How Music Works

I love the series [b:Coders at Work: Reflections on the Craft of Programming 6713575 Coders at Work Reflections on the Craft of Programming Peter Seibel https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1349026758l/6713575.SX50.jpg 6909460] and [b:Makers at Work: Folks Reinventing the World One Object or Idea at a Time 18061116 Makers at Work Folks Reinventing the World One Object or Idea at a Time Steven Osborn https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1379334742l/18061116.SX50.jpg 25351521], where experts are interviewed about their craft, their love for it and their struggles along the way. This book feels similar in vein. David Byrne shares so much behind-the-scenes knowledge and stories about the music business, that this must be a inspiring and educational treasure trove for new artists. Besides the biographical aspect, this is also a fascinating book about the history of music itself. You learn about the many external influences that have shaped music and composition: how the acoustics of the performance environments for example favor certain instruments over other, and how every new recording or listening technology left their distinct mark on the mix and length of songs and records. Hoping I'll get an opportunity in my future to see Byrne perform live. He seems to have perfected the art of a good stage performance.

I'm a Talking Heads and David Byrne fan so naturally I was interested in his thoughts on music in general. This is a collection of chapters on topics from performance to recording technology to the business and trends surrounding music. As he said in the intro, you could read them in any order.I enjoyed the book for the most part. I have to admit there were certain parts that didn't hold my interest and I found them highly skimmable. He's clearly very intelligent and knowledgeable about the history and science behind making and selling music. This isn't really about promoting himself and his records. Though he does talk about Talking Heads and his other projects, it's mostly to show examples of firsthand experience. The first chapter discussed the idea that context determines what type of music is created. For instance, he brings up the way certain types of music developed to suit particular venues, (outdoors, in caves, opera houses, cathedrals). He also writes about music created for dancing, such as Jazz improvisation which is adapted to accommodate dancers who want to keep moving to a particular section. Players jam over chords while playing the same groove. Country, Latin, blues, and rock and roll is music to dance to and had to be loud enough to be heard above the chatter. This was something I hadn't thought of before and this chapter was well done.One of my favorite quotes in the book was from the chapter on live performance and how performers can give indications during a performance of what is about to happen (in a subtle way). “There are two conversations going on at the same time: the story and a conversation about how the story is being told.” He gives the example of horror films using ominous music which plays with audience expectations. But I think this could be applied to lots of types of art, including novels and stories. My favorite chapter was the one where he discusses amateur musicians and artists and funding for the arts. He makes some really good points about everyday people who are encouraged to consume rather than create and the way capitalism tends toward creating passive consumers. He continues to discuss funding for the arts is mostly limited to classical music and some types of Jazz are seen to have “moral value.” Hip-hop, club, and metal for example are considered to “lack positive moral essence.” Byrne wonders how we sense the moral value of the music; this is relative and subjective. Certain visual art is also seen as having moral value. He mentions John Carey's book, [b:What Good Are the Arts? 290215 What Good Are the Arts? John Carey https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348364628l/290215.SY75.jpg 281566], which illustrates how officially sanctioned art and music gets privileged and concludes that assigning moral acuity to those that like high art is class-based. Opera halls, ballets, art museums receive more funding and not just from the government. Why not fund venues where young, emerging, semi-amateur musicians can make and perform music instead of “building a fortress to preserve its past?” Good book for fans of Byrne but also for amateur musicians and music fans.

It has a lot of interesting, provocative ideas, but also a lot of equivocating and repetition.

This is a curates egg. Good in parts.

I really enjoyed the introductory sections on how constraints effect the form and content of music. The how to guide on recording is also fascinating.

Unfortunately it gets metaphysical and sucks quite a bit towards then end. Worth picking out the good bits.

a revelation

Brillante análisis de la música a cargo de David Byrne. Exactamente que analiza? TODO. Desde su aspecto histórico y cultural, pasando por lo económico, lo técnico, lo humano, los músicos, sus instrumento, su público. Ninguna piedra queda sin revisar en esta hermosa pieza de literatura, plagada de frases y conceptos dignos de ser tatuados en cualquier espalda. Si la palabra “rock” significa algo para vos, es una lectura imprescindible.