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How Music Works
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How Music Works [Format Kindle avec audio/vidéo]

David Byrne
4.7 étoiles sur 5  Voir tous les commentaires (3 commentaires client)

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Descriptions du produit

Présentation de l'éditeur

How Music Works is David Byrne’s remarkable and buoyant celebration of a subject he has spent a lifetime thinking about. In it he explores how profoundly music is shaped by its time and place, and he explains how the advent of recording technology in the twentieth century forever changed our relationship to playing, performing, and listening to music.

Acting as historian and anthropologist, raconteur and social scientist, he searches for patterns—and shows how those patterns have affected his own work over the years with Talking Heads and his many collaborators, from Brian Eno to Caetano Veloso. Byrne sees music as part of a larger, almost Darwinian pattern of adaptations and responses to its cultural and physical context. His range is panoptic, taking us from Wagnerian opera houses to African villages, from his earliest high school reel-to-reel recordings to his latest work in a home music studio (and all the big studios in between).

Touching on the joy, the physics, and even the business of making music, How Music Works is a brainy, irresistible adventure and an impassioned argument about music’s liberating, life-affirming power. The enhanced edition contains dozens of short audio clips that accompany the text, as well as improved navigation between the text and images.

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Commentaires client les plus utiles
5.0 étoiles sur 5 La bible 28 avril 2014
Par Azucena
Format:Relié|Achat vérifié
Pour enfin tout comprendre au business de la musique. Si pour vous, le rôle du distributeur, de l'éditeur sont obscurs, si les parts du compositeur, de l'arrangeur, de l'interprète, les contrats de licence et autres deals à 360° c'est du chinois, ce livre a toutes les réponses, clairement exposées. Indispensable à tous les artistes qui veulent comprendre le cadre souvent flou et toujours très complexe dans lequel ils sont appelés à évoluer. Merci David Byrne.
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4.0 étoiles sur 5 How David Byrne works... 4 mai 2013
Format:Format Kindle|Achat vérifié
My second David Byrne book after the Bycicles Diaries and great reading. Do not be afraid of the title as this more based on anecdotes and feeling of a musician's life than theory.
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0 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 popopo 5 février 2014
Par Navarro
Format:Relié|Achat vérifié
trop de la bombe, grâce a ce livre je n'ai plus de problème de dos et je suis riche. Amazone a été parfait sur ce coup, et ça n'a couté qu'un hectare de foret, du pain béni pour ce prix
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Amazon.com: 4.3 étoiles sur 5  136 commentaires
159 internautes sur 171 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Musical Musings: A Hodge-Podge 7 septembre 2012
Par Dr. Debra Jan Bibel - Publié sur Amazon.com
Format:Relié|Achat vérifié
Byrne begins his wide-ranging historical, technological, psychological and sociological examination of music with a novel insight: architecture of musical venues shape composition and instrumental arrangements. Regarding huge gothic cathedrals, intimate nightclubs, and jungle camp sites, room reverberation, volume of space, and audience vocal ambience dictate modal versus scale works, instrument development, and performance dynamics. The great revolutionary divide was recording technology, and musicians discovered that what works live does not necesarily achieve the same result on vinyl, tape, CD, or .mp3, and vice versa. Expectations often lead to disappointment and the performance and performer suffers. With such an interesting introduction, the book offers much promise. It almost fulfills expectations with both personal and general tidbits and theses that reward the reader, though for myself his personal examples are somewhat weaker.

The second chapter is an musical autobiographical section describing the evolution of his music and stage attire over the succeeding eras of rock. In his world travels, his encounter with Japanese and Balinese traditional music and theatre art had a profound influence on the development of his stage craft. One of his suits clearly had classic Japanese origins.

Chapters 3 and 4 return to musicology with an expansion of the role of technology, recording and playback. The historical account is amusing when considering the delusions of reality instilled by each new device on the unconditioned and uneducated ear. The ideal of recordings was and remains an actual live performance, particularly among classical music fans; but the alternative worthy philosophy is the electronic creation of uniquely shaped sound itself, as with tape editing, synthesizers and digital programming, and electric instrument design. Oddly, computerized editing of recordings to achieve perfection in tempo, pitch, and so forth proved imperfect to the ear and lacking in warmth and positive emotional value. Byrne does not elaborate in later chapters, but recordings (and its transmission over radio) changed society by uniting peoples, speeding musical development, and (for instance, in Brazil) of overturning governmental policy of approved musical forms. I do not share Bryne's lament about the calculus-like wave sectioning of digital CDs over analogue LPs because of psychoacoutics, an aging ear, and the fact that speakers are yet analogue in their cone movement and shaping. Of interest is Byrne's belief that we are now so awash in music, indeed private music on personal .mp3 players and smart phones, that live performances are becoming more important, as that increasingly rare commodity, silence. I enjoyed Bryne's relating, in brief James Burke fashion, the connection of the Chinese mouth organ, the shen, to digital computers.

Chapter 5 is again more personal with Bryne's experiences in a recording studio and the art, engineering, and strategy of creating an album. Entire books have been written and documentary films have focused on this subject, but the use of computers on mixing boards is a new phenomenon.

The following chapter discusses his collaborations. He had already mentioned his albums with Brian Eno, but now Byrne moves beyond Talking Heads by developing music with Caetano Veloso and choreographer Twyla Tharp and creating with Norman Cook [Fatboy Slim] a theatrical piece on the Philippine's Imelda Marcos.

Chapter 7 is all about the business and financial side of the music industry. There are pie charts. He explains the very recent changes in industry, when musicians can edit and mix their music on their laptop computers and distribute it via digital download and cloud companies and promote themselves with YouTube videos and have kickstarter campaigns to get public underwriters. The giant brick & mortar record shops (Tower, Borders, Virgin Megastore) are no more and the power of music labels are severely diminished. This chapter should be read by anyone considering how to create and promote their own music; he describes various business models.

The next chapter furthers practical advice on the choice of venues, song material, the courage to be different, responsibility to band members and fellow musicians, and so on. It is a peculiar chapter for such a book.

Chapter 9 pulls back to a shotgun approach critical of musical elitism and lauding the amateur musician. In the days before mass-marketed recordings, there was a piano in the parlor. Even in the 1960s, every kid (yours truly included) had an acoustic guitar, singing folk songs. Until very recently, courses in music appreciation were dedicated only to classical music and rarely jazz. Governmental and corporate funding erected costly symphony halls and museums. Byrne seems to ignore the reality that these measures were to preserve and encourage endangered music styles and that the masses are doing fine in supporting pop and avant-garde culture, filling stadiums and arenas and small local music joints. Symphony halls are not restricted to dead European composers; I have heard contemporary American, Japanese, Argentinian, Iranian, and other world composers. Still, the point is taken when middle and high schools do not offer music and art classes and other nations support amateur musicians, music clubs, and youth bands and orchestras. Music and art should not be passive art forms.

The final chapter covers music as a human, biological, and indeed metaphysical essence. This historical and anthropological section sketches prehistorical, ancient, and early modern musical instruments, musical sciences, and philosophies. Everything vibrates, from atoms to planets. He does not include it, but string theory of matter involves vibrating strands of energy. Bryne briefly mentions the differing scales of music across the planet, the relationship of language and speech to music, neurological imprinting of music and its performance, music in religious rituals [Taliban and similar zealots aside], the natural ambient music appreciated by John Cage and the composed ambient music of Satie, Eno, and Feldman, and various other aspects of music. Bryne can only touch upon these large subjects as he closes the book. While it may lead to further reading, I find the section too scattered to be truly effective.

This grand book, with its padded cover, offers a little of everything to everyone. Fans of Bryne, as leader of the Talking Heads or as musicologist, will surely find much to appreciate here. I do think, however, that he could have prepared two smaller books, one dedicated to the practice of musicmaking today and one to music's historical and anthropological aspects.
38 internautes sur 38 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Terrific book for music lovers and content creators alike 27 septembre 2012
Par David M. Scott - Publié sur Amazon.com
Format:Relié|Achat vérifié
This is David Byrne week for me. On Sunday, I caught the sensational David Byrne and St. Vincent show at the Orpheum Theater in Boston. The last time I saw Byrne live was when I caught the Talking Heads on August 19, 1983 at the old Forrest Hills Tennis Stadium in New York City. So, clearly I was already a Byrne fan.

How Music Works

The other part of David Byrne week is his fabulous new book How Music Works. The book is Byrne's take on the industry he's succeeded in. He offers keen observations about the music industry, the art of making music, telling stories in the book using a combination of history, anthropology, and music theory. I love this book!

In particular, Byrne has a fascinating take on the development of music, which is quite different from what other music historians say. In a chapter titled "Creation in Reverse" he argues that music evolves to fill the space where it is performed.

For example, the Talking Heads evolved in the 1970s at New York punk club CBGB requiring volume to overcome the din. The sparse music that came out of the CBGB scene such as the Ramones and Television worked perfectly for that room.

Music that evolved in gothic cathedrals (lots of reverberation) has long notes with no key changes. Carnegie Hall and other similar rooms require texture. With discos, people made music to exploit the fantastic sound systems and people's need to dance. Rock music played in hockey arenas (the worst acoustics on the planet) must be straightforward with medium tempos. You get the idea. The music that is successful works perfectly for each venue.

With personal sound systems (starting with the Walkman in the 1970s then evolving into MP3 players such as the iPod), all of a sudden you can hear every single detail. This allowed pop music to evolve from its early radio form.

Byrne has a 2010 TED Talk on this idea: "How architecture helped music evolve."

How Content Works

As I devoured How Music Works I was constantly thinking how Byrne's ideas apply to other forms of content. I think the ideas are valid when thinking about the written word, video content, and the Web. I used the ideas in How Music Works to formulate ideas about content in general.

David Byrne's How Music Works is amazing. Read it. And as you do if you're not in the music business, feel free to substitute "content" for "music" and see where the ideas lead you.
15 internautes sur 16 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 For music geeks by a music geek 27 septembre 2012
Par stutron - Publié sur Amazon.com
Let me begin by saying I wouldn't consider myself a David Byrne/Talking Heads fan. I deeply admire and respect Mr. Byrne as an artist and he would be the kind of person I could listen to ramble on hours about music. Well, this is the closest I'll ever get to that conversation. Be forewarned, those looking for a tell-all about his time with Talking Heads or as a solo musician will be generally disappointed, I found his personal anecdotes generally the weakest part of the book. This did not make me want to rediscover his works the way Keith Richards' Life had me digging through every Rolling Stones record ever made.

What this book offers are fascinating musings, anecdotes and his personal thoughts (infused with his dry wit) on music that made it difficult to put the book down for any length of time. The writer of Psycho Killer discusses psychoacoustics (the study of how the brain perceives sounds), how Bing Crosby's love for golf advanced recording technology, and how the record companies' greed forced MTV to stop broadcasting videos and get into the reality TV business.

I think there are flaws in this book but from one of the most cerebral musicians working today, it is still a great read and one I'm telling every musician and music geek I know to read this book!
9 internautes sur 10 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Best gift ever 27 septembre 2012
Par Bridgitte Bardot - Publié sur Amazon.com
Format:Relié|Achat vérifié
I bought 3 copies. One for myself and 2 others for my friends who have everything(difficult to buy a gift for)If you like his music, you will love this book. If you don't like his music and you are a lover of books, you will appreciate the book's unique style.Easy read. Coolest cover ever.
17 internautes sur 22 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Wonderful, unconventional arguments wedged apart by excessive biography 17 février 2013
Par C.E. Alexander - Publié sur Amazon.com
Format:Format Kindle|Achat vérifié
How Music Works is a handful of wonderful, unconventional arguments wedged apart by excessively detailed biography. The first chapter is titled "Creation In Reverse," in which Byrne takes the standard view of music creation--that inspiration is a largely internal process with little regard for "preexisting formats"--and turns it on its head. "In a sense we work backward," he writes, "creating work that fits the venue available to us." He cites African spiritual music, which is percussive, intricate and unamplified, and performed to small crowds outdoors, where the rhythms "don't get sonically mashed together as they would in, say, a school gymnasium." In contrast to this is the heavily-reverberating music of the Middle Ages, written for stone cathedrals, "modal in structure--often using very long notes." Then the larger orchestras arrived, "in order to be heard above the dancing, clomping feet and gossiping." Then twentieth century compositions quieted in response to new social norms regarding talking, cheering and applause in symphony halls. In time the microphone empowered the crooners, and outdoor sports arenas inevitably led to arena rock. Byrne even makes a pretty solid case that modern hip-hop is the cathedral music for the automobile.

Byrne returns late in the chapter titled "Technology Shapes Music: Digital" and throughout the next, called "In the Recording Studio." The exposition here is lively and counter-intuitive, and his thoughts about our changing identities are nerve-jarring. Byrne confesses that he feels music to be so "intrusive" in public places that "I often don't notice if a Talking Heads song is playing." This is a staggering point, and an unexpected response to the inquiry: "Are mobile music devices and the musically cluttered world we inhabit starting to substitute for our interior voices?" Is the inner monologue, the self, being crowded out by the products we consume? The question needs asking, and we should ask the same of television, film, and city life in general. But perhaps this is inevitable, just another feature in the landscape. "It is the music and the lyrics that trigger the emotions in us, rather than the other way around. We don't make music--it makes us." Beautifully put.

So where does Byrne go wrong? Between his chapters on music creation and on the digital age falls an overlong Wikipedia page on his band Talking Heads, then a review of every major recording development from 1878 to 1976. (He has already cautioned us in the preface that "The chapters are not chronological or sequential.") Both of these stories have been told before, a fact that Byrne seems to intuit and which makes him uncomfortable, even apologetic. First, Talking Heads fans will know most of the biography already, and the rest of us have steered clear for a reason. But Chapter Three ("Technology Shapes Music: Analog") is even worse, downright tiresome in this regard, and Byrne's habit of softening his theses with buffers like "some say," "at least," and "as had been said by others" gains unwanted critical mass here. The only innuendo he does not mince is the one he should, that the world of rock music initially shunned house music because of "race and homophobia." No, rock shuns house for the same reason that house shuns rock: there's no accounting for taste. The Van Halen set hears synthetic mush and calls it a day.

One common criticism of the book may seem trivial, but it underscores a larger point: the abundance of typographical errors. Especially when considered of the third chapter, the carelessness of the proofreading does not help the impression that the writer and editor worked anxiously, hastily, perhaps with an eye toward other books, or toward a looming deadline. Typos happen to all of us, but not so frequently in a book of this magnitude. Even the pictures have become annoying by now--this is a general interest hardcover, not a high school textbook. This way How Music Works becomes a page turner, and not in the best of ways, either. It is unfortunate, because there are passages the discriminating reader will miss, like the discussion of the nature of recorded music: should it represent the ideal? Should it seek to capture the live experience? Or are the two necessarily independent? (Byrne argues the latter.) The assertion that musicologists can identify pieces of music by inspecting the grooves in the vinyl release is convincing, and very cool. Also Byrne reminds us of Leopold Stokowski's 1932 remarks, implying that lean, pretty actresses should lip synch in place of slightly stockier vocalists, for a visual sleight-of-hand would have predated C+C Music Factory by almost 60 years.

It is hard not to compare How Music Works to Paul Elie's Reinventing Bach. Published four days apart, the books share audience, scope, subjects and conclusions. Both writers marvel that Edison's wax cylinder recordings worked at all, which also raises the possibility of shared sources. Both books conclude that music is immaterial by nature, and that tracking down an optimal medium--sheet music, vinyl, tape, digital capture, or live performance--is foolhardy. But while Elie states his position from the outset and never deviates from the course, Byrne's approach is considerably more haphazard. It is too late when in the fourth chapter he writes "We don't make music--it makes us. Which is maybe the point of the whole book." It really would have been nice to know that up front.
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