On 2010-02-05 Robert M. Burns, San Francisco wrote: The subject of the book is simply too vast, too complex, too faceted to write a simple book on 20th century serious (and even popular) music, and come away with a full understanding of the subject. Rather, Mr. Ross, who is without a doubt a very knowledgeable writer and critic, would have been much better served to break his tome up into smaller, more digestible and more complete accountings. It would have been wonderful to have a set of CDs included to hear for myself what he describes in words.
On the other hand, if one wants to see the progress of modern music, starting with Richard Wagner and those giants who followed him, this is the place to start one´s trek through the last 150 years of serious Western music. A good reading requires some minimal understanding of harmony, I believe.
In sum, I would think this book could be a great template for a college level music appreciation course. My particular difficulty was not being able to listen to Ross´s descriptions of various works, many of which I´ve heard and others which I have never had a chance to listen to. I found myself wanting to compare my own views with his. That is why this subject should better be taught in a classroom and not by simply picking up a book on the subject. This book is
. And summed up by saying Better than Good, But Not Great. Currently The Rest Is Noise: Listening to the Twentieth Century has an overall rating of 8 over 10.
The Rest Is Noise: Listening to the Twentieth Century can also be found in the following searches:
Picador claimed Winner of the 2007 National Book Critics Circle Award for CriticismA New York Times Book Review Top Ten Book of the YearTime magazine Top Ten Nonfiction Book of 2007Newsweek Favorite Books of 2007A Washington Post Book World Best Book of 2007In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler´s Germany and Stalin´s Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century´s most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music. Alex Ross, music critic for The New Yorker, is the recipient of numerous awards for his work, including two ASCAP Deems Taylor Awards for music criticism, a Holtzbrinck Fellowship at the American Academy in Berlin, a Fleck Fellowship from the Banff Centre, and a Letter of Distinction from the American Music Center for significant contributions to the field of contemporary music. Winner of the National Book Critics Circle AwardA Pulitzer Prize FinalistOne of the New York Times 10 Best Books of the YearA Washington Post Best Book of the YearA Time Magazine Best Book of the YearAn Economist Book of the YearA Fortune Magazine Top Book of the YearA Newsweek Favorite Book of the YearA New York Magazine Top 10 Book of the YearA Los Angeles Times Favorite Book of the YearA Slate Best Book of the YearA Christian Science Monitor Best Book of the YearShortlisted for the Samuel Johnson Prize for NonfictionWinner of the American Society of Composers, Authors and Publishers Deems Taylor AwardA Choice Outstanding Academic TitleWinner of The Guardian First Book Prize The Rest Is Noise shows the origin and enduring influence of modern sound on twentieth century life. It tells of maverick personalities who have resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with the purest beauty or battered them with the purest noise, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. Ross takes us from Vienna before the First World War to Paris in the twenties, from Hitler’s Germany and Stalin’s Russia to downtown New York in the sixties and seventies. He follows the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. In the tradition of Simon Schama’s The Embarrassment of Riches and Louis Menand’s The Metaphysical Club, the end result is a history of the twentieth century through its music. “The Rest Is Noise is a work of immense scope and ambition. The idea is not simply to conduct a survey of 20th-century classical composition but to come up with a history of that century as refracted through its music . . . With its key figures reappearing like motifs in a symphony, The Rest Is Noise is a considerable feat of orchestration and arrangement . . . a great achievement. Rilke once wrote of how he learned to stand ‘more seeingly’ in front of certain paintings. Ross enables us to listen more hearingly.”—Geoff Dyer, The New York Times “The Rest Is Noise is a work of immense scope and ambition. The idea is not simply to conduct a survey of 20th-century classical composition but to come up with a history of that century as refracted through its music . . . With its key figures reappearing like motifs in a symphony, The Rest Is Noise is a considerable feat of orchestration and arrangement . . . a great achievement. Rilke once wrote of how he learned to stand ‘more seeingly’ in front of certain paintings. Ross enables us to listen more hearingly.”—Geoff Dyer, The New York Times“In Ross’s book, by far the liveliest and smartest popular introduction yet written to a century of diverse music, history winds through the pages like those highway signs and mountains. We linger over some; others whiz by. For a dozen years or so Ross has been the catholic-minded critic for The New Yorker, writing about new music without a chip on his shoulder or a tone of condescension and not as a defensive apologist for a supposedly embattled culture—but instead fluently, as if taking for granted that new music were on its own terms every bit as relevant and vital as contemporary art or literature. His prose is notable in a discipline that frets too much about its obsolescence . . . When he writes his way, Ross leads you to imagine you really are, to borrow his subtitle, listening to the twentieth century.”—Michael Kimmelman, The New York Review of Books´What powers this amazingly ambitious book and endows it with authority are the author´s expansive curiosity and refined openness of mind.´—Jamie James, Los Angeles Times“An impressive, invigorating achievement . . . This is the best general study of a complex history too often claimed by academic specialists on the one hand and candid populists on the other. Ross plows his own broad furrow, beholden to neither side, drawing on both.”—Stephen Walsh, The Washington Post´Readers love The Rest Is Noise: Listening to the Twentieth Century by New Yorker critic Alex Ross. It was that most rare literary beast—both a lively read and an authoritative overview of a complex topic. In its sweep Ross´ book offered a bird´s-eye view of a massive arc of time and space that ranged from Imperial Vienna and Mahler´s monumental symphonies to Silicon Valley and John Adams´ ´Nixon in China.´´—Wynne Delacoma, Chicago Sun-Times´It would be hard to imagine a better guide to the maelstrom of recent music than Mr. Ross, who worked on this book for a decade. He has an almost uncanny gift for putting music into words. No other critic writing in English can so effectively explain why you like a piece, or beguile you to reconsider it, or prompt you to hurry online and buy a recording.´—The Economist ´Ross is a supremely gifted writer who brings together the political and technological richness of the world inside the magic circle of the concert hall, so that each illuminates the other.´—Lev Grossman, Time´[Ross] states that his subtitle is meant literally: ´this is the twentieth century heard through its music.´ He informs the reader that the book is the result of fifteen years of work as a music critic. He also occasionally reiterates the purpose of the book as the text unfolds, as, for example, then he writes that the book illuminates ´the
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