Here are 66 books that Lexicon of Musical Invective fans have personally recommended if you like
Lexicon of Musical Invective.
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I’m obsessed with the exploration of what it means to be a human being. We’re coming into an era where we see more characters who aren’t good or evil but both—they possess the potential to save someone from jumping off a bridge one day and beating someone the next. We’re all capable of the greatest acts of kindness and the most abominable atrocities imaginable. I believe we need to be reminded of that fact so that when there comes a time when we can decide whether to hurt or to help someone, we become the better version of ourselves and make the right decision.
I know, I know…this is a book you’re either going to love or hate, and it’s probably on a lot of lists. I love this book because before it was as common to “break the rules” and write frankly about taboo subjects, Katherine Dunn dove headfirst into an ocean of taboo and told a story that’s as exquisitely heart-wrenching as it is ghastly.
Despite her flaws (and I mean flaws in character–I don’t consider her physical traits to be flawed at all), the protagonist, Oly, is driven by devotion to her family as much as anything.
A National Book Award Finalist: This 'wonderfully descriptive' novel from an author with a 'tremendous imagination' tells the unforgettable story of the Binewskis, a carny family whose mater- and paterfamilias have bred their own exhibit of human oddities. (The New York Times Book Review)
The Binewskis arex a circus-geek family whose matriarch and patriarch have bred their own exhibit of human oddities (with the help of amphetamine, arsenic, and radioisotopes). Their offspring include Arturo the Aquaboy, who has flippers for limbs and a megalomaniac ambition worthy of Genghis Khan, Iphy and Elly, the lissome Siamese twins, albino hunchback Oly, and…
When you get a PhD in music, you end up with a lot of music books. Like, hundreds of them. At the end of every semester I could never bring myself to sell my textbooks because I just love books. Over the years I’ve continued to collect books about music, and books about everything. I’m happy that now a few have my name on the spine.
I remember reading this book over the summer when I was on the road with a recording company. It is filled with anecdotes about the metaphysical, transcendental, spiritual, and mystic properties of music. The thing I find so fascinating about these stories is not if they are true or not, but the belief systems of these ancient people, and the power and faith they put into music.
Joscelyn Godwin explores music's effects on matter, living things, and human behavior. Turning to metaphysical accounts of the higher worlds and theories of celestial harmony, the author follows the path of musical inspiration on its descent to Earth, illuminating the archetypal currents that lie beneath Western musical history.
As an author of a dual-timeline thriller series set in Venice in the present-day and 16th century, I’ve spent countless hours researching the world’s most mesmerizing city. I’ve been there three times, including on a research trip. I’ve worked with historians and experts on various aspects and have explored the ancient streets and buildings first-hand. I’ve also read dozens of books set in Venice.
There’s a reason why so many books set in Venice revolve around death, heaven (aka Paradise), mystery, and love lost & found. There’s a story lying in wait around every alley corner, under every bridge, and at the bottom of every canal. It’s no surprise that Anne Rice, the queen of Vampire lit, set Cry to Heaven in Venice. Her novel is impeccably researched and written, bringing to life the castritiof the 18th century—men who were castrated to become sopranos for the opera houses and royal courts. Beneath the decadence of the surface of Anne Rice’s Venice lies a dark underbelly.
In a sweeping saga of music and vengeance, the acclaimed author of The Vampire Chronicles draws readers into eighteenth-century Italy, bringing to life the decadence beneath the shimmering surface of Venice, the wild frivolity of Naples, and the magnetic terror of its shadow, Vesuvius. This is the story of the castrati, the exquisite and otherworldly sopranos whose graceful bodies and glorious voices win the adulation of royal courts and grand opera houses throughout Europe. These men are revered as idols—and, at the same time, scorned for all they are not.
When you get a PhD in music, you end up with a lot of music books. Like, hundreds of them. At the end of every semester I could never bring myself to sell my textbooks because I just love books. Over the years I’ve continued to collect books about music, and books about everything. I’m happy that now a few have my name on the spine.
This book is a nonfiction history of the concept of Spherics – the idea that music and astronomy are intimately connected. It starts by talking about Pathagorous and works our way chronologically up to Einstein. There are a lot of books on the topic of Music of the Spheres (and a Coldplay album), but this is the best book I’ve found to fully understand the concept.
For centuries, scientists and philosophers believed that the universe was a stately, ordered mechanism, both mathematical and musical. The perceived distances between objects in the sky mirrored (and were mirrored by) the spaces between notes forming chords and scales. The smooth operation of the cosmos created a divine harmony that composers sought to capture and express. Jamie James allows readers to see how this scientific philosophy emerged, how it was shattered by changing views of the universe and the rise of Romanticism, and to what extent it survives today - if at all. From Pythagoras to Newton, Bach to Beethoven,…
I wrote Leaving the Beach because I was once bulimic and music-obsessed. After seeking help and recovering, I realized I wanted to write a realistic book about a bulimic woman; it was critical that I didn’t unintentionally romanticize any aspects of this insidious, potentially fatal disease.
If you’ve ever wondered if humanity could survive without music, Dave O’Leary’s The Music Book is for you. Set in Seattle during the post-Nirvana/Pearl Jam period, the story follows earnest, likable Rob through nightclubs, strip bars, and a prison on an alcohol-enhanced quest for love and an answer to his question about what music actually means to the world. A truly unique and compelling story.
What does music mean? Can it be more than the sum of its notes and melodies? Can it truly change you? Rob, a musician turned reluctant music critic, poses these questions as everything important in his life appears to be fading—memories of lost love, songs from his old bands, even his hearing. He delves into the music of others to find solace and purpose, and discovers that the chords and repeated phrases echo themes that have emerged in his own life. The music sustains him, but can it revive him?
I’m a journalist whose work is often heard on NPR's national news magazines, and read in publications such as The New York Times, New York Magazine’s Vulture, BBC Culture, Wired, and Bandcamp. I'm most interested in stories about people, communities, and scenes that have been overlooked, forgotten, seen through a distorted lens, or perhaps never seen at all. I’m on a mission to get to a deeper understanding of what’s at stake in the way we see music and art- and the way we see ourselves.
Daphne A. Brooks’ book is a revolutionary work, centering more than a century of innovations by Black women in popular music who have been marginalized, overlooked, or erased.
Situating Zora Neale Hurston as a sound archivist and performer and Lorraine Hansberry as a cultural critic alongside blues pioneers such as Bessie Smith and Mamie Smith and contemporary artists like Janelle Monáe and Valerie June, Brooks doesn’t merely fill in blind spots.
She exposes how those blind spots reflect the partial, subjective view of white male critics and historians.
Showing us a different way of seeing and listening to culture, Brooks has informed and inspired my thinking, and some of the best work I’ve done as a journalist, including this piece about Elizabeth Cotten, whose music fueled the 1960s folk revival.
Winner of the PEN Oakland-Josephine Miles Award Winner of the MAAH Stone Book Award A Rolling Stone Best Music Book of the Year A Pitchfork Best Music Book of the Year
"Brooks traces all kinds of lines, finding unexpected points of connection...inviting voices to talk to one another, seeing what different perspectives can offer, opening up new ways of looking and listening by tracing lineages and calling for more space." -New York Times
An award-winning Black feminist music critic takes us on an epic journey through radical sound from Bessie Smith to Beyonce.
I wrote Leaving the Beach because I was once bulimic and music-obsessed. After seeking help and recovering, I realized I wanted to write a realistic book about a bulimic woman; it was critical that I didn’t unintentionally romanticize any aspects of this insidious, potentially fatal disease.
This is the only nonfiction selection on my list. If you live in the Boston area and love music, you’ve probably read Brett Milano’s music reviews in the Boston Globe, Boston Herald, or Phoenix.He’s also written numerous books—both fiction and nonfiction—about various types of music. Vinyl Junkies is a wonderful read, even if you’re not particularly interested in music, because although many people featured in it are well-known in the music and art worlds (Peter Buck, Robert Crumb), on a higher level, the book’s really about collecting and collectors in general. Why do people collect? What’s the difference between simply accumulating stuff and curating a collection? And where does one draw the line?
Not too far away from the flea markets, dusty attics, cluttered used record stores and Ebay is the world of the vinyl junkies. Brett Milano dives deep into the piles of old vinyl to uncover the subculture of record collecting. A vinyl junkie is not the person who has a few old 45s shoved in the cuboard from their days in high school. Vinyl Junkies are the people who will travel over 3,000 miles to hear a rare b-side by a German band that has only recorded two songs since 1962, vinyl junkies are the people who own every copy…
It was not hard to grow up Goth in an old farmhouse in Norfolk, one of the most haunted counties in England. Age 11, when the Eighties began, I genuinely believed that ghosts, witches, and a demon dog called Old Shuck stalked this land. John Peel's radio show kept the night terrors at bay and replaced them with the music that became my passion. By 19, I was writing for Sounds and would meet and work with many of the bands and artists who saw me through that dread decade. Forty years on, this is my love letter to a most maligned and misunderstood genre – and why it still matters.
The Manchester evoked by Joy Division and Barry Adamson's first band, Magazine, also entered the Eighties a ravaged post-industrial city, strafed first by the Luftwaffe and then its own planners, who erected Brutalist estates over its Victorian past.
The son of a white Mancunian mother and black Jamaican father, Adamson grew up in some of the worst of the city's social housing in the Hulme of the Sixties. Another Selby aficionado, Barry recounts the story his challenging childhood with a picaresque, magical realist flair.
Music offers both salvation and damnation – as he progresses through Magazine and into Nick Cave's Bad Seeds, so too do all his most self-sabotaging addictions, until death brings a reckoning and a salvation in the first fruit of his solo career, the LP Moss Side Story.
In Up Above the City, Down Beneath the Stars, the enigmatic Barry Adamson shines a probing light into his own heart of darkness.
Born in the black and white world of post-industrial Manchester, Adamson saw music as a chance to turn his world technicolour. Propelled into punk via Magazine, he was the founding bass player in Nick Cave and the Bad Seeds, before stumbling too far down a dark, drug-induced path.
Unflinchingly candid, Adamson steers the reader through a mix of harrowing, tragic, funny and often life-affirming straights. Throughout it all, music - be it bass lines, melodies or film…
I have loved music since childhood. I grew up on a farm in Western Pennsylvania. My loving, hard-working parents gave my three brothers and me the best life possible. I began singing at our little Chewton Christian Church when asked to do so. Piano lessons began, and for 12 years, my sweet teacher, Joann Thurston, taught me piano, but I realized my true love was singing. She always allowed me to sing as well as play the piano. I attended Westminister College, majoring in elementary education with a music minor. Following graduation, my first job was teaching music to 1500 schoolchildren in Blacksburg, Virginia.
The author, Mike Venezia, believes in having fun. If you want to introduce children to composers and music, make it fun for them. While reading the delightful, imaginative story about Aaron Copland play compositions such as Rodeo, Appalachian Spring, Billy the Kid, and Fanfare for the Common Man.
Mike Venezia has a very interesting, engaging way of introducing art, inventions, and period photography. Visual images bring his numerous children’s classical music books alive. He makes his composers become real people, like you and me.
I have loved music since childhood. I grew up on a farm in Western Pennsylvania. My loving, hard-working parents gave my three brothers and me the best life possible. I began singing at our little Chewton Christian Church when asked to do so. Piano lessons began, and for 12 years, my sweet teacher, Joann Thurston, taught me piano, but I realized my true love was singing. She always allowed me to sing as well as play the piano. I attended Westminister College, majoring in elementary education with a music minor. Following graduation, my first job was teaching music to 1500 schoolchildren in Blacksburg, Virginia.
George Gershwin is brought to life as we read this book. Prior to Rhapsody in Blue being played by our hometown orchestra, I took the liberty of paraphrasing this entire book and showing pictures on the big screen, which engaged the audience. They truly loved it!
Suzanne Slade has a delightful way of expressing the feelings of George. He heard music in everything. Perhaps we could take a lesson from George and pay more attention to our surroundings. George heard music while roller skating down the street. He heard melodies in the clatter and noise of New York’s bustling street. What new and exciting adventure will you discover if you only STOP, Look Around, and LISTEN?
George Gershwin heard music all the time--at home, at school, even on New York City's busy streets. Classical, ragtime, blues, and jazz--George's head was filled with a whole lot of razzmatazz! With rhythmic swirls of words and pictures, author Suzanne Slade and illustrator Stacy Innerst beautifully reveal just how brilliantly Gershwin combined various kinds of music to create his masterpiece, Rhapsody in Blue, a surprising and whirlwind composition of notes, sounds, and one long wail of a clarinet. Includes author's note, timeline, and bibliography.
