Here are 100 books that The Soundscape of Modernity fans have personally recommended if you like
The Soundscape of Modernity.
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I’m a historian of the senses. When I first traveled to the United States, I was fascinated and overwhelmed by the smell and sound of the streets entirely different from my hometown in Japan. Since then, every time I go abroad, I enjoy various sensory experiences in each country. The first thing I always notice is the smell of the airport which is different from country to country. We all have the senses, but we sense things differently—and these differences are cultural. I wondered if they are also historical. That was the beginning of my inquiry into how our sensory experience has been constructed and changed over time.
The Enlightenment is often associated with intellectual changes. But the book sheds a new light on this “Age of Reason” by showing how emotions and feelings played a crucial role in this intellectually and sensorially dynamic period. Purnell tells this change by providing many interesting, and funny, episodes. My favorite, among others, is the seventeenth-century vogue for perfumes made of the excretions of the civet cat or the musk deer, and it was only in the mid-eighteenth century that floral scents became popular. This shift had to do with people’s ideas about health, cleanliness, and naturalness that changed over time. You will learn how and why people in the eighteenth and nineteenth centuries thought about the senses, how they experience their sensory world, and how our sensory experience came about over the course of a few hundred years.
Blindfolding children from birth. Playing a piano made of live cats. Using tobacco to cure drowning. Wearing "flea"-coloured clothes. These actions seem odd to us but in the eighteenth century they made sense.
As Carolyn Purnell persuasively shows, while our bodies may not change dramatically, the way we think about the senses and put them to use has been rather different over the ages. Journeying through the past three hundred years, Purnell explores how people used their senses in ways that might shock now. Using culinary history, fashion, medicine, music and many other aspects of Enlightenment life, she demonstrates that,…
I’m a historian of the senses. When I first traveled to the United States, I was fascinated and overwhelmed by the smell and sound of the streets entirely different from my hometown in Japan. Since then, every time I go abroad, I enjoy various sensory experiences in each country. The first thing I always notice is the smell of the airport which is different from country to country. We all have the senses, but we sense things differently—and these differences are cultural. I wondered if they are also historical. That was the beginning of my inquiry into how our sensory experience has been constructed and changed over time.
Why do certain tunes become popular and others fail? What is music that sells? In Selling Sounds, Suisman explains how the music industry has shaped the culture of listening to music and how they capitalized on it, creating an entirely new music culture in the early-twentieth-century United States. This emergence of the music industry and culture involved not just the creation of novel sounds by a genius musician, but rather commercial, technological, and cultural changes, which are still with us today.
From Tin Pan Alley to grand opera, player-pianos to phonograph records, David Suisman's "Selling Sounds" explores the rise of music as big business and the creation of a radically new musical culture. Around the turn of the twentieth century, music entrepreneurs laid the foundation for today's vast industry, with new products, technologies, and commercial strategies to incorporate music into the daily rhythm of modern life. Popular songs filled the air with a new kind of musical pleasure, phonographs brought opera into the parlor, and celebrity performers like Enrico Caruso captivated the imagination of consumers from coast to coast. "Selling Sounds"…
I’m a historian of the senses. When I first traveled to the United States, I was fascinated and overwhelmed by the smell and sound of the streets entirely different from my hometown in Japan. Since then, every time I go abroad, I enjoy various sensory experiences in each country. The first thing I always notice is the smell of the airport which is different from country to country. We all have the senses, but we sense things differently—and these differences are cultural. I wondered if they are also historical. That was the beginning of my inquiry into how our sensory experience has been constructed and changed over time.
I like the smell of rain. But I can’t explain what it actually smells like. Afterall, olfactory sensation is the “mute sense”—the one without words. To describe a certain smell, you are most likely using a metaphor like rosy smell or vanilla-like smell. Not only does smell have few words to describe it, but it is also a sensation with still a lot unknown. Barwich’s Smellosophyis a fascinating combination of science, philosophy, and history to explore the importance of this mysterious sensation in our society. While digging into philosophical and historical questions to explore how people in the past thought about the perception of smell, Barwich also interviews neuroscientists, perfumers, and chemists to explore how the modern science, as well as industry, is trying to figure out what the nose tells the brain and how the brain understands it.
"Offers rich discussions of olfactory perception, the conscious and subconscious impacts of smell on behavior and emotion." -Science
Decades of cognition research have shown that external stimuli "spark" neural patterns in particular regions of the brain. We think of the brain as a space we can map: here it responds to faces, there it perceives a sensation. But the sense of smell-only recently attracting broader attention in neuroscience-doesn't work this way. So what does the nose tell the brain, and how does the brain understand it?
I’m a historian of the senses. When I first traveled to the United States, I was fascinated and overwhelmed by the smell and sound of the streets entirely different from my hometown in Japan. Since then, every time I go abroad, I enjoy various sensory experiences in each country. The first thing I always notice is the smell of the airport which is different from country to country. We all have the senses, but we sense things differently—and these differences are cultural. I wondered if they are also historical. That was the beginning of my inquiry into how our sensory experience has been constructed and changed over time.
Kiechle’s Smell Detectiveshows how smell, the mute sense, has been in fact quite “talkative.” By going back to the nineteenth-century United States, the book discusses how cities back then smelled and how people living there reacted to it. Olfaction is actually a critical source of knowledge. Smell can tell you a lot about your surrounding environment and other people. It also gives historians clues to understand how people lived in the past. Moreover, smell, like other senses, is not a simply subjective, biological phenomenon. Sensations we experience change over time—imagine smell and sounds on the street today and hundred years ago. It is also cultural and political, too. How people understand certain sensations is a historical product—a certain “bad” small was racialized and associated with a lower class, for example. This book is an excellent way to “sniff” out the history of the senses.
What did nineteenth-century cities smell like? And how did odors matter in the formation of a modern environmental consciousness? Smell Detectives follows the nineteenth-century Americans who used their noses to make sense of the sanitary challenges caused by rapid urban and industrial growth. Melanie Kiechle examines nuisance complaints, medical writings, domestic advice, and myriad discussions of what constituted fresh air, and argues that nineteenth-century city dwellers, anxious about the air they breathed, attempted to create healthier cities by detecting and then mitigating the most menacing odors.
Medical theories in the nineteenth century assumed that foul odors caused disease and that…
Music is a major passion of mine. I’m highly involved in making and promoting independent music both locally and internationally via social media. The primary focus of all my endeavors is promoting a do-it-yourself ethos. Whenever I work with musicians, I’m always fascinated by how their creativity allows them to do a lot with a little. Hence, I suppose, the story of Frankie Lumlit. It’s a story about falling in love with music and finding a way to make it even when the world says no.
I knew that Phil Spector had a reputation for being mercurial (and that he was in prison for murder), but I never realized how off the rails he really was. I also never realized how many people he’d worked with—both as a producer and just as a guy who was trying to network his way into the business. I knew about his “girl groups,” about his work with the Beatles and some of their solo projects, and about his work with the Ramones, but I didn’t realize that he was very good friends with Ahmet Ertegun of Atlantic Records and that he saw Berry Gordy of Motown as one of his biggest competitors. Overall, a bizarre, tragic life, but an interesting read with a lot of information about some of the big names in rock history that Spector encountered.
A stunning biography of "pure self-interest and cruelty, tempered only slightly by the great musical achievements of Mr. Spector's golden age in the early 1960s" (The New York Times).
He had a number one hit at eighteen. He was a millionaire with his own record label at twenty-two. He was, according to Tom Wolfe, “the first tycoon of teen.” Phil Spector owned pop music. From the Crystals, the Ronettes (whose lead singer, Ronnie, would become his second wife), and the Righteous Brothers to the Beatles (together and singly) and finally the seventies punk icons The Ramones, Spector produced hit after…
I've been passionate about music for almost my entire life. Jazz music in particular speaks to me but not just jazz. I love music, full stop. I really discovered jazz when I attended a jazz club workshop in London and there, I had to join in or leave. I chose to join in and since then I have never looked back. I was introduced to more jazz musicians and now write about music for three major columns as well as Readers’ Digest. My Women In Jazz book won several awards. I have been International Editor for the Jazz Journalist Association and had my work commissioned by the Library of Congress.
Howard Goodall is one of those authors who explains things incredibly clearly.
I found this book an eye-opener, a way into a deeper understanding of music, and a book to have by my side, to dip into whenever I needed to get an idea straight of understand a concept. Because he writes in such an accessible manner, the complexity of music becomes clearer. There are eye-opening facts, historical stories, and facts alongside well written and informative passages.
Music is an intrinsic part of everyday life, and yet the history of its development from single notes to multi-layered orchestration can seem bewilderingly complex.
In his dynamic tour through 40,000 years of music, from prehistoric instruments to modern-day pop, Howard Goodall leads us through the story of music as it happened, idea by idea, so that each musical innovation-harmony, notation, sung theatre, the orchestra, dance music, recording-strikes us with its original force. Along the way, he also gives refreshingly clear descriptions of what music is and how it works: what scales are all about, why some chords sound discordant,…
I’ve been playing and singing music since I was six, and my childhood dream was to become an orchestral cello player. Over the years, I learned a number of other instruments and studied music around the globe, yet I was always intrigued, even intimidated, by those who were able to compose. This list of books helps readers like me really get inside the heads of some of the greatest composers (and performers) of popular music in the 20th and 21st centuries. While many of my questions were answered, there remains a sense of mystery and wonder that even the artists themselves can’t always explain.
I fell in love with the music of Earth, Wind & Fire in college, and this autobiography by its founder, Maurice White, helped me realize why their music is so great.
I still feel such joy when I hear their music, combining lyrics about universal love and positivity with killer grooves. When you add Maurice White’s fascination with ancient Egypt and alien civilizations, you get a total package that’s hard to resist.
Foreword by Steve Harvey and afterword by David Foster
The Grammy-winning founder of the legendary pop/R&B/soul/funk/disco group tells his story and charts the rise of his legendary band in this sincere memoir that captures the heart and soul of an artist whose groundbreaking sound continues to influence music today.
With its dynamic horns, contrasting vocals, and vivid stage shows, Earth, Wind & Fire was one of the most popular acts of the late twentieth century-the band "that changed the sound of black pop" (Rolling Stone)-and its music continues to inspire modern artists including Usher, Jay-Z, Cee-Lo Green, and Outkast. At…
Music is a major passion of mine. I’m highly involved in making and promoting independent music both locally and internationally via social media. The primary focus of all my endeavors is promoting a do-it-yourself ethos. Whenever I work with musicians, I’m always fascinated by how their creativity allows them to do a lot with a little. Hence, I suppose, the story of Frankie Lumlit. It’s a story about falling in love with music and finding a way to make it even when the world says no.
Phil Ramone has been involved in producing records for some of the biggest acts in music, including Bob Dylan, Frank Sinatra, Ray Charles, and Paul Simon. Ostensibly, his book is about record production, but really it’s about people. Yes, Ramone worked with some big names over the course of his long career, but at the end of the day (as he emphasizes throughout the book), they’re all human beings, and while some degree of technical expertise is necessary when it comes to making music, what really matters is knowing how to talk to people. At the end of the day, making music is all about making human connections.
Sinatra. Streisand. Dylan. Pavarotti. McCartney. Sting. Madonna. What do these musicians have in common besides their super-stardom? They have all worked with legendary music producer Phil Ramone.
For almost five decades, Phil Ramone has been a force in the music industry. He has produced records and collaborated with almost every major talent in the business. There is a craft to making records, and Phil has spent his life mastering it. For the first time ever, he shares the secrets of his trade.
Making Records is a fascinating look "behind the glass" of a recording studio. From Phil's exhilarating early days…
Writing about history came to me rather late in life and I suppose it’s because the past now looks more inviting than the future. But there’s more to it than that. Everything has a history; it’s a bottomless topic. I became fascinated with the history of my own geographic environment and began exploring areas that were basically in my own backyard, which led to the inception of my first book. And, after years working as a graphic artist, I decided to help the narrative along by adding illustrations. A second book soon followed, then a third, a fourth, and now I’ve just finished my fifth book.
This is an absolute must for anyone interested in almost any musical genre.
Now in its fifth edition, it takes on the arduous task of sifting through the back stories of over 1,000 of the most familiar tunes through 500 years of musical history.
A more recent, albeit still antique reference, is the story of how “Jingle Bells” came to be, and the controversy regarding where it was actually, written; the snow-covered streets of Medford, Massachusetts, or the live oak-lined thoroughfares of Savanah, Georgia.
This classic, painstakingly researched compilation of music information, newly revised and enlarged, analyzes nearly 1,000 of the world's most familiar melodies, tracing them back to their original printed sources. Here in one convenient volume are the composers, lyricists, copyright date, first lines of music, lyrics, physical condition of first editions, and other data on a tremendous range of compositions, including We Shall Overcome, Haydn's Surprise Symphony, The Well-Tempered Clavier, There's No Business Like Show Business, Silent Night, Pictures at an Exhibition, Schubert’s Ave Maria, and many more. 30 black-and-white illustrations.
Laurie grew up in a rural community and had the good fortune of working with kind and dedicated teachers who were both skillful pedagogues and encouraging mentors. Their passion for quality teaching and high-level musicianship instilled in Laurie the powerful relationship between teaching and artistic performance. Cornelia dreamed of playing the cello beautifully but didn’t have a real teacher until she was twenty. While the work required relearning almost everything she thought she knew, she was old enough to observe her own transformation, guided by a thoughtful and dedicated teacher, and teaching and performing became the inseparable “two sides of the same coin.”They've worked together ever since, writing, teaching, presenting, and sharing great ideas.
The title clearly outlines the premise of the book, and it delivers what it promises.
Although these essays are related to teaching and learning music, the overarching principles are applicable to the development of any skill. Duke challenges any approach that would promote difficult over beautiful, or fast over meticulous, championing music teaching itself as an art.
We’ve read this book dozens of times, used it as a text for classes over the past 25 years, and included it on every suggested reading list that has anything to do with teaching and learning. If a reader takes time to deeply consider the messages in this book and put the recommended strategies into practice, the efficiency and effectiveness of every lesson will improve.
In this collection of insightful essays, the author describes fundamental principles of human learning in the context of teaching music. Written in an engaging, conversational style, the individual essays outline the elements of intelligent, creative teaching. Duke effectively explains how teachers can meet the needs of individual students from a wide range of abilities by understanding more deeply how people learn. Teachers and interested parents alike will benefit from this informative and highly readable book.
