How Music Works (Anglais) Relié – 27 septembre 2012
|Neuf à partir de||Occasion à partir de|
Les clients ayant consulté cet article ont également regardé
Descriptions du produit
Revue de presse
A very involving read - Byrne is good company - he has a gift for a telling analogy that makes complex points easily grasped Keith Bruce The Herald
Incisive and intriguing Nick Curtis, The Evening Standard
As well as being an investigation into the context in which music is made, How Music Works is an accomplished celebration of an ever-evolving art form that can alter how we look at ourselves and the world Fiona Sturges, Independent
How Music Works is a melange of bookish musings on how music is shaped by the places it is played and the technology used to create and disseminate it Danny Eccleston, MOJO
David Byrne deserves great praise for How Music Works. It is as accessible as pop yet able to posit deep and startlingly original thoughts and discoveries in almost every paragraph. Not unlike getting your ears syringed, this book will make you hear music in a different way... Every form of music, from birdsong onwards, is considered and elegantly related to form, debunking romantic conceits about music and presenting a far more beautiful rationality. In the process, Byrne shows not just how music works, but how music publishing should work too Oliver Keens, The Sunday Telegraph
An entertaining and erudite book ... this is a serious, straight-forward account of an art from that also manages to be inspiring Peter Aspden, Financial Times
How Music Works is not just a noticeably handsome book but a beguiling and hugely perceptive one too Jonathan O'Brien, Sunday Business Post
A big beautiful work of art... As you might expect from someone as intelligent and open-minded as Byrne, How Music Works is a far ranging and astute look at all the facets of music Doug Johnstone, The Big Issue
Creators of all stripes will find much to inspire them in Mr Byrne's erudite musings on the biological and mathematical underpinnings of sound... His observations on the nature of pattern and repetition, and on people's neurological response to aesthetic experience, apply to all creative fields The Economist
Given the vastness of the subject, calling a treatise How Music Works seems intellectually arrogant, but it could also be seen as disarmingly frank, a fresh perspective from a down-to-earth mind. David Byrne's book, although a self-conscious art object (backwards pagination, upholstered cover and so on) contains plenty of plain-spoken, sensible observations: a dichotomy typical of the man Guardian
It's a great book to pick up and start at any chapter, a hugely rewarding and enriching read. A fascinating look at music from many angles, I would receommend it to anyone who plays or simply has an interest in the history and evolution of the musical form, the culture of music, both as a well of inspiration and as a simple commodity Irish Times
An ambitious attempt at understanding a phenomenon to which the former Talking Head has dedicated his life's work John Doran, Quietus
By investigating how music works, Byrne shows us how best it can be used. We are all the richer for his effort Yo Zushi, New Statesman
Disarmingly frank, a fresh perspective from a down-to-earth mind Michel Faber, The Guardian
How Music Works is a big, beautiful work of art ... a far-ranging and astute look at all facets of music ... This is a really rather remarkable book The Big Issue --The Big Issue
The finest music book of the year ... Handsomely bound, beautifully printed, wittily illustrated, it would make a beautiful collector's item but there is much more going on between the covers ... bursting with a sense of free-flowing curiosity Neil McCormick, The Daily Telegraph
Fascinating look at music's power to move Alexis Petridis, The Guardian
Unique among a deluge of music biographies and autobiographies coming out this Christmas, this wildly ambitious book breaks the mould Arthur House, The Sunday Telegraph
Byrne is a crisp and enthusiastic guide Rob Fitzpatrick, The Sunday Times
Creators of all stripes will find much to inspire them in Mr Byrne's erudite musings on the biological and mathematical underpinnings of sound, from Plato to Copernicus and from John Cage to Tantric Buddhists. How Music Works should be required reading for all writers and publishers The Economist
As accessible as pop yet able to posit deep and startlingly original thoughts and discoveries in almost every paragraph ... this book will make you hear music in a different way Oliver Keens, The Sunday Telegraph
How Music Works in as entertaining and erudite book ... The chapter on the economics of music should be required reading for all 16-year-olds tinkering with their GarageBand software and dreaming of dollar signs Peter Aspden, Financial Times
[A] wide-ranging tome Geeta Daval, Wired Magazine
Not just a noticeably handsome book ... but a beguiling and hugely perceptive one too Jonathan O'brien Sunday Business Post
A fluid, intelligent analysis' --Patrick Freyne, The Irish Times --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Présentation de l'éditeur
Equal parts historian and anthropologist, raconteur and social scientist, Byrne draws on his own work over the years with Talking Heads, Brian Eno, and his myriad collaborators - along with journeys to Wagnerian opera houses, African villages, and anywhere music exists - to show that music-making is not just the act of a solitary composer in a studio, but rather a logical, populist, and beautiful result of cultural circumstance.
A brainy, irresistible adventure, How Music Works is an impassioned argument about music's liberating, life-affirming power. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Aucun appareil Kindle n'est requis. Téléchargez l'une des applis Kindle gratuites et commencez à lire les livres Kindle sur votre smartphone, tablette ou ordinateur.
Pour obtenir l'appli gratuite, saisissez votre adresse e-mail ou numéro de téléphone mobile.
Détails sur le produit
En savoir plus sur l'auteur
Dans ce livre(En savoir plus)
Quels sont les autres articles que les clients achètent après avoir regardé cet article?
Commentaires en ligne
Meilleurs commentaires des clients
Commentaires client les plus utiles sur Amazon.com (beta)
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.
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.
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!
I claim, however, that in Chapter 9 he's faking it. For those who have not read this chapter, one premise is loosely that classical music is over-venerated, over-funded and that pop music is the true underdog: underfunded and never getting enough respect from critics especially for works emerging from amateur musicians. David writes: "I never got Bach, Mozart or Beethoven - and don't feel any worse for it".
I suggest the exact opposite of his premise is the case: look at the budgets for pop music albums. In fact look at the budget Byrne himself tables in the book for a recent album - $218,000. The documentary 'Sound City' talks of budgets reaching $400,000 to $600,000 in the 1970s for pop albums - one can only imagine what they are today. Do you think classical music has anything like these budgets? Try raising kickstarter money for a woodwind quintet, or better yet - approach a record label for funding. Those I know trying to get new works off the ground in the classical tradition are lucky to raise a few thousand dollars to do this work. Today the tradition emerging from classical times is the underdog.
Cumulatively pop music spends over 13 billion dollars a year on recording, arranging and performance fees for its songs. And yet they still collectively haven't made a piece as good as Beethoven's 9th symphony. So who is the underdog in this battle? They have multi-core workstations, high-speed data links to each others studios, world-wide access to musical talent in an international studio system, an international payment system...what else? When they get sick they have MRIs, vaccines, antibiotics, modern psychotherapy, robotic surgery, even now stem cell therapies - so following a bout of illness they are right back to work - same for Beethoven? When they need cash for 2 months they have access to credit cards and a modern banking system. My god, who is the underdog? A 30-year-old German living in 18th century conditions we would consider poverty today or a man living in Manhattan with hundreds of thousands of dollars to spend on an international network of studios, musicians and arrangers. David Byrne can send over an mp3 of a piece he's working on for review by Eno, Bowie etc - could Beethoven have done the same in his time with contemporaries in England or France? David Byrne while writing a piece and looking for inspiration has access to the world's entire collection of recorded music via Spotify, download sites, and the New York Public Library - what did Beethoven have to listen to? Again, who is the underdog in this? The deck is stacked so embarrassingly in favor Mr Byrne and his fellow pop musicians they should be writing works 4 to 5 times better than anything Beethoven created, is it not true?
And yet Beethoven with .1% of the resources of Mr. Byrne persists. Byrne knows full well it is not just the vanity of the rich that sustains Beethoven's popularity: during the Chinese cultural revolution many western works were banned but Beethoven's 9th was an exception - they loved playing that piece. Same with the Soviet Union banning so-called 'decadent western capitalist' works but somehow Beethoven's late work was an exception during times of celebration. It was played when both west and east German olympians won medals before 1992. It is the de facto anthem of the European Union today. It is venerated in Japan and one of the most played works in the United States. Even revolutionary movements like the Shining Path in Peru used it as a soundtrack to their cause.
How does Beethoven have this effect on such diverse groups of people? Why do such different people see their highest aspirations embodied in his music? Is it Beethoven's rich, vain patrons in the United States who give him a kind of enduring marketing budget? That's an absurd suggestion by Mr Byrne and I think he knows it. "I never got Beethoven" - seriously, the whole world gets Beethoven but David Byrne - a musician writing a book called How Music Works? Sir, a book with your title demands that you to rise to meet Beethoven - to take him on at his best - not rebel against him or dismiss him. Can you imagine Julian Barnes writing "I never got Shakespeare" in an essay on English authors? I believe pieces like the andante from Mozart's 21st piano concerto, or the second movement of Ravel's piano concerto in G, or even Beethoven's 1st symphony are an enigma for pop musicians. Despite the billions they spend, pop musicians can't make better art than those operating by candlelight in the 18th century. It is pop which is the overfunded drone army, and classical music the peasant with pitchfork still managing to win a few battles. And for that this music - hammered out under brutal conditions...Mozart was one of 7 children 5 of whom died as infants, he himself had lifelong scars from smallpox - earns our respect.
Perhaps the gods and muses are indifferent to this generation of composers because they are not the gods of small things. When they constellate around one genius that man or woman becomes a prophet - this alone must give us pause - and our notions of order are surrendered to what is happening at the hands of genius. Perhaps the deference is not just to the person but to the order revealed.
David Byrne can't understand why pop music doesn't garner as much respect as classical music. I've already offered some thoughts on this. I wonder if Mr Byrne has considered what pop musicians do to get attention? If their music is so good, why would they need 'performance artists' to vomit on them, or to twerk and choreograph 'wardrobe malfunctions'. I don't recall Vladimir Horowitz doing much twerking while he performed Scriabin? And I wonder how a pop piece would stand up arranged and performed on piano with no vocals (Musak, anyone)?
Allow this line to travel one step further dear reader: what music would you wish for at your closest family member's funeral? And what music would not honor the event? And if some music is not austere enough for that event - what in it lacks austerity? If some pieces would dishonor their memory - what about that music is dishonorable to you right now as you read this? Allow yourself to detach from the goal of finishing this review and hold that question as you understand it right at this second. What in this moment do you find tawdry in pop music?
Buy this book. That I disagree with Mr Byrne on one issue does not mean this book is not worthy of your time. He has written some excellent compositions and I include this book among them.
Rechercher des articles similaires par rubrique
- Livres anglais et étrangers > Entertainment > Music > Business
- Livres anglais et étrangers > Entertainment > Music > History & Criticism
- Livres anglais et étrangers > Entertainment > Music > Musical Genres > Ethnic & International
- Livres anglais et étrangers > Entertainment > Music > Recording & Sound
- Livres anglais et étrangers > Entertainment > Music > Theory, Composition & Performance > Appreciation