100 books like What Charlie Heard

I’m always fascinated by the transformative moment – how and when people decide to use their voices for change.

Nina Simone’s musical talent was recognized early, and she faced discrimination early, too. As the Civil Rights Movement grew, Simone at first focused on building her career. Her transformative moment was born of rage at the murder of civil rights leader Medgar Evers and the Birmingham, Alabama, 16th Street Baptist Church bombing that killed four young girls and severely injured another.

Protest songs poured out of her, and she became the fearless voice of the Civil Rights Movement. Powerful and inspirational!

I love this book because it shows how a musical icon discovered and developed his own personal style.

Juan García Esquivel had a passion for music but no formal training. Without knowing the typical ways of arranging notes, Esquivel was free to experiment–and that made his work so unique that anyone hearing his music knew right away that he was the composer.

I think this book is great for showing the value of thinking differently. I also love the joyful illustrations inspired by ancient Mexican art.

This uplifting picture book biography inspired me!

Young Evelyn loved playing music, but at age 10, she suffered dramatic hearing loss. With encouragement from a music teacher, she learned to feel musical vibrations and embraced percussion. Facing discrimination because of her disability, she persisted–and won entrance to a top music school and eventually, worldwide recognition.

A feel-good, inspiring biography of courage and dedication that left me cheering for Evelyn and wanting to learn more about her music!

I shared books with children as an elementary librarian for 20 years, and I know what makes a great read-aloud!

This story about the guitar-picking little girl who grew up to inspire music legends like Chuck Berry, Elvis Presley, and Little Richard begs to be not read aloud, but performed! The energy in this picture book leaps off the page! Pair this with Rosetta’s music for an awesome listening and dancing session!

The Listening Book is about rediscovering the power of listening as an instrument of self-discovery and personal transformation. By exploring our capacity for listening to sounds of music, nature, and one’s own breathing, we can awaken and release our full creative powers. Mathieu guides the reader to hearing the connections between all sounds of music and everyday life. It is insightful and surprising to notice what is around us at any moment of the day and apply this heightened awareness to understanding and connecting with music listening or performance. This awareness can be neglected but applicable to connecting our inner soul with the outside world and to life. Brilliant illuminations from a genius composer, musician and teacher W.A. Mathieu. 

Having studied cello in Soviet Russia in the 1960s, Elizabeth Wilson used her extensive musical contacts to produce this unique study of Dmitri Shostakovich, one of the most innovative composers of the 20th century. Prompted by Wilson’s queries, family members, friends, fellow musicians, and other artists offered their recollections that might have otherwise been lost. Gathered together these testimonies offer a gripping picture of Shostakovich as an artist and a man. They describe his extraordinary successes and his struggles for survival and dignity during the brutal Stalinist purges and horrors of World War II. One of the most moving testimonies sheds light on the creation and the first performance of Shostakovich’s Symphony No.7 which, in the world of music, became a symbol of resistance to fascism and all forms of totalitarianism anywhere.

This book is from a series of books entitled Getting to Know the World’s Greatest Composers, which features many different composers. The books are easy to read and will be enjoyed by both younger readers and older readers alike. The cartoon-style artwork may look silly, but the material is informative. Music education would not be complete without some information on the composers who wrote the music. A great series!

Paganini is not one of the composers the author discusses. However, I consider Secret Lives an important book, simply because it “spills the beans” about a number of these giants.

Gioachino Rossini is portrayed with some of his numerous shortcomings (though Paganini’s dalliances achieved far more notoriety). I shall mention a few significant historical facts: (1) he and Paganini were very close friends, (2) Paganini wrote a set of brilliant variations, I Palpiti, based on an aria from Rossini’s opera, Tancredi, and (3) Paganini did indeed conduct the debut of another Rossini opera, Matilde di Shobran.

Secret Lives was also a source I tapped for some of the information I presented about composers (including, most notably, Richard Wagner)  in one of my own novels.

This book helped me understand the lives of young male jazz musicians in the early 20th century. A wacky, ecstatic, fragmented, kaleidoscopic, memoir—nostalgic always for Bloomington, Indiana, and his college days in the early 1920s. There Carmichael met his pals Monk and Bix, both of whom died too young. He dedicates the book to them and remembers them fondly. Monk, a surrealistic poet, and Bix, a great musical genius, they understood each other immediately. Bix responded to one of Monk’s poems saying, “I am not a swan.” There is a Dadaist flavor to Monk’s writing, as well as some of Hoagy’s: “The years had pants.” Intertwined with these memories is the slow, jerky progress of Carmichael’s journey from a would-be composer to a famous songwriter.

Bernard Herrmann is revered as one of the movies' greatest composers.

Imagine starting your Hollywood career with music for Citizen Kane!

He enjoyed a very productive 10-year relationship with director Alfred Hitchcock, which produced such masterpieces as Vertigo, Psycho, and North by Northwest; he also worked with Francois Truffaut on Fahrenheit 451, composed the original Twilight Zone theme, and capped his career with music for Martin Scorsese's Taxi Driver.

Yet he could be cantankerous and difficult, antagonizing both friends and colleagues with his temperamental behavior and insistence upon the highest standards of music and drama.

I love the fact that Smith writes as well about the music as he does about the composer, and the reader walks away knowing lots about both.