
The Rest Is Noise
Listening to the 20th Century
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Narrated by:
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Grover Gardner
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By:
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Alex Ross
About this listen
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. In addition, he was named a 2008 recipient of a MacArthur Foundation fellowship, given for achievements in creativity and potential for making important future cultural contributions.
©2007 Alex Ross (P)2007 Blackstone Audio, Inc.Listeners also enjoyed...
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Editorial reviews
Like the origins of a musical idea waiting to be developed through the course of symphony, Adrian Leverkühn, the titular musical genius of Thomas Mann's Doktor Faustus, foreshadows The Rest is Noise. Mann has Leverkühn attend a performance of Richard Strauss' Salome in 1906, the same event that opens The Rest is Noise. Alex Ross lists Leverkühn's fictional attendance along with that of the historically correct presence of Mahler, Puccini, Schoenberg, the cream of doomed European society - and the 17-year-old Adolf Hitler. in Mann's book, Leverkühn contracts syphilis around the same time from a prostitute who goes on to haunt his work; the implied germination of something dark and destructive - musically and historically - sets the tone for Ross' hugely ambitious book.
if writing about music is like dancing about architecture, Alex Ross, the classical music critic of the New Yorker, is Nureyev with a notebook. Critics may quibble with the lack of academic theory in his descriptions of music (in this regard, it's constructive to compare his book with Charles Rosen's The Classical Style), but he has an undeniable gift for enabling the reader to 'hear' the outline of the music he describes (or at least make them believe that is what they're hearing): "Strings whip up dust clouds around manic dancing feet. Brass play secular chorales, as if seated on the dented steps of a tilting little church...Drums bang the drunken lust of young men at the center of the crowd." Consequently, there are countless moments in this book where the temptation to download the music is overwhelming - clearly, copyright issues and running time barred inclusion of musical segments in this recording, and it's a tribute to Ross' style that this omission isn't a critical blow.
The author's forte - obsession, even - is to conjure up sweeping historical vistas and then focus in on the tiny details that bring biographies to life: Charles ives' stint as an insurance salesman, the discovery by Alban Berg's brother of the teddy bear as a marketable toy. Ross also likes to draw historical parallels between the careers of very different composers. However, comparisons with works outside the genre don't always convince of their relevance, for example Sibelius' 5th with John Coltrane's A Love Supreme. Everyone from Britten to Björk, Ellington to Einsturzende Neubauten is invoked, which is fun but can feel arbitrary. At these points, the listener is reminded of the author's other career as a prolific blogger - blog writing seems to invite a certain loftiness of authorial position from which vantage point sweeping generalisations are made; The Rest is Noise can occasionally fall into this trap. -Dafydd Phillips
Critic reviews
- National Book Critics Circle Award, Criticism, 2007
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Story
Jazz is a uniquely American art form, one of America's great contributions to not only musical culture, but world culture, with each generation of musicians applying new levels of creativity that take the music in unexpected directions that defy definition, category, and stagnation. Now you can learn the basics and history of this intoxicating genre in an eight-lecture series that is as free-flowing and original as the art form itself.
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A Disappointingly Distorted, Myopic View Of Jazz
- By Parallax View on 08-18-13
By: Bill Messenger, and others
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The Story of Music: From Babylon to the Beatles
- How Music Has Shaped Civilization
- By: Howard Goodall
- Narrated by: Simon Vance
- Length: 12 hrs and 9 mins
- Unabridged
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Music is an intrinsic part of everyday life, and yet the history of its development from single notes to multilayered orchestration can seem bewilderingly complex. In his dynamic tour through forty thousand years of music, from prehistoric instruments to modern-day pop, Howard Goodall leads us through the story of music as it happened, idea by idea, so that each musical innovation—harmony, notation, sung theater, the orchestra, dance music, recording—strikes us with its original force.
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Great intro to musc history
- By Enthusiast on 03-06-16
By: Howard Goodall
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Music Is History
- By: Ahmir Khalib Thompson, Questlove
- Narrated by: Questlove
- Length: 11 hrs
- Unabridged
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Best-selling author and Sundance award-winning director Questlove harnesses his encyclopedic knowledge of popular music and his deep curiosity about history to examine America over the past 50 years. Choosing one essential track from each year, Questlove unpacks each song’s significance, revealing the pivotal role that American music plays around issues of race, gender, politics, and identity.
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This would be better read than listened to
- By HomeChef on 11-05-21
By: Ahmir Khalib Thompson, and others
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Easily Slip into Another World
- A Life in Music
- By: Henry Threadgill, Brent Hayes Edwards
- Narrated by: Ron Butler
- Length: 12 hrs and 9 mins
- Unabridged
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Henry Threadgill has had a singular life in music. At 79, the saxophonist, flautist, and celebrated composer is one of three jazz artists (along with Ornette Coleman and Wynton Marsalis) to have won a Pulitzer Prize. In Easily Slip into Another World, Threadgill recalls his childhood and upbringing in Chicago, his family life and education, and his brilliant career in music.
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A brilliant, rich, inspiring book
- By Nina d'Alessandro on 02-25-25
By: Henry Threadgill, and others
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Every Good Boy Does Fine
- A Love Story, in Music Lessons
- By: Jeremy Denk
- Narrated by: Jeremy Denk
- Length: 13 hrs and 16 mins
- Unabridged
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In Every Good Boy Does Fine, renowned pianist Jeremy Denk traces an implausible journey. His life is already a little tough as a precocious, temperamental six-year-old piano prodigy in New Jersey, and then a family meltdown forces a move to New Mexico.
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Read by Denk, with music to illustrate examples
- By VT on 04-02-22
By: Jeremy Denk
What listeners say about The Rest Is Noise
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- Mary Ann
- 04-09-13
He Writes What He Cares About and So I Care
If you could sum up The Rest Is Noise in three words, what would they be?
How fusty old composers overcame life's vicissitudes to produce meaning in sound -- Alex Ross's prose makes his critical ear accessible to me. Walking in the park, listening to his words, I could almost hear the tension of the notes that made the first listeners uneasy.
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1 person found this helpful
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- PAUL
- 09-13-13
B-O-R-I-N-G!!!!!!!!!!!!
if it was intended to be a history book about music...for the general reader...it missed the mark by a mile....if you, like me, have absolutely zero knowledge about music....cannot play an instrument...don't know the difference between a sharp or a flat.....stay away from this book.....too technical for me....and I suspect the general public.
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- Windswept
- 01-16-09
Excellent for serious music enthusiasts
This book is an important contribution to writings and analyses of 20th century music. It deals largely with 'serious' musical art forms and does so, for the most part, in great depth. By providing the political and social backgrounds during the lives of some composer, Ross enriches the book with valuable contexts that help us to understand the music of each period. He continually makes interesting connections between each composer with both their peers and mentors, providing some astonishing insights that are not commonly known. Fascinating stuff! The period in Europe between 1900 and 1945 is most effectively delivered and illuminating, as is American art music in the 50's and 60's.
Ross is a wonderful writer who employs rich descriptive language and a nice balance between facts and occasional humorous antidotes. The narrator does a fine job of endeavoring to bring the text to life without letting too much unnecessary drama get in the way. It's a large book, and he moves it along at a good pace.
As already indicated by several other reviewers, this book is not for everyone. It would be particularly relevant to the serious music enthusiast, students and music educators, and arts historians. Recommended.
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9 people found this helpful
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- Neer
- 06-20-09
Solid and Fun Listening
This audiobook is to classical music what Bill Bryson's A Brief History on Nearly Everything is to Cosmology. If you enjoyed that work, you will enjoy this. It is packed with insight not only into the masterworks of classical music, but the lives of the composers, their unique relationships with each other, and the history of the time. Its brilliant, and I could not get enough. The narrator is a perfect complement to the book.
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4 people found this helpful
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- Benjamin
- 09-24-12
I'd Read Ross Even He Just Wrote Warning Labels
When I began reading this book I have to admit I was a bit disappointed. I had the mistaken impression that this was a history of music of the 20th century across all musical genres. It is not that. This book focuses on the history of classical music of the 20th century. It covers jazz, but only how jazz affected and was affected by classical music.
I had half a mind to forego reading the rest of it. Boy am I glad I didn't. I'll be frank, I don't have a particular driving interest in the classical music of the 20th century and even after reading the book, while I am better informed, I have not suddenly become a fan of the genre. It was worth it to read this book just to hear Ross string words together. This guy can write. I kept reading just to find out what chain of words he was going to use next. He's that good.
This is the kind of guy you would quote without attribution at a dinner party to set yourself apart as the most erudite person in the room. I'd give anything to be able to write like this. Ross has a 10th degree black belt in the English language; that's the bottom line.
One note I'd like to add as a point of critique about the format. This audio book would be so much better served if excerpts from the pieces of music being described could be inserted at the proper points. I get that this probably isn't possible with the licencing of some of the music, but it would certainly bring the audio book full circle. It would be the entire package. For all that Ross is a master of using English to describe music, when he tells me that Charlie Parker "scribbled lightning in the air," I like the sound of the words. But what does that sound like in music? This book is great, set it to music and it would be a masterpiece.
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16 people found this helpful
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- Sher from Provo
- 10-20-22
It’s a lot to take in.
I love learning more about any type of music, but the more modern music sometimes leaves me mystified. Call me old fashioned, but I like music that means something. I appreciate John Cage, Arnold Schoenberg and the rest of the gang, but I can’t wring any meaning out of their compositions. They don’t write things that I would play when I’ve had a tough day. I would like to hear something that is at least memorable or reproducible. Many of the composers mentioned here do write music like that, and I can get with that. It doesn’t have to be tonal, just understandable.
It seems weird to me that many so called straight line composers such as Beethoven or Liszt were thought of as “way out there” in their time, but even weirder to think that someday people will look at a lot of this incomprehensible (to me) music and wonder why we couldn’t see the beauty of it and love it. So the world goes.
I have bachelor’s and master’s degrees in music and even at that, this book was hard to keep up with. If you don’t have some pretty good understanding of music and music history, don’t waste your time. It will bury you.
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- Jonathan
- 02-07-08
Disconnected series of factoids
I was really looking forward to this book, but it was impossible to get into. There really is no theme whatsover to each chapter. It's a laundry list of "interesting" facts that the author managed to unearth--the type of stuff you would hear an obnoxious music enthusiast using to try to impress people at a cocktail party.
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13 people found this helpful
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- Priscilla
- 03-31-09
The best book I've "read" on the subject
Being a music student, I am surrounded by information on my obsession of choice. However, I find that it is difficult to find good sources for more contemporary music development, style and history. This book provides more than an overview, as it carefully delves into nearly every imaginable aspect of western music in the last century.
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7 people found this helpful
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- Shelby
- 11-01-18
Great, entertaining and very informative
But, The chapter on Brittin felt hella too long. Overall great though. Thanks for the knowledge
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- Placeholder
- 11-22-15
Excellent in all respects
What did you love best about The Rest Is Noise?
A superb combination of history, biography and musical analysis
What was one of the most memorable moments of The Rest Is Noise?
The extent to which the US government, in Germany after WW II, used music to shape the culture away from Aryan extremism.
Which character – as performed by Grover Gardner – was your favorite?
No characters, a nice piece of non-fiction. He's got a great, and well measured voice. Really appreciated it.
If you were to make a film of this book, what would the tag line be?
Not sure one would be made but how about Jazzing up the Repertory.
Any additional comments?
If you've got half an ear for classical music and haven't caught on to modernism (which is almost 100 years old now) this is the book for you. You'll refer back to it many times.
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