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Sto caricando le informazioni... The Rest Is Noise: Listening to the Twentieth Century (originale 2007; edizione 2007)di Alex Ross
Informazioni sull'operaThe Rest is Noise: Listening to the 20th Century di Alex Ross (2007)
  
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  Crokey20 | Feb 24, 2023 |  amyem58 | Sep 20, 2022 | The thing is, a big splashy survey like this is going to grip you or not grip you based at least partly on what it emphasizes, and what it doesn't emphasize. To put it more bluntly: does the author's judgments regarding who deserves the most coverage match the reader's or do they not? and if they do not, does the author do a good job of swaying the reader in his or her direction? And to be fair, the overlap will NEVER be 100%, and you're probably lucky if it tops 50% ... and yes, perhaps it's unjust to rate a book based on something like this. But I kept thinking things like "I wish Ross had given more pages to X than Y." To make this concrete, I wish Ross had spent more time with Charles Ives than with Aaron Copland. I realize Copland is important, I guess, but he is a composer who has never truly grabbed me -- and to be honest I think Ives was more important. And of course I thought things like "huh? one sentence on Carl Nielsen? one mention of Per Norgard? really? why do you hate Denmark, Mr. Ross" (I'm exaggerating a little, there)? No ... you can't cover everyone in a just-under-600 page survey. But still. Ross's ability to describe music in prose has been praised. For me this works a lot of the time, but sometimes it just doesn't. Still, a really wonderful book. (  ) tungsten_peerts | Jul 9, 2022 | دفعت الحروب المدمرة المؤلفين والملحنين إلى التحرر من الأثقال التاريخية التي حملتها الأعمال الموسيقية السابقة والمضي قدماً في مؤلفات جديدة متمسكة بالشكليات الموسيقية (أو ما يُعرف بالأسلوب الرسمي) وغير متناغمة (أسلوب اللامركزية النغمية). ومثلما كانت هناك انقسامات سياسية محتدمة في جميع أنحاء أوروبا والولايات المتحدة، كانت هناك أيضاً انقسامات موسيقية وسياسات في أساليب التأليف، والتي أصبحت أكثر عدوانية خلال ذروة الحركة الإبداعية الطليعية في النصف الثاني من القرن. إلى أن ظهر الاتجاه البسيط في الموسيقى (أو ما يُعرف بموسيقى الحد الأدنى) والتلحين الإلكتروني الذي منح المؤلفين طريق جديدة للإبداع. كتاب ممتع وغني بالتفاصيل؛ من فضائح الوسط الموسيقي في فيينا التي دفعت البعض إلى تبني الأنغام المتنافرة في التلحين والابتعاد عن مركزية النغمة الواحدة، إلى باليه سترافينسكي التي حولت المشهد الموسيقي في باريس، يليها التأثير الكبير الذي كان لمدرسة دارمشتات الألمانية بعد الحرب على الموسيقى في العالم، وغيرها. (  ) TonyDib | Jan 28, 2022 | ) Jimbookbuff1963 | Jun 5, 2021 |
 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."  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.) “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. Appartiene alle Collane EditorialiPremi e riconoscimentiMenzioniElenchi di rilievo
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. Non sono state trovate descrizioni di biblioteche |
Discussioni correntiNessunoCopertine popolari
 Google Books — Sto caricando le informazioni...GeneriSistema Decimale Melvil (DDC)780.904The arts Music Music Biography And History By Period 20th CenturyClassificazione LCVotoMedia: (4.3)
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The Rest is Noise #2
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