Ebook The Rest Is Noise: Listening to the Twentieth Century, by Alex Ross

Ebook The Rest Is Noise: Listening to the Twentieth Century, by Alex Ross

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The Rest Is Noise: Listening to the Twentieth Century, by Alex Ross

Ebook The Rest Is Noise: Listening to the Twentieth Century, by Alex Ross

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Review

“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.” ―Geoff Dyer, The New York Times Book Review“[A] Brilliant, hugely enjoyable cultural history.” ―The Christian Science Monitor“Ross is a surpremely gifted writer who brings together the political and technological richness of the world inside the magic circle of the concert hall, so that each illuminates the other.” ―Lev Grossman, Time“It would be hard to imagine a better guide to the maelstrom of recent music than Mr. Ross, who worked on this book for a decade. He has an almost uncanny gift for putting music into words.” ―The Economist“The Rest Is Noise is a long and thrilling ride. . . . [Ross] writes about music in vivid language humming with intelligence. He tells great stories about musicians' lives and illuminates their work with the light of his own experiences.” ―Kevin Berger, Salon.com“The best book on what music is about--really about--that you or I will ever own.” ―Alan Rich, LA Weekly

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About the Author

Alex Ross, music critic for The New Yorker, is the recipient of numerous awards for his work, including two ASCAP Deems Taylor Awards for music criticism, a Holtzbrinck Fellowship at the American Academy in Berlin, a Fleck Fellowship from the Banff Centre, and a Letter of Distinction from the American Music Center for significant contributions to the field of contemporary music. The Rest is Noise is his first book.

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Product details

Paperback: 720 pages

Publisher: Picador; First edition (October 14, 2008)

Language: English

ISBN-10: 0312427719

ISBN-13: 978-0312427719

Product Dimensions:

5.6 x 1.3 x 8.3 inches

Shipping Weight: 1.3 pounds (View shipping rates and policies)

Average Customer Review:

4.3 out of 5 stars

188 customer reviews

Amazon Best Sellers Rank:

#89,275 in Books (See Top 100 in Books)

This scholarly work almost leaves the reader breathless with it's vast observations of the political, artistic, imaginative, and competitive forces at play in the lives of the Twentieth Century musical composers who were attempting to advance the art form and create new and interesting pieces of music.

Every page of this incredibly vivid guidebook to music requires that you read a subchapter and then spend a day or two just listening and then reread the subchapter. While that might sound like an unpleasant homework assignment to Some for those of us who are truly obsessed with the joys music provides it is the most profound pleasure. Many composers who I thought I knew and liked for the right reasons I have learned so much more about (some unpleasant-as in Virgil Thompson's casual racism) the chapter on how Shostakovich negotiated making art under Stalin is deeply complex and Sympathetic. This is a life changing book in that my experience of music will be enriched by Alex Ross unforgettable storytelling, deep research, willingness to explore the politics of the time and great descriptive musical analysis.

When most people think about classical composition, they think of Mozart, Beethoven, Bach and other old composers. However, even in the 20th century, classical composition is alive and well. Rather than looking at classical music as a time period, it is more akin to a style of composing. The 20th century has been filled with fascinating classical compositions by huge personalities that deliberate tried to bend and break the rules of composition. As history marched on, the composers of our era were at the mercy of dictators, world calamities and shifting social trends. Out of all the periods of classical composition, the 20th century was the most complex and interesting. Music critic Alex Ross spent years researching the history of these 20th century composers and his research paid off with the wonderful book The Rest is Noise.This is another book that I found by looking at the reading lists of members of Radiohead. I think that this recommendation came from Colin Greenwood. The Rest is Noise is mainly a history book, charting the careers of many of the 20th century composers, ranging from early innovators like Schoenberg and Stravinsky to modern minimalists such as La Monte Young and Phillip Glass. Throughout the book, Ross makes an effort to show the cultural and historical events that cause the composers to write. Ross also spends the time to describe the pieces that he is writing about and gives the reader a musical breakdown of the pieces. A lot of the book spends time discussing why a composer such as Schoenberg was innovative and why his music sounds the way it does. I was really impressed by these parts, because I was able to better appreciate a lot of classical pieces that I enjoyed. I was able to understand why they had such a distinctive sound and why they were innovative. Ross does need a bit of outside study. I had to brush up on my musical theory to better understand why he was talking about, but that knowledge is not absolutely necessary to understanding the book. You can get by without it, but putting in a little work outside of The Rest is Noise really helps the reader understand what Ross is talking about.The history portions of the book were superb. Ross not only gives a good overview of the history of music but also a good overview of 20th century history. It was really fascinating to read about some of the untold stories that occurred during historical events, such as Richard Strauss’s actions in Nazi Germany or Shostakovich’s problems in the Soviet Union. I was really able to understand why modern composers wrote the way that they did and what trials they went through for their music. Often times, it is hard to understand what they composers are going through when listening to classical music. We have been trained to listen to pop music were the singer tells us what he or she is thinking. Instrumental music can be a little tougher. Alex Ross does an excellent job helping the reader hear between the notes of the music and understand what the music actually means.I also enjoyed the sheer amount of music that Alex Ross discusses. He has an encyclopedic knowledge of classical composition and I was really thrilled to get some new pieces to listen to. I was especially happy to get a lot of recommendations for listening to post-war avant-garde music. That is such an odd genre to get into, and Ross does job discussing how it came about and what music to listen to if one was interested in that period. In The Rest is Noise, Ross goes beyond the normal “textbook” pieces and really gets into some obscure stuff, and I was happy to discover some new avant-garde pieces that I have never heard before (even if I am still trying to figure out what they actually mean.) Even though Ross is very knowledgeable about music, his writing never felt pretentious. He even spent the time to discuss popular music, with sections devoted to The Velvet Underground and shout-outs to The Beatles, Sufjan Stevens, Radiohead and Sonic Youth. I was really glad to see that Ross was open-minded enough to recognize other genres as being great music.I would highly recommend The Rest is Noise. For people interested in classical music, it is a must read. Your knowledge and understanding of 20th century classical music will be broadened and become more complex. This is also a great book for people who just have a passing interest in that genre and want to gain more than just a passing understanding of classical composition. This is a great book.Full review on http://zacherybrasier.wordpress.com/2014/08/28/the-rest-is-noise-alex-ross/

If you have even the slightest interest in 20th century classical music, this book is truly extraordinary. The author's research and knowledge base is just remarkable. The book feels like three lifetimes worth of effort. Every sentence matters, so it's a slow, but very satisfying read. I only just discovered that Ross is the music critic for the New Yorker.What really makes the book so special is Ross's ability to write about the pieces and composers in a way that even a non musical person like me can appreciate, explaining what each composer was trying to achieve, the musical tools they used in the context of the times, and how they were influenced by other composers, as well as how they were influenced by their contemporary artistic and political culture. There is naturally a lot of crossover in to jazz, folk, and even rock and roll. Ross is very analytical while almost never being judgmental, and he puts everything in context. He writes with a clear and infectious enthusiasm that never feels overdone.

I have been a professional musician for 40 years. Played blues, rock, jazz and classical. Studied 20th century serial composition in college, but this really opened my eyes to the musical timeline for modern classical. Recommend listening to the composer as you read about him. The analysis of style and function are right on. Unlike some books on the classical genre, this has a sense of humor and is engagingly written.

This book is as interesting and witty as it is informative. I had to buy it for a graduate music course and actually looked forward to doing my assigned reading every week. It's written simply enough for a non-musical person to enjoy and learn, but detailed and thought-provoking enough for graduate music students to discuss and debate. If you want a book that covers every composer in the 20th century with extreme detail and examples pulled from scores, then a textbook would be much better suited. Ross gives a voice to some of the lesser known composers and the context in which they worked. Wonderful read!

The writer seems very intelligent and very knowledgeable, and he's a good writer. But I had to give up reading the book because my bs meter kept going in the red, and the ratio of bs to interesting, good to know information, was too high. I have to admit that he's made me try harder to appreciate modern music (12-tone as opposed to mainly diatonic, and a higher level of dissonance in music). I'm getting there. I should also admit that I've been reading kind of a lot of science, which does not allow for any bs. Plus I simply disagree with his view on some composers and their music.

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