Here are 100 books that Philosophy of New Music fans have personally recommended if you like
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I am a lecturer in the School of Media and Communication at the University of Westminster. I write regularly on popular music and culture in scholarly form and as a critic in various publications. I am convinced that popular music can gesture at utopia despite its emergence from within a capitalist market society.
This book was actually written before Baraka’s turn to Marxism, but as a social history of African American music, it is more than exemplary of a style of writing that takes the relationship of cultural form to its conditions seriously.
How Baraka moves between the music and the social conditions of Black musicians changed what I thought engaged musical analysis could be.
"A must for all who would more knowledgeably appreciate and better comprehend America's most popular music." — Langston Hughes
"The path the slave took to 'citizenship' is what I want to look at. And I make my analogy through the slave citizen's music—through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music."
So says Amiri Baraka (previously known as LeRoi Jones) in the Introduction to Blues…
I am a lecturer in the School of Media and Communication at the University of Westminster. I write regularly on popular music and culture in scholarly form and as a critic in various publications. I am convinced that popular music can gesture at utopia despite its emergence from within a capitalist market society.
Sometimes, the analytical frame of a book completely changes one’s understanding of a phenomenon, and that was the case with this history of work song.
By showing that singing and music-making at work were silenced in the latter half of the 19th century by the noise of machines and the discipline of factory bosses, Korczynski et. al. provided me with a wholly new way to understand the function of music in an industrialized capitalist society: in terms of the segregation of labor and leisure.
Whether for weavers at the handloom, labourers at the plough or factory workers on the assembly line, music has often been a key texture in people's working lives. This book is the first to explore the rich history of music at work in Britain and charts the journey from the singing cultures of pre-industrial occupations, to the impact and uses of the factory radio, via the silencing effect of industrialisation. The first part of the book discusses how widespread cultures of singing at work were in pre-industrial manual occupations. The second and third parts of the book show how musical…
I am a lecturer in the School of Media and Communication at the University of Westminster. I write regularly on popular music and culture in scholarly form and as a critic in various publications. I am convinced that popular music can gesture at utopia despite its emergence from within a capitalist market society.
Iton’s book isn’t restricted to popular music but ranges more widely across Black popular cultures.
However, in the ways he understands the historical intersection of popular music and institutional politics (especially in a magisterial chapter on soul music), Iton gave me a way of conceptualizing music as a form of political expression and organization in itself.
*Named one of CHOICE 's "Outstanding Academic Titles for 2009"*
Prior to the 1960s, when African Americans had little access to formal political power, black popular culture was commonly seen as a means of forging community and effecting political change.
But as Richard Iton shows in this provocative and insightful volume, despite the changes brought about by the civil rights movement, and contrary to the wishes of those committed to narrower conceptions of politics, black artists have continued to play a significant role in the making and maintenance of critical social spaces.…
I am a lecturer in the School of Media and Communication at the University of Westminster. I write regularly on popular music and culture in scholarly form and as a critic in various publications. I am convinced that popular music can gesture at utopia despite its emergence from within a capitalist market society.
Clover’s book is the first I can remember reading that both takes popular music seriously as a form and understands it as an ideological object. His writing is crisp, and he moves smoothly and convincingly from a world-historical event to a particular riff. I think this is one of those books that teaches us that we can both take our revolutionary commitments seriously and love commercial music, too.
In a tour de force of lyrical theory, Joshua Clover boldly reimagines how we understand both pop music and its social context in a vibrant exploration of a year famously described as 'the end of history'. Amid the historic overturnings of 1989, including the fall of the Berlin Wall, pop music also experienced striking changes. Vividly conjuring cultural sensations and events, Clover tracks the emergence of seemingly disconnected phenomena - from grunge to acid house to gangsta rap - asking if 'perhaps pop had been biding its time until 1989 came along to make sense of its sensibility'. His analysis…
I’ve been singing since before I could speak, and I found myself drawn to music even though there were no musicians in my family. From church choir to the SF Boys Chorus, through every choir and musical I could join, then onto the New England Conservatory of Music and the Tufts Beelzebubs, I hungrily digested every bit of music knowledge I could find, with a deep desire to become a musician upon graduation. These books are the best I have come across in more than 50 years, and I hope you’ll find great knowledge and insight in their pages.
After learning counterpoint from the greatest, why not learn harmony from the genius who took it so far it unraveled? Before diving headfirst into atonality (a mistake), Schoenberg was a master of Harmony (with a capital H!), and this book is filled with nuggets of wisdom that I gobbled up hungrily, albeit in small bites because it’s so dense and profound.
There is a new critical foreword by Walter Frisch, H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University, that expands this centennial edition. Frisch puts Schoenberg's masterpiece into historical and ideological context, delineating the connections between music, theory, art, science, and architecture in turn-of-the century Austro-German culture.
I am an associate professor of neuroscience at the Donders Institute in the Netherlands. My research lab focuses on discovering how the brain uses electrical signaling to compute information, and transfer information across different regions of the brain. I also have a few decades of experience teaching scientific coding, data analysis, statistics, and related topics, and have authored several online courses and textbooks. I have a suspiciously dry sense of humor and insufficient patience to read five books on the same topic.
Igor Stravinsky was one of the most influential and innovative music composers of the 20th century. He was also remarkably intelligent, humorous, and insightful. This book is a collection of interviews, letters, and notes made by and about Stravinsky. Some of these writings would interest only classical music enthusiasts, but much of the book comprises witty observations of human nature, art, and what it really means to praise or critique someone.
'The conversations between Igor Stravinsky and Robert Craft are unique in musical history.' Sunday Times
Dialogues is the final volume in the legendary series of Stravinsky's conversations with Robert Craft. In his Foreword, dated March 1971 shortly before his death, Stravinsky wrote of his 'final work of words': 'They are hardly the last words about myself or my music that I would like to have written, and in fact they say almost nothing about the latter, except tangentially, in comments on Beethoven. It is almost five years now since I have completed an original composition, a time during which I…
I have studied creativity for 40 years and, along with the textbook I wrote, I am continually teaching my marketing students how to become more creative. I have unequivocally demonstrated that everyone who wants to become more creative can do so with the appropriate tutelage. This is why I get so much satisfaction from teaching creativity and it is why I wrote my book that I am highlighting here.
This book fascinated me because it looks at creative accomplishments through the eyes and behaviors of many of the truly creative people who have graced our planet. The book discusses what made Albert Einstein so creative and how Sigmund Freud became the father of modern psychology. I came to realize that artists like Pablo Picasso, dancers like Martha Graham, and musicians like Igor Stravinsky broke the molds as they ventured forth into novel domains and areas where others had not yet dared to tread. I also learned that personalities are very relevant to many of these creative accomplishments and that many of these personalities do not fit kindly into what societies expect. It’s not that we should attempt to emulate these personalities but that we should feel comfortable leading with our most creative thoughts and actions.
Since it was first published in 1993, Creating Minds has served as a peerless guide to the creative self. Now available as a paperback reissue with a new introduction by the author, the book uses portraits of seven extraordinary individuals to reveal the patterns that drive the creative process,and to demonstrate how circumstance also plays an indispensable role in creative success.
For most of my life no one guessed I could fall for a dog, much less write a book about one. I associated dogs with drool on the floor and fur all over everything. One of those “just a dog” people, I thought the marriage bed should be strictly for humans. It crossed my mind that an eager dog would keep me from working into the night at the office where I ran Chatelaine, Canada’s premier magazine for women, but I chose a treadmill at the Y over rambles with a dog. At 65 I discovered my inner dog person. A ragged-eared mutt is now my joy and my muse.
Pete the Irish Wheaten was supposed to comfort the children as their father lay dying of cancer. But it was their mother, author/illustrator Maira Kalman, who became his inseparable companion, following the pup into a whole new world of humor, heart, and inspiration.
Through Pete, she discovered the dogs of Franz Kafka, Gertrude Stein, and E.B. White—all captured in these pages with her customary wit and radiance. You’re never too old for a picture book, and if you have a soft spot for dogs, this one deserves a permanent spot on your nightstand.
Beloved Dog shows that “the most tender, uncomplicated, most generous part of our being blossoms, without any effort, when it comes to the love of a dog.”
Maira Kalman, with wit and great sensitivity, reveals why dogs bring out the best in us
Maira Kalman + Dogs = Bliss
Dogs have lessons for us all. In Beloved Dog, renowned artist and author Maira Kalman illuminates our cherished companions as only she can. From the dogs lovingly illustrated in her acclaimed children's books to the real-life pets who inspire her still, Kalman's Beloved Dog is joyful, beautifully illustrated, and, as always, deeply philosophical.
Here is Max Stravinsky, the dog poet of Oh-La-La (Max in Love)-fame, and her own Irish Wheaton Pete (almost named Einstein, until he revealed himself…
I am an avid reader and devour books of all types, but for pure entertainment I love a good thriller. These are the kind of books I read on planes and at the beach, and these are the kinds of books I shared with my late father. I contributed a piece on Rudyard Kipling’s Kim to the collection Thrillers: 100 Must Readsand am a member of the International Thriller Writers. While I write thrillers professionally, I remain a passionate reader of the genre and love to share the brilliant stories that kept me reading late into the night.
While not technically a fast-paced thriller, The Master Executioner is the compelling story of a young Civil War veteran who evolves into a methodical, professional hangman in the old West. After completing a carpentry apprenticeship, Oscar Stone goes west to seek his fortunes in the frontier. Finding construction work scarce, he accepts a commission to build the gallows for a hanging and his career plans find a new trajectory. Stone is as exacting as a hangman as he was a carpentry, from the quality of the rope to the length of the drop he strives to provide the condemned a quick and painless death. Estleman’s prose is exceptional, his dialog crisp, and his storytelling lean and well-paced. The pages of The Master Executionerfly.
Ordinary people do not understand Oscar Stone. Everything he does, he does impeccably. He is a profound student of his art, completely versed in its traditions over the centuries. He is a student of ropes and their properties, a master of the latest scientific knowledge about the human neck, a careful calculator of weights and drops, and an exacting observer of results. Far more than a quarter of a century he has worked to create a reputation as a man peerless in his craft: the master executioner. Yet he is utterly alone: His devotion to his work costs him his…
Fiona Sampson is a leading British poet and writer, a Fellow of the Royal Society of Literature, awarded an MBE for services to literature. Published in thirty-seven languages, she’s the recipient of numerous national and international awards. Her twenty-eight books include the critically acclaimed In Search of Mary Shelley, and Two-Way Mirror: The life of Elizabeth Barrett Browning, and she’s Emeritus Professor of Poetry, University of Roehampton.
Drusilla Modjeska’s Stravinsky’s Lunch is an absolutely original study of art and life. Its starting and finishing points are the contrasting lives of two major Australian artists, Stella Bowen and Grace Cossington, born twelve months apart in the 1890s. Don’t be put off if you’ve never heard of them (though their work is wonderful). This brilliant book involves its author – and even the reader – in an untricksy but radical look at the self who makes.
A moving, deeply insightful study of two artists-both twentieth-century Australian women-who lived and worked in divergent realms
Drusilla Modjeska's title derives from an anecdote about the composer who, while creating a piece of music, ordered his family to remain silent while taking a meal with him-so Stravinsky could preserve his concentration on his work. Modjeska's book investigates the life patterns of women artists, most of whom have been unable to manage such a neat compartmentalization of daily life and creativity.
Stravinsky's Lunch tells the stories of two extraordinary women, both born close to the turn of the century in Australia…
