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The Rest Is Noise: Listening to the Twentieth Century

de Alex Ross

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2,355494,674 (4.28)3 / 109
The scandal over modern music has not died--while paintings by Picasso and Pollock sell for millions of dollars, works from Stravinsky's Rite of Spring onward still send ripples of unease through audiences. Yet the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Music critic Alex Ross shines a bright light on this secret world, taking us from Vienna before the First World War to Paris in the twenties, from Hitler's Germany and Stalin's Russia to New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of new technologies, of hot and cold wars, of experiments, revolutions, and riots. The end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.--From publisher description.… (mais)
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Inglês (44)  Espanhol (3)  Catalão (1)  Holandês (1)  Todos os idiomas (49)
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This book is mentioned on page 161 of [b:Play it Again: An Amateur Against the Impossible|17332356|Play it Again An Amateur Against the Impossible|Alan Rusbridger|https://images.gr-assets.com/books/1363435289s/17332356.jpg|21900151] as a "stunning history of the twentieth century in music,"
  bread2u | Jul 1, 2020 |
This is one of the best nonfiction books I've read in a long time. The synthesis of cultural history/music theory/history of music is really amazing and gives indiscriminate listeners of classical music (like me) insight into what they were "going for" without compromising to your average musicologist. Written so well and with so much love. ( )
  uncleflannery | May 16, 2020 |
Although this is mainly a book where white guys from the twentieth century are concerned, it's a lot more exciting than that.

I'm not from a classical music background, and as such, I don't know much about these composers, and I hardly know anything about musical theory.

Having stated that, I must say that this book really comes alive from being well-written, but first and foremost, it's really well researched; Ross is very passionate about presenting the contents, and there's fire all around. He even made me pay attention during the bits about bebop, of which I don't give a toss.

I learned - in a good and fun way - about these composers and how they opted to not give a flying fawk about rules, regulations and what one SHOULD do, but rather created a post-modern punk ethos and just recreated stuff from zilch. It's very refreshing. And yes, the next generation of composers just turns everything on its head once again.

All in all: it's a long book. But don't be frightened of it. There's a web site - http://www.therestisnoise.com/2007/01/book-audiofiles.html - that complements the book very well, and Ross' tips at the end of the book could be great. ( )
  pivic | Mar 20, 2020 |
Librería 8. Estante 3
  atman2019 | Dec 30, 2019 |
[4.5 / 5] En breve, este es un libro que habla de la música "clásica" del siglo XX. Más exactamente, es un vistazo a la historia del siglo XX a través de su música.

Es una lectura fascinante, incluso para quienes tenemos pocos conocimientos de música. No es necesario conocer mucho para entender el libro. Lo que sí, requiere de mucho tiempo y dedicación.

¿A qué me refiero? El tema de este libro no es nada sencillo, aún si el estilo del autor es muy bueno. Pero para poder abordarlo con la seriedad que merece, es necesario tener capítulos y secciones de tamaño considerable, explicando con cuidado la relación entre músicos, su música y sus ambientes económico, político y social.

Lo recomiendo ampliamente para quien quiera ampliar su acervo cultural de los últimos 100 años, pero no cometan el error de leerlo por 5 minutos a la vez. Vale la pena esforzarse y sentarse por un buen rato para extraer todo el jugo del libro. ( )
  andycyca | Aug 6, 2019 |
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In the process of laying out his history in sound, Ross fashions what amounts to a tacit revisionist picture, a small quiet revolution of his own. He gives the traditional trinity of Schoenberg, Stravinsky, and Bartók their due, both historically and technically, likewise other important figures like Webern and Cage. But the longest and warmest chapters in Ross' book concern the late-Romantic Finn Jean Sibelius and the eclectic but mostly tonal Brit Benjamin Britten. Those two and Shostakovich form a sort of counter-trinity in Ross' book: three composers who bucked the Modernist narrative that revolution is the name of the game, who wrote much of the time in traditional genres however personalized, and who were some of the most crowd-pleasing of 20th-century composers.

I asked Ross if he had intended a strike at the old consensus. The answer was: not exactly as such. "My plan all along," he replied, "was to write a book that would encompass both the Modernist revolution and those composers who fell outside of Modernism's conventional lineage. I didn't plan on supplanting the hierarchy that already existed (if I were capable of such a thing), but, rather, to supplement it. So, I see the century in terms of Stravinsky, Schoenberg, Bartók AND Sibelius, Shostakovich, Britten, AND—very central to me—Berg and Messiaen." Ross adds that the view of the Modern period, or any period, can't be summarized in only a few figures: "When we talk about 19th-century music, we don't try to boil it down to three composers. I don't know if anyone with a straight face would say that the major composers of the 19th century were, say, Beethoven, Verdi, and Wagner ...What about Schubert? Brahms? Berlioz? Etc. It should be the same with the 20th century."
adicionado por elenchus | editarSlate.com, Jan Swafford (Sep 1, 2008)
 
The book achieves a remarkable interdisciplinary synthesis, in which music illuminates history as well as vice versa. Throughout, Ross fluently switches tempo and focus, between super-elegant New Yorker-style profiles of representative artists, and widescreen pans across whole movements and cultural periods, zooming in unerringly on fascinating detail. But what really sets his writing apart is the language he has forged to evoke sound. On The Rite of Spring: "Having assembled his folk melodies, Stravinsky proceeded to pulverize them into motivic bits, pile them up in layers, and reassemble them in cubistic collages and montages." On Messiaen's From the Canyons to the Stars: "There is a supernova of A major, billowing into the lowest and highest reaches of the orchestra and whiting out in fortissimo strings." ("Whiting out" is perfect.)
adicionado por Milesc | editarThe Guardian, Steven Poole (Mar 15, 2008)
 
“The Rest Is Noise” is a great achievement. Rilke once wrote of how he learned to stand “more seeingly” in front of certain paintings. Ross enables us to listen more hearingly.
 

» Adicionar outros autores (12 possíveis)

Nome do autorFunçãoTipo de autorObra?Status
Ross, Alexautor principaltodas as ediçõesconfirmado
Strick, CharlotteDesigner da capaautor secundárioalgumas ediçõesconfirmado

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"It seems to me ... that despite the logical, moral rigor music may appear to display, it belongs to the world of spirits, for whose absolute reliability in matters of human reason and dignity I would not exactly want to put my hand in the fire. That I am nevertheless devoted to it with all my heart is one of those contradictions which, whether a cause for joy or regret are inseparable from human nature." Thomas Mann, Doctor Faustus
HAMLET: ... - the rest is silence.
HORATIO: Now cracks a noble heart. Good night, sweet prince. And flights of angels sing thee to thy rest! [March within.] Why does the drum come hither?
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In the spring of 1928, George Gershwin, the creator of Rhapsody in Blue, toured Europe and met the leading composers of the day. (Preface)
When Richard Strauss conducted his opera Salome on May 16, 1906, in the Austrian city of Graz, several crowned heads of European music gathered to witness the event.
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At the beginning of the 21st century, the impulse to pit classical music against pop culture no longer makes intellectual or emotional sense. Young composers have grown up with pop music ringing in their ears, and they make use of it or ignore it as the occasion demands. They are seeking the middle ground between the life of the mind and the noise of the street.
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The scandal over modern music has not died--while paintings by Picasso and Pollock sell for millions of dollars, works from Stravinsky's Rite of Spring onward still send ripples of unease through audiences. Yet the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Music critic Alex Ross shines a bright light on this secret world, taking us from Vienna before the First World War to Paris in the twenties, from Hitler's Germany and Stalin's Russia to New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of new technologies, of hot and cold wars, of experiments, revolutions, and riots. The end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.--From publisher description.

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