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How Music Works – tekijä: David Byrne
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How Music Works (alkuperäinen julkaisuvuosi 2012; vuoden 2017 painos)

– tekijä: David Byrne (Tekijä)

JäseniäKirja-arvostelujaSuosituimmuussijaKeskimääräinen arvioMaininnat
9752016,089 (3.91)40
The Rock-and-Roll Hall of Fame inductee and co-founder of Talking Heads presents a celebration of music that offers insight into the roles of time, place and recording technology, discussing how evolutionary patterns of adaptations and responses to cultural and physical contexts have influenced music expression throughout history and culminated in the 20th century's transformative practices.… (lisätietoja)
Jäsen:levandoski
Teoksen nimi:How Music Works
Kirjailijat:David Byrne (Tekijä)
Info:Crown (2017), Edition: Illustrated, 384 pages
Kokoelmat:Oma kirjasto
Arvio (tähdet):
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How Music Works (tekijä: David Byrne) (2012)

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Näyttää 1-5 (yhteensä 20) (seuraava | näytä kaikki)
9/10

David Byrne provides some incredible insight and commentary on music in this book, and I say this as someone who isn't a fan of the Talking Heads. This is a surprisingly accurate title, as he goes over "how music works" in multiple ways. From theory, to history, to it's effect on evolution, to how scenes develop (like at CBGB's), to highlight various methods albums are recorded, to how record deals are made, to how touring works, to how collaboration and songwriting works, and everything in between. This book is incredibly researched, and provides a lot of insight, and provokes a lot of questions. ( )
  Andjhostet | Jan 11, 2021 |
Hay varios comentarios negativos sobre el libro porque David Byrne no explica realmente como funciona la musica en la forma que ellos imaginaban. No explica musicologia o la pasa muy de lado. Pero en cambio explica sobre el fenomeno economico y social de la musica contemporanea. Yo creo que tiene mas valor, al menos es algo que yo nunca habia leido antes. ( )
  trusmis | Nov 28, 2020 |
How Music Works by David Byrne This book covers the historical, social and political history of pop music. Maybe it's more than that too. It is also a meditation on who we are as a culture.
 
A progression from a time in history where everyone made their own music to the twentieth century where we all became passive consumers of music. How music went from being a shared participatory social experience to a solitary passive experience with headphones. How the advent of electricity and the time pressure of working in factories and offices changed  how we lived beyond all previous recognition.
 
The forces both social and financial that brought this about and how the money works.
How in the past musicians had been at the mercy of the large music labels. But now with the advent of cheap high quality recording equipment and the Internet as the delivery mechanism how that power balance has shifted and what that means both financially and socially.
 
He goes through the production costs of one of his albums and the income derived from that and though we imagine a luxurious lifestyle from large record sales it is indeed easy to go broke and not only make no money, but to end up millions of dollars debt to the recording labels.
 
Why the production of mega stars like Justin Beiber is such a necessity and why such "products" has very little to do with talent or skill and a lot to do with marketing.
 
He talks about various community based programs that teach kids how to make music and how in crime infested, gang dominated, slums these programs are actively turning kids away from that self destructive lifestyle and giving them some hope and ambition:
 
Maybe the most successful music education program in the world originated in a parking garage in Venezuela in 1975. It’s called El Sistema (the system), and it was begun by economist and musician José Antonio Abreu with just eleven kids. Having now produced high-level musicians, two hundred youth orchestras, 330,000 players, and quite a few conductors (Gustavo Dudamel was a product of this program), it is being adopted by countries all over the world.
 
As Abreu says, "Essentially this is a system that fights poverty… A child’s physical poverty is over-come by the spiritual richness that music provides". When asked if his music program was a vehicle for social change, he replied, “Without a doubt that is what is happening in Venezuela.” The kids who might otherwise feel that their options in life are extremely limited are passionate about the program. “From the minute a child is taught how to play an instrument, he is no longer poor. He becomes a child in progress, heading for a professional level, who’ll later become a citizen.
 
 
In other places he talks about the funding for music and how millions is poured into classical music but by comparison, community based schemes like the one above struggle for money. Inevitably he points to class and money and how classical music is perceived as "better" than other forms and how in America arms dealers, oil men and Swiss banks with dubious histories all gain "social kudos" by donating money to various orchestra and opera houses. As he points out about the composers whose music is played, "the ain't writing any new stuff".
 
Also consider this for a sobering thought: "As a result of the "No Child Left Behind" policy and its inherent emphasis on test scores, US schools gutted their arts programs by more than half in most states.
 
Makes you wonder what's happening here at home in NZ with National Standards.
David Byrne is a clever guy. He is intelligent, thoughtful and inventive. This book was everything that I imagined it to be and then a lot more than I imagined too. ( )
  Ken-Me-Old-Mate | Sep 24, 2020 |
In this book, former Talking Heads singer David Byrne talks about how music works in a variety of areas: neurologically (what makes us wired to appreciate music?), architecturally (what spaces have we constructed to optimize the music we like to listen to?), technologically (how do recording media influence the songs we write?), and structurally (what makes a song groovy?), among others. He talks not only of his own experiences, but of others' as well: for example, in the chapter about music distribution models, he shows a sliding scale of record-label involvement and talks about different artists using different models to suit their needs. I found some chapters more immediately interesting than others (the neuro and structural chapters leap to mind), but all of them had something worth pondering. It is a book you'll want to take your time with, though. ( )
  rabbitprincess | Aug 26, 2020 |
Read this from an artists point of view, not a musicians, but there were so many interesting parallels taken from it. Intriguing and intelligent, I discovered so much interesting music along the journey of this book; and rediscovered the Talking Heads all over again. ( )
  habeus | Jul 24, 2020 |
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The Rock-and-Roll Hall of Fame inductee and co-founder of Talking Heads presents a celebration of music that offers insight into the roles of time, place and recording technology, discussing how evolutionary patterns of adaptations and responses to cultural and physical contexts have influenced music expression throughout history and culminated in the 20th century's transformative practices.

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