - as if the value of music did not lie precisely in its ability to take us beyond the mushy terrain of solipsistic fantasy. Taruskin is deeply concerned by what he perceives as the marginal status of classical music in modern culture; as if it had nothing to do with serious concerns; but here he is contributing to its trivialization.
