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rainbow1218's review
I do not have the music theory background at this time to enjoy the book
bpicillo's review
4.0
(3.5/5) Helpful in connecting lots of dots in my modern musical knowledge. I often wasn't sure who this book was written for; most of it feels like it's for anyone interested in the topic but it does dive into music theory and analysis of works. It also wanders at time and sometimes loses track of the overall narrative. Still enjoyed it though.
blrosene's review
5.0
Extremely fun read, highly recommend. Very little, if any, knowledge of classical music required.
henrikhofgen's review against another edition
5.0
Every discipline deserves someone like Alex Ross. On every page you feel to joy of writing about one’s passion. And now we wait for his book on Mann…
rebcamuse's review
5.0
I was skeptical going in...not because I haven't enjoyed Alex Ross' writing in the New Yorker, but because good music criticism does not a music historian make. My doubts were unfounded. I took a risk and used this book as the text for my Music in the Twentieth Century course (for non-majors) and I'm never looking back.
Ross keeps a general chronological outline, but centers a century's worth of music around a political and artistic narrative. One of the more intriguing aspects is his use of Thomas Mann's Doctor Faustus as a recurring presence, drawing an inextricable link between compositional history and Faustian endeavors. However, in most cases, we see composers who battle with the Mephistopheles of totalitarianism not as raving lunatics, but as artists torn between their commitment to art and general survival.
The author is unafraid to talk about the actual music, painting vivid descriptions, and unfettering important musical concepts for a general audience. His free online audio guide is a beautiful supplement to his discussions in the book (and serves to fill in some of the necessary "gaps" ). Ross makes intriguing choices that run counter to traditional histories of twentieth century music (entire chapters devoted to Sibelius and Britten, for example), but makes a strong case for a socio-political approach rather than a canonical, or "great master" approach. Composers like Richard Strauss and Arnold Schoenberg are not confined to time frames, but reappear out of the tapestry when their music echoes in the ears of compositional trends.The twentieth century appears as a pre-existent soundscape, whose tones, rhythms, and harmonies are manipulated by the various composers traversing the various hills and streams of modernity.
Ross keeps a general chronological outline, but centers a century's worth of music around a political and artistic narrative. One of the more intriguing aspects is his use of Thomas Mann's Doctor Faustus as a recurring presence, drawing an inextricable link between compositional history and Faustian endeavors. However, in most cases, we see composers who battle with the Mephistopheles of totalitarianism not as raving lunatics, but as artists torn between their commitment to art and general survival.
The author is unafraid to talk about the actual music, painting vivid descriptions, and unfettering important musical concepts for a general audience. His free online audio guide is a beautiful supplement to his discussions in the book (and serves to fill in some of the necessary "gaps" ). Ross makes intriguing choices that run counter to traditional histories of twentieth century music (entire chapters devoted to Sibelius and Britten, for example), but makes a strong case for a socio-political approach rather than a canonical, or "great master" approach. Composers like Richard Strauss and Arnold Schoenberg are not confined to time frames, but reappear out of the tapestry when their music echoes in the ears of compositional trends.The twentieth century appears as a pre-existent soundscape, whose tones, rhythms, and harmonies are manipulated by the various composers traversing the various hills and streams of modernity.
eliza_bangert's review
5.0
I started this book in August... I would have finished it sooner, but it's kind of a heavy one to carry around on public transportation, which is when I do most of my reading.
Anyway, I really enjoyed it. Of all periods of music, the 20th century is my favorite, yet it's the only one I didn't take a class on during college or grad school (other than the general music history class). What I like the most about Ross' approach is how well he integrates happenings in the music world with the current events of the time. Not only does that help me understand the music better, but I've also gained a greater understanding of 20th century history in general.
I found the last two chapters to be the most interesting, and I wish he had actually spent a little more time covering music from the last 25 or 30 years. I enjoyed the parallels he draws between classical and pop music during this time.
Just yesterday I discovered that he's posted audio examples on his website (therestisnoise.com). This is a really great resource, and I wish I'd known about it when I started the book!
Anyway, I really enjoyed it. Of all periods of music, the 20th century is my favorite, yet it's the only one I didn't take a class on during college or grad school (other than the general music history class). What I like the most about Ross' approach is how well he integrates happenings in the music world with the current events of the time. Not only does that help me understand the music better, but I've also gained a greater understanding of 20th century history in general.
I found the last two chapters to be the most interesting, and I wish he had actually spent a little more time covering music from the last 25 or 30 years. I enjoyed the parallels he draws between classical and pop music during this time.
Just yesterday I discovered that he's posted audio examples on his website (therestisnoise.com). This is a really great resource, and I wish I'd known about it when I started the book!
carrieliza's review
4.0
Though I did find this book interesting, it took me forever to get through. I thought the sections dealing with music in and around Word War II were particularly well done, and I enjoyed reading about composers that I knew nothing about, but had played some of their work in band before. This book is a lot to take in, and while I don't think I'll be able to remember everything I read, some things will probably stick. I hope.