While paintings of Picasso and Jackson Pollock sell for a hundred million dollars or more, and lines from T. S. Eliot are quoted 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-garde sounds populate the soundtracks of Hollywood thrillers. Minimalism has had a huge effect on rock, pop, and dance music from the Velvet Underground onward.The Rest Is Noise shows why twentieth-century composers felt compelled to create a famously bewildering variety of sounds, from the purest beauty to the purest noise. It tells of a remarkable array of maverick personalities who resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with sweet sounds or battered them with dissonance, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. The narrative goes 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 music.

    But as the end of the millennium neared, cutting-edge bands began emerging from Seattle, Austin, and London, pushing New York further from the epicenter. The behemoth music industry, too, found itself in free fall, under siege from technology. Then 9/11/2001 plunged the country into a state of uncertainty and war—and a dozen New York City bands that had been honing their sound and style in relative obscurity suddenly became symbols of glamour for a young, web-savvy, forward-looking generation in need of an anthem.Meet Me in the Bathroom charts the transformation of the New York music scene in the first decade of the 2000s, the bands behind it—including The Strokes, The Yeah Yeah Yeahs, LCD Soundsystem, Interpol, and Vampire Weekend—and the cultural forces that shaped it, from the Internet to a booming real estate market that forced artists out of the Lower East Side to Williamsburg. Drawing on 200 original interviews with James Murphy, Julian Casablancas, Karen O, Ezra Koenig, and many others musicians, artists, journalists, bloggers, photographers, managers, music executives, groupies, models, movie stars, and DJs who lived through this explosive time, journalist Lizzy Goodman offers a fascinating portrait of a time and a place that gave birth to a new era in modern rock-and-roll.

    Whether you listen to Mozart or Duke Ellington, Aaron Copland's provocative suggestions for listening to music from his point of view will bring you a deeper appreciation of the most rewarding of all art forms.

    Band re-formations and reunion tours, expanded reissues of classic albums and outtake-crammed box sets, remakes and sequels, tribute albums and mash-ups . . . But what happens when we run out of past? Are we heading toward a sort of culturalecological catastrophe where the archival stream of pop history has been exhausted?Simon Reynolds, one of the finest music writers of his generation, argues that we have indeed reached a tipping point, and that although earlier eras had their own obsessions with antiquity—the Renaissance with its admiration for Roman and Greek classicism, the Gothic movement's invocations of medievalism—never has there been a society so obsessed with the cultural artifacts of its own immediate past. Retromania is the first book to examine the retro industry and ask the question: Is this retromania a death knell for any originality and distinctiveness of our own?

    In the insightful How Music Works, Byrne offers his unique perspective on music - including how music is shaped by time, how recording technologies transform the listening experience, the evolution of the industry, and much more.

    This sweeping chronicle of music, politics, drugs, fear, loathing, and faith has been recognized as an indie rock classic in its own right. Among the bands profiled: Mission of Burma, Butthole Surfers, The Minutemen, Sonic Youth, Black Flag, Big Black, Hüsker Dü, Fugazi, Minor Threat, Mudhoney, The Replacements, Beat Happening, and Dinosaur Jr.

    How can such sublime work have been produced by a man who (when we can discern his personality at all) seems so ordinary, so opaque—and occasionally so intemperate? John Eliot Gardiner grew up passing one of the only two authentic portraits of Bach every morning and evening on the stairs of his parents’ house, where it hung for safety during World War II. He has been studying and performing Bach ever since, and is now regarded as one of the composer’s greatest living interpreters. The fruits of this lifetime’s immersion are distilled in this remarkable book, grounded in the most recent Bach scholarship but moving far beyond it, and explaining in wonderful detail the ideas on which Bach drew, how he worked, how his music is constructed, how it achieves its effects—and what it can tell us about Bach the man. Gardiner’s background as a historian has encouraged him to search for ways in which scholarship and performance can cooperate and fruitfully coalesce. This has entailed piecing together the few biographical shards, scrutinizing the music, and watching for those instances when Bach’s personality seems to penetrate the fabric of his notation. Gardiner’s aim is “to give the reader a sense of inhabiting the same experiences and sensations that Bach might have had in the act of music-making. This, I try to show, can help us arrive at a more human likeness discernible in the closely related processes of composing and performing his music.” It is very rare that such an accomplished performer of music should also be a considerable writer and thinker about it. John Eliot Gardiner takes us as deeply into Bach’s works and mind as perhaps words can. The result is a unique book about one of the greatest of all creative artists.

    Instead he leads us through the story of music as it happened, idea by idea, so that each musical innovation – harmony, notation, sung theatre, the orchestra, dance music, recording, broadcasting – strikes us with its original force. He focuses on what changed when and why, picking out the discoveries that revolutionised man-made sound and bringing to life musical visionaries from the little-known Pérotin to the colossus of Wagner. Along the way, he also gives refreshingly clear descriptions of what music is and how it works: what scales are all about, why some chords sound discordant and what all post-war pop songs have in common.The story of music is the story of our urge to invent, connect, rebel – and entertain. Howard Goodall’s beautifully clear and compelling account is both a hymn to human endeavour and a groundbreaking map of our musical journey.

    Before turning his hand to writing, he ran a jazz club in Tokyo, and from The Beatles' Norwegian Wood to Franz Liszt's Years of Pilgrimage, the aesthetic and emotional power of music permeates every one of his much-loved books. Now, in Absolutely on Music, Murakami fulfills a personal dream, sitting down with his friend, acclaimed conductor Seiji Ozawa, to talk, over a period of two years, about their shared interest. Transcribed from lengthy conversations about the nature of music and writing, here they discuss everything from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from record collecting to pop-up orchestras, and much more. Ultimately this book gives readers an unprecedented glimpse into the minds of the two maestros. It is essential reading for book and music lovers everywhere.

    Drawing on his rich experience and intimate familiarity with the works of these giants, Charles Rosen presents his keen insights in clear and persuasive language. For this expanded edition, now available in paperback for the first time, Rosen has provided a new, 64-page chapter on the later years of Beethoven and the musical conventions he inherited from Haydn and Mozart. The author has also written an extensive new preface in which he responds to other writers who have commented on his ideas.

    But the famous and infamous have been thrilling, titillating, and outraging us for much longer than we might realise. Whether it was the scandalous Lord Byron, whose poetry sent female fans into an erotic frenzy; or the cheetah-owning, coffin-sleeping, one-legged French actress Sarah Bernhardt, who launched a violent feud with her former best friend; or Edmund Kean, the dazzling Shakespearean actor whose monstrous ego and terrible alcoholism saw him nearly murdered by his own audience - the list of stars whose careers burned bright before the Age of Television is extensive and thrillingly varied.Celebrities could be heroes or villains; warriors or murderers; brilliant talents, or fraudsters with a flair for fibbing; trendsetters, wilful provocateurs, or tragic victims marketed as freaks of nature. Some craved fame while others had it forced upon them. A few found fame as small children, some had to wait decades to get their break. But uniting them all is the shared origin point: since the early 1700s, celebrity has been one of the most emphatic driving forces in popular culture; it is a lurid cousin to Ancient Greek ideas of glorious and notorious reputation, and its emergence helped to shape public attitudes to ethics, national identity, religious faith, wealth, sexuality, and gender roles.In this ambitious history, that spans the Bronze Age to the coming of Hollywood's Golden Age, Greg Jenner assembles a vibrant cast of over 125 actors, singers, dancers, sportspeople, freaks, demigods, ruffians, and more, in search of celebrity's historical roots. He reveals why celebrity burst into life in the early eighteenth century, how it differs to ancient ideas of fame, the techniques through which it was acquired, how it was maintained, the effect it had on public tastes, and the psychological burden stardom could place on those in the glaring limelight. DEAD FAMOUS is a surprising, funny, and fascinating exploration of both a bygone age and how we came to inhabit our modern, fame obsessed society.

    Godfathers of alternative rock, they reinvented music in the post-punk era, creating a new sound—dark, hypnotic, and intense—that would influence U2, Morrissey, R.E.M., Radiohead, and numerous others. The story is now legendary: in 1980, on the heels of their groundbreaking debut, Unknown Pleasures, and on the eve of their first U.S. tour, the band was rent asunder by the tragic death of their enigmatic lead singer, Ian Curtis. Yet in the mere three years they were together, Joy Division produced two landmark albums and a handful of singles—including the iconic anthem "Love Will Tear Us Apart"—that continue to have a powerful resonance.Now, for the first time, their story is told by one of their own. In Unknown Pleasures, founding member and bass player Peter Hook recounts how four young men from Manchester and Salisbury, with makeshift instruments and a broken-down van, rose from the punk scene to create a haunting, atmospheric music that would define a generation. Peter talks with eye-opening candor and reflection about the suicide of Ian Curtis; the band's friendships and fallouts; the evolution of their sound and image; and the larger-than-life characters who formed a vital part of the Joy Division legend, including Factory Records founder Tony Wilson and producer Martin Hannett. Told with surprising humor and vivid detail, Unknown Pleasures is the book Joy Division fans have awaited for decades.

    Walker's work is a corrective biography, intended to dispel the many myths and legends that continue to surround Chopin. Fryderyk Chopin is an intimate look into a dramatic life; of particular focus are Chopin's childhood and youth in Poland, which are brought into line with the latest scholarly findings, and Chopin's romantic life with George Sand, with whom he lived for nine years.Comprehensive and engaging, and written in highly readable prose, the biography wears its scholarship lightly: this is a book suited as much for the professional pianist as it is for the casual music lover. Just as he did in his definitive biography of Liszt, Walker illuminates Chopin and his music with unprecedented clarity in this magisterial biography, bringing to life one of the nineteenth century's most confounding, beloved, and legendary artists.

     While most of us might take dictionaries for granted, the process of writing them is in fact as lively and dynamic as language itself. With sharp wit and irreverence, Kory Stamper cracks open the complex, obsessive world of lexicography--from the agonizing decisions about what and how to define, to the knotty questions of usage in an ever-changing language. She explains why small words are the most difficult to define (have you ever tried to define is ?), how it can take nine months to define a single word, and how our biases about language and pronunciation can have tremendous social influence. Throughout, Stamper brings to life the hallowed halls (and highly idiosyncratic cubicles) of Merriam-Webster, a world inhabited by quirky, erudite individuals who quietly shape the way we communicate. A sure delight for all lovers of words, Word by Word might also quietly improve readers grasp and use of the English language."

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