[Alex Ross] The Rest Is Noise Listening to the Twentieth Century [calculus Book] Kindle ePUB

Leave a Reply

Your email address will not be published. Required fields are marked *

Charting an Empire: Geography at the English Universities 1580-1620 gThis book could be subtitled Musicians who did stuff after Wagner with wildly varied results Wagner hovers like ahost over this work the Great Father whose achievements couldn t be surpassed in toto only in miniature via crazier and crazier endeavours The composers range from deep enius Debussy Sibelius to sterile fapping too many to name but whether one loves or hates their music is irrelevant as this is primarily a work of social history The author describes classical music in the 2000s as a sunken cathedral ie an interregnum and who knows what comes next This isn t something I say lightly but pretty much everyone should consider reading Alex Ross The Rest Is Noise Why Because a it makes for a riveting work of political and cultural history and b it provides a layman s entry point into that most venerable of Western art forms classical musicI first became acuainted with this book in my late teens By that time I d already immersed myself uite heavily in free jazz noise and the like But classical music especially the 20th century variety had thus far eluded my understanding Like many otherwise adventurous young listeners I felt overwhelmed by the plethora of composers performers and recordings to choose from And in this regard avant jazz was comparatively speaking pretty straightforward all you needed to do was track yourself down a copy of Interstellar Space or Free Jazz or Spiritual Unity With composed music the problem was knowing where the hell you should even startEnter The Rest Is Noise Over the course of fifteen chapters which trace the development of modern classical from Strauss and Mahler up until the present age Ross examines the seminal musical works of the 20th century as well as the social and political contexts that birthed them It s all terribly fascinating stuff But history only makes up one side of the coin and the book concludes with a list of recommended recordings a comprehensive list may be found on Ross website to uide the inexperienced listener through the disorienting terrain of aural source materialYet this book doesn t only tell you what to listen to it also teaches you how to listen Gifted with an arresting propensity for translating sounds into words Ross occasionally devotes a few pages to a single piece of music explaining how a particular snare drum pattern in a Shostakovich symphony say might function as a subtle critiue of authoritarianism or how the retrograde rhythms in a Messiaen chamber work serve to hinder the audience s perception of time And by means of these descriptions Ross deftly inculcates the art of deep listening of knowing how to successfully parse a swirling miasma of tones textures and timbresIn short The Rest Is Noise is an effective ateway drug into the wild and mystifying world of 20th century classical music And so I say Bravo bravo as I rise for a standing ovationPS If anyone would like some classical recommendations shoot me a message and I d be than happy to oblige Save for perhaps the "illiterate and the hopelessly tone deaf This book is made so much enjoyable because of "and the hopelessly tone deaf This book is made so much enjoyable because of Internet one of the few books you can say that about because of The Availability Of Samples Of availability of samples of music on the book s web site I enjoyed the first chapters best because the author allowed me to imagine what a momentous event it must have been in an age before recorded music to be in the audience when a composer s music first premiered This book took me way too long to read which is a little me way too long to read which is a little because I found it very interesting and uite inspiring I m tempted to ive it five stars but I m too much of a dilettante when it comes to cough serious music to not necessarily take everything that the author is saying at face value I do have two complaints about the books though the first is that the author clearly dislikes the one of the few people I probably do count as an actual hero of mine I don t hold it strongly against him that he finds Adorno to what s the word not necessarily wrong but some kind of extremist snob for lack of a better word Every time Adorno makes an appearance on these pages he comes across like a rapid attack dog of anti everything except for strict Schoenberg non mass appeal Which might be true I ve never really delved into his music writings too deeply but the picture of him as an enfant terrible is I like a bit of a cartoonish exaggeration The second complaint I would have of the book is that it kind of stops short of being a history of 20th century music and kind of peters out around 1976 with Reich s Music for 18 Musicians A few other composers are talked about and works that they release in the same year but all talk of the last uarter of the century is treated in a very fragmentary and stilted manner Maybe there isn t much to talk about but the style of the book changes in the last fifty pages or so in a way that makes the very end of the book read like a series of notes the author made on a handful of composers and records In this last section there are also name droppings of pop artists like. The Rest Is Noise Listening to the Twentieth Century is a voyage into the labyrinth of modern music which remains an obscure world for most people While paintings of Picasso and Jackson Pollock sell for a hundred million dollars or and lines from T S Eliot are uoted on the yearbook pages of alienated teenagers across the land twentieth century classical music still sends ripples of unease through audiences At the same time its influence can be felt everywhere Atonal chords crop up in jazz Avant arde sounds populate the soundtracks of Hollywood thrill. The Rest Is Noise Listening to the Twentieth CenturyRadiohead Sonic Youth and Bjork which pulls together the history of serious music with pop music but without doing much than dropping the names in the swirl of the kind of chaotic finish The author also uses the phrase moshpit of the mind which is almost totally inexcusable in the context it s iven in and actually shouldn t be used by anyone It s moments like that which seem to make the author trying to hard to sound hip but there isn t anything hip about using the word moshpit and really the only people who would ever say something like that are someone s dad who heard the word and thinks it s what with it people are saying I can t hold this against the author too strongly thoughAll in all I really enjoyed this book and it s treatment of pre World War 2 music especially in Germany was very informative to me I have a feeling that anyone seriously into modern music will find the book to be missing some of their favorites or think the book treats certain movements too uickly but as a Citrus: A History general overview of a chaotic century s musical trends this book seems to do it s job just fine Alex Ross is one of my must read New Yorker writers Whenever a new piece of his comes out I know I moing to be smarter than I was before To me he is the music critic The Rest Is Noise is often referred to as the book on 20th century classical music And I can only further perpetrate that sentiment Who says history is boring And who says classical music died with Wagner Well I have actually always liked history but was largely unfamiliar with 20c classical music until I read Ross excellent The Rest is Noise Alex Ross does an amazing job of writing the history of the 20c in classical music starting at the waning but overwhelming influence of Wagner on early 20c composers like Schoenberg and Stravinsky through the onset of atonal music and on through the wars and the crazy 60 s I had NO idea that classical music was so incredibly rich and interesting particularly in the previous century I don t want to spoil anything here because it is incredibly readable and you will learn on nearly every page I am still trying to Building the South Side: Urban Space and Civic Culture in Chicago, 1890-1919 get through all the recordings that he posted on his book s website which could serve as a fore taste of howreat this book is Don t walk but run to and rab a copy I liked it so much that I bought the seuel Listen to Thishappy reading You know how you can watch a foreign language movie without subtitles and still enjoy the film You may not speak German but can still tell that Hitler s pissed off You may not speak French but you can tell that Juliette Binoche has reached a point of existential doubt in a meretricious relationship This book was like that for me I may not even now be able to articulate a difference between atonality and twelve tone music is there one but I love being that S Musical luminaries descended on Paris in 1952 for the Masterpieces of the "XXth Century Festival It "Century festival It thought to be funded by Julius Fleischmann the yeast and in millionaire In reality the whole event was financed by the CIAThere is a bit of The Emperor s New Clothes to the excesses of art music included A century that started with Strauss Mahler and Sibelius ended with John Cage s 4 33 The original score was written out on conventional music paper tempo 60 in three movements David Tudor walked onstage sat down at the piano opened the piano lid and did nothing except to close the lid and open it again at the beginning of each subseuent movement The music was the sound of the surrounding space It was a piece that anyone could have written as skeptics never failed to point out but as Cage seldom failed to respond no one else did Luigi Nono s signature piece Il canto sospeso took Texts From Anti Fascist Resistance Fighters I Am Not Afraid from anti Fascist resistance fighters I am not afraid death I will be calm and at peace facing the execution suad I Class and Conformity: A Study in Values - With a Reassessment (Midway Reprint) go in the belief of a better life for you and broke them into syllables which he scattered throughout the various choral parts By making the words less accessible he believed they would matter David Tudor attacking a piano with boxingloves Dieter Schnebel who in his work Abf lle I1 invited audience members to contribute to the performance by conversing making noises of approval or disapproval coughing and moving chairs And Alvin Lucier who in Music for Solo Performer attached electrodes to his head and broadcast his brain s alpha waves to loudspeakers around the room the low freuency tones causing nearby percussion instruments to vibrateI m not kiddingAnd yet Ross opened up much of the new music to me This was sometimes accomplished just by my own perusal of works by a composer that Ross mentions Henry Cowell for instance Yes elbows Some of Cowell s pieces are all inside the piano there are composers I d never heard of who intrigued after some exploration Ross notes six significant voices in contemporary music Franghiz Ali Zadeh of Azerbaijan Chen Yi of China Unsuk Chin of South Korea Sofia Gubaidulina of Russia Kaija Saariaho of Finland Pauline Oliveros of the United States late for Ruth Crawford Seeger or Artemisia for that matter but all six are womenThe Twentieth Century You may think of Rothko paintings Think of a musical piece written by Morton Feldman mourning his friend s death The Twentieth Century When classical music takes a drug and Class Warfare: Class, Race, and College Admissions in Top-Tier Secondary Schools goes Rock That s right Take a walk on the wild sideThe Twentieth Century I ll let Steve Goodman sing us out I think this book is best read and listened to at the same time it really adds to it As such I created a Youtube playlist too along with your read which you can find here you re looking for a listen with better sound uality and don t mind finding them yourselves I can t blame you then here is the list of songs that I thought captured the bookRichard Strauss Also Sprach ZarathustraGustav Mahler Symphony No 8Claude Debussy Arabesue IClaude Debussy Prelude to the Afternoon of a FaunArnold Schoenberg Verkl rte NachtAnton Webern Six Pieces for OrchestraIgor Stravinsky Rite of SpringDarius Milhaud ScaramoucheWill Marion Cook Swing AlongCharles Ives The Unanswered uestionGeorge Gershwin Rhapsody in BlueJean Sibelius Symphony No 2 Paul Hindemith Sonate per viola e pianoforteLouis Armstrong Mack the KnifeArnold Schoenberg JakobsleiterAlban Berg Lulu SuiteDmitri Shostakovich Symphony No 5Aaron Copland Appalachian SpringJohn Cage Music of ChangesKarlheinz Stockhausen TelemusikBenjamin Britten Four Sea Interludes from Peter Grimes Olivier Messiaen uartet for the End of TimeMorton Feldman Rothko ChapelJohn Adams Common Tones in Simple Time alex ross is one of the few remaining music critics for a major american periodical there used to be many but it s a dwindling professionart in his case the new yorker he attends a concert than once if possible with the score and without in order to both understand the music and feel it and he s young so his ears aren t burdened with decades of ear wax received wisdom archaic p Alex Ross wonderful trip to the 20th Century via the world of classical music and it s composers As I mentioned I had very little knowledge of classical music especially modern I knew Glass Reich Satie but overall this is pretty much a new world music wiseSaying that this is also the history of cultural life in the 20th Century The best chapeters deal with Nazi Germany and Stalin s Russia and how they used music and how it affected the composers of that place and timeIn a distant way the book reminds me of The City of Nets in that there are many stories being told because some of them are real characters but also for me there were some dry areas Not sure because of the text or the writer s focus or maybe it s just the subject matter But overall I think this book is pretty essential in not only music history but also how music interacts with societyculture of that time Ross is really Common People: The History of An English Family good ativing the big pictur. Ys been exuberantly of the present defying the stereotype of classical music as a dying art The narrative oes from Vienna before the First World War to Paris in the twenties from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies We follow the rise of mass culture and mass politics of dramatic new technologies of hot and cold wars of experiments revolutions riots and friendships forged and broken The end result is not so much a history of twentieth century music as a history of the twentieth century through its mus.

Summary The Rest Is Noise Listening to the Twentieth Century