Far from being simply a tool for the preservation of music, the technology is a catalyst. This is the clear message of Capturing Sound, a wide-ranging, deeply informative, consistently entertaining history of recording's profound impact on the musical life of the past century, from Edison to the Internet.In a series of case studies, Mark Katz explores how recording technology has encouraged new ways of listening to music, led performers to change their practices, and allowed entirely new musical genres to come into existence. An accompanying CD, featuring thirteen tracks from Chopin to Public Enemy, allows readers to hear what Katz means when he discusses music as varied as King Oliver's "Dippermouth Blues," a Jascha Heifetz recording of a Brahms Hungarian Dance, and Fatboy Slim's "Praise You."

    Advertising in Rolling Stone and other major publications.

    Lucier explains in detail how each piece is made, unlocking secrets of the composers' style and technique. The book as a whole charts the progress of American experimental music from the 1950s to the present, covering such topics as indeterminacy, electronics, and minimalism, as well as radical innovations in music for the piano, string quartet, and opera. Clear, approachable and lively, Music 109 is Lucier's indispensable guide to late 20th-century composition. No previous musical knowledge is required, and all readers are welcome.

    An exhilarating exploration of the musical language, forms, and styles of the Romantic period, it captures the spirit that enlivened a generation of composers and musicians, and in doing so it conveys the very sense of Romantic music. In readings uniquely informed by his performing experience, Rosen offers consistently acute and thoroughly engaging analyses of works by Schubert, Schumann, Mendelssohn, Bellini, Liszt, and Berlioz, and he presents a new view of Chopin as a master of polyphony and large-scale form. He adeptly integrates his observations on the music with reflections on the art, literature, drama, and philosophy of the time, and thus shows us the major figures of Romantic music within their intellectual and cultural context.Rosen covers a remarkably broad range of music history and considers the importance to nineteenth-century music of other cultural developments: the art of landscape, a changed approach to the sacred, the literary fragment as a Romantic art form. He sheds new light on the musical sensibilities of each composer, studies the important genres from nocturnes and songs to symphonies and operas, explains musical principles such as the relation between a musical idea and its realization in sound and the interplay between music and text, and traces the origins of musical ideas prevalent in the Romantic period. Rich with striking descriptions and telling analogies, Rosen's overview of Romantic music is an accomplishment without parallel in the literature, a consummate performance by a master pianist and music historian.

    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.

    . . . In its general theoretical argument on the relations of culture to economy, but also in its specialized concentration, Noise has much that is of importance to critical theory today.” SubStance“For Attali, music is not simply a reflection of culture, but a harbinger of change, an anticipatory abstraction of the shape of things to come. The book’s title refers specifically to the reception of musics that sonically rival normative social orders. Noise is Attali’s metaphor for a broad, historical vanguardism, for the radical soundscapes of the western continuum that express structurally the course of social development.” EthnomusicologyJacques Attali is the author of numerous books, including Millennium: Winners and Losers in the Coming World Order and Labyrinth in Culture and Society.

    It travels from the rainforests of Amazonas to virtual Las Vegas; from David Lynch's dream house high in the Hollywood Hills to the megalopolis of Tokyo.Ocean of Sound begins in 1889 at the Paris exposition when Debussy first heard Javanese music performed. An ethereal culture developed in response to the intangibility of 20th century communications.Author of Rap Attack 3 and Exotica, David Toop has in Ocean of Sound written an exhilarating, path-breaking account of ambient sound.

    This book is a must for all music fans who wish to experience music more fully and deeply through one of the most inspired, and inspiring, music intellects of our time. Employing the creative device of "Imaginary Conversations" in the first section of his book, Bernstein illuminates the importance of the symphony in America, the greatness of Beethoven, and the art of composing. The book also includes a photo section and a third section with the transcripts from his televised Omnibus music series, including "Beethoven's Fifth Symphony," "The World of Jazz," "Introduction to Modern Music," and "What Makes Opera Grand."

    Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture. Via writings by philosophers, cultural theorists, and composers, Audio Culture explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, Ambient music, HipHop, and Techno. Instead of focusing on the putative "crossover" between "high art" and "popular culture," Audio Culture takes all of these musics as experimental practices on par with, and linked to, one another. While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical. Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Glenn Gould, Umberto Eco, Ornette Coleman, Jacques Attali, Simon Reynolds, Pauline Oliveros, Paul D. Miller, David Toop, John Zorn, Karlheinz Stockhausen, and many others. The book is divided into nine thematically-organized sections, each with its own introduction. Section headings include topics such as "Modes of Listening," "Minimalisms," and "DJ Culture." In addition, each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts. The book concludes with a glossary, a timeline, and an extensive discography.

    Berry Gordy, owner of Motown Records, is trapped in his home, unable to do anything about the internal war ravaging his most successful group, The Supremes. Diana Ross, Mary Wilson, and Florence Ballard are imploding as Ballard battles alcoholism and the aftermath of rape. But soon, even more chaos will descend on Detroit. As the year heats up, melting the snow, Gordy and his city face one of the most challenging periods of its existence.Detroit 67 is the story of Detroit in the year that changed everything. Twelve monthly chapters take you on a turbulent year long journey through the drama and chaos that ripped through the city in 1967. Over a dramatic 12-month period, the Motor City was torn apart by personal, political and inter-racial disputes. It is the story of Motown, the breakup of The Supremes and the implosion of the most successful African-American music label ever.Set against a backdrop of urban riots, escalating war in Vietnam and police corruption, the book weaves its way through a year when soul music came of age, and the underground counterculture flourished. LSD arrived in the city with hallucinogenic power and local guitar-band MC5 -self-styled "holy barbarians" of rock went to war with mainstream America. A summer of street-level rebellion turned Detroit into one of the most notorious cities on earth, known for its unique creativity, its unpredictability and self-lacerating crime rates.1967 ended in social meltdown, personal bitterness and intense legal warfare as the complex threads that held Detroit together finally unraveled. Detroit 67 is the story of the year that changed everything.

    But why they do so, why music can excite deep passions, and how we make sense of musical sound at all are questions that have, until recently, remained profoundly mysterious. Now in The Music Instinct Philip Ball provides the first comprehensive, accessible survey of what is known - and what is still unknown - about how music works its magic, and why, as much as eating and sleeping, it seems indispensable to humanity. Even with what appear to be the simplest of tunes, the brain is performing some astonishing gymnastics: finding patterns and regularities, forming interpretations and expectations that create a sense of aesthetic pleasure. Without requiring any specialist knowledge of music or science, The Music Instinct explores how the latest research in music psychology and brain science is piecing together the puzzle of how our minds understand and respond to music. Ranging from Bach fugues to Javanese gamelan, from nursery rhymes to heavy rock, Philip Ball interweaves philosophy, mathematics, history and neurology to reveal why music moves us in so many ways. The Music Instinct will not only deepen your appreciation of the music you love, but will also guide you into pastures new, opening a window on music that once seemed alien, dull or daunting. And it offers a passionate plea for the importance of music in education and in everyday life, arguing that, whether we know it or not, we can all claim to be musical experts.

    As listeners have grown increasingly eclectic and adventurous in their tastes, The Wire has emerged as the most authoritative source on modern music.In Undercurrents some of the best music writers of our time uncover the hidden wiring of the past century's most influential music. Ian Penman discusses how the microphone transformed the human voice and made phantom presences of great singers such as Billie Holiday, Robert Johnson, and Brian Wilson. Christoph Cox demonstrates how the pioneers of live electronic music, the West Coast ensemble Sonic Arts Union, redefined virtuosity for the electronic age. Philip Smith and Peter Shapiro examine Harry Smith's Smithsonian Anthology of American Folk Music, which led to a massive reappraisal of musical values that went far beyond the folk music revival.Music explored in Undercurrents ranges through avant rock, jazz, hiphop, electronica, global music, and contemporary "classical."

    Listen to This, which takes its title from a beloved 2004 essay in which Ross describes his late-blooming discovery of pop music, showcases the best of his writing from more than a decade at The New Yorker. These pieces, dedicated to classical and popular artists alike, are at once erudite and lively. In a previously unpublished essay, Ross brilliantly retells hundreds of years of music history—from Renaissance dances to Led Zeppelin—through a few iconic bass lines of celebration and lament. He vibrantly sketches canonical composers such as Schubert, Verdi, and Brahms; gives us in-depth interviews with modern pop masters such as Björk and Radiohead; and introduces us to music students at a Newark high school and indie-rock hipsters in Beijing.Whether his subject is Mozart or Bob Dylan, Ross shows how music expresses the full complexity of the human condition. Witty, passionate, and brimming with insight, Listen to This teaches us how to listen more closely.

    From the seed first planted by slave dances held in Congo Square and nurtured by early ensembles led by Buddy Belden and Joe King Oliver, jazz began its long winding odyssey across America and around the world, giving flower to a thousand different forms--swing, bebop, cool jazz, jazz-rock fusion--and a thousand great musicians. Now, in The History of Jazz, Ted Gioia tells the story of this music as it has never been told before, in a book that brilliantly portrays the legendary jazz players, the breakthrough styles, and the world in which it evolved. Here are the giants of jazz and the great moments of jazz history--Jelly Roll Morton (the world's greatest hot tune writer), Louis Armstrong (whose O-keh recordings of the mid-1920s still stand as the most significant body of work that jazz has produced), Duke Ellington at the Cotton Club, cool jazz greats such as Gerry Mulligan, Stan Getz, and Lester Young, Charlie Parker's surgical precision of attack, Miles Davis's 1955 performance at the Newport Jazz Festival, Ornette Coleman's experiments with atonality, Pat Metheny's visionary extension of jazz-rock fusion, the contemporary sounds of Wynton Marsalis, and the post-modernists of the Knitting Factory. Gioia provides the reader with lively portraits of these and many other great musicians, intertwined with vibrant commentary on the music they created. Gioia also evokes the many worlds of jazz, taking the reader to the swamp lands of the Mississippi Delta, the bawdy houses of New Orleans, the rent parties of Harlem, the speakeasies of Chicago during the Jazz Age, the after hours spots of corrupt Kansas city, the Cotton Club, the Savoy, and the other locales where the history of jazz was made. And as he traces the spread of this protean form, Gioia provides much insight into the social context in which the music was born. He shows for instance how the development of technology helped promote the growth of jazz--how ragtime blossomed hand-in-hand with the spread of parlor and player pianos, and how jazz rode the growing popularity of the record industry in the 1920s. We also discover how bebop grew out of the racial unrest of the 1940s and '50s, when black players, no longer content with being entertainers, wanted to be recognized as practitioners of a serious musical form. Jazz is a chameleon art, delighting us with the ease and rapidity with which it changes colors. Now, in Ted Gioia's The History of Jazz, we have at last a book that captures all these colors on one glorious palate. Knowledgeable, vibrant, and comprehensive, it is among the small group of books that can truly be called classics of jazz literature.

    In Revenge of the She-Punks, she probes four themes--identity, money, love, and protest--to explore what makes punk such a liberating art form for women.With her visceral style, Goldman blends interviews, history, and her personal experience as one of Britain's first female music writers in a book that reads like a vivid documentary of a genre defined by dismantling boundaries. A discussion of the Patti Smith song "Free Money," for example, opens with Goldman on a shopping spree with Smith. Tamar-Kali, whose name pays homage to a Hindu goddess, describes the influence of her Gullah ancestors on her music, while the late Poly Styrene's daughter reflects on why her Somali-Scots-Irish mother wrote the 1978 punk anthem "Identity," with the refrain "Identity is the crisis you can't see." Other strands feature artists from farther afield (including in Colombia and Indonesia) and genre-busting revolutionaries such as Grace Jones, who wasn't exclusively punk but clearly influenced the movement while absorbing its liberating audacity. From punk's Euro origins to its international reach, this is an exhilarating world tour.