Free Jazz, Harmolodics, and Ornette Coleman discusses Ornette Coleman's musical philosophy of "Harmolodics," an improvisational approach deeply inspired by the Civil Rights Movement. Falling under the guise of "free jazz," Harmolodics can be difficult to understand, even for seasoned musicians and musicologists. This book contains a long interview with Ornette Coleman, as well as many musical examples illustrating the principles that were behind his wonderful music.
She really gets at the heart of how Brown and Black bodies are seen, and what is fascinating to me is the approach through current “technical art” and a good discussion of architecture. I had a class focus on her discussion—lengthy—about surveillance and race. It’s extremely poignant, and something whites especially just don’t think about. I will never again go through an airport without thinking about her book.
In Dark Matters Simone Browne locates the conditions of blackness as a key site through which surveillance is practiced, narrated, and resisted. She shows how contemporary surveillance technologies and practices are informed by the long history of racial formation and by the methods of policing black life under slavery, such as branding, runaway slave notices, and lantern laws. Placing surveillance studies into conversation with the archive of transatlantic slavery and its afterlife, Browne draws from black feminist theory, sociology, and cultural studies to analyze texts as diverse as the methods of surveilling blackness she discusses: from the design of the…
I love John Cage’s book Silence so much. I find myself quoting it almost daily (honestly), and the “Lecture on Nothing” is a document that illustrates traditional sonata form, while using silence as content, repetition as meaning, and humor as power. I wish I had written it.
Silence, John Cage's first book and epic masterpiece, was published in October 1961. In these lectures, scores, and writings, Cage tries, as he says, to find a way of writing that comes from ideas, is not about them, but that produces them. Often these writings include mesostics and essays created by subjecting the work of other writers to chance procedures using the I Ching. Fifty years later comes a beautiful new edition with a foreword by eminent music critic Kyle Gann. A landmark book in American arts and culture, Silence has been translated into more than forty languages and has…
Lyons' 100 Best Jazz Albums shaped my listening for a long, long time. His references to Ornette Coleman, Cecil Taylor, Sun Ra, and Art Ensemble were well-written and hugely informed. Some of the choices are now extremely dated, but it is a great overview of the history of jazz (up to the early 1980s). It could give even an experienced listener or artist some pointers about where to round out their listening. Jazz is twice as old now (as a genre) as it was when I was coming up, so there’s so much more to listen to, and so much more has happened. This book should be a listening test for every student and faculty member—especially everything Duke and before and after Monk.
It is a sprawling book—it’s very long but worth it. His approach to character development is unequalled by anyone other than Tolstoy, in my opinion. And yet, unlike Tolstoy, his characters shock, take deep dives into places unforeseen (magical realism), and have contemporary problems with guilt, purpose/meaning, and aesthetics.
NATIONAL BESTSELLER • The year is 1984 and the city is Tokyo. A young woman named Aomame follows a taxi driver’s enigmatic suggestion and begins to notice puzzling discrepancies in the world around her.
She has entered, she realizes, a parallel existence, which she calls 1Q84 —“Q is for ‘question mark.’ A world that bears a question.” Meanwhile, an aspiring writer named Tengo takes on a suspect ghostwriting project. He becomes so wrapped up with the work and its unusual author that, soon, his previously placid life begins to come unraveled.
As Aomame’s and Tengo’s narratives converge over the course…
T.N. Krishnan’s book discusses Carnatic (south Indian) music in depth, sure. But more importantly, he discusses why music matters, what it’s for, emotion, and human existence. It’s a primer in art, philosophy, and intention. Read it along with Ramani Maharshi’s writings, and one is pretty much ready to be fully human.
One of the foremost Karnatik vocalists today, T.M. Krishna writes lucidly and passionately about the form, its history, its problems and where it stands todayT.M. Krishna begins his sweeping exploration of the tradition of Karnatik music with a fundamental question: what is music? Taking nothing for granted and addressing readers from across the spectrum - musicians, musicologists as well as laypeople - Krishna provides a path-breaking overview of south Indian classical music.
I became fascinated with 16th-century and 17th-century Europe after reading Don Quixote many years ago. Since then, every novel or nonfiction book about that era has felt both ancient and contemporary. I’m always struck by how much our environment has changed—transportation, communication, housing, government—but also how little we as people have changed when it comes to ambition, love, grief, and greed. I doubled down my reading on that time period when I researched my novel, Dulcinea. Many people read in the eras of the Renaissance, World War II, or ancient Greece, so I’m hoping to introduce them to the Baroque Age.
Dolça Llull Prat, a wealthy Barcelona woman, is only 15 when she falls in love with an impoverished poet-solder. Theirs is a forbidden relationship, one that overcomes many obstacles until the fledgling writer renders her as the lowly Dulcinea in his bestseller.
By doing so, he unwittingly exposes his muse to gossip. But when Dolça receives his deathbed note asking to see her, she races across Spain with the intention of unburdening herself of an old secret.
On the journey, she encounters bandits, the Inquisition, illness, and the choices she's made. At its heart, Dulcinea is about how we betray the people we love, what happens when we succumb to convention, and why we squander the few chances we get to change our lives.
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