Listen to This

Had I not read the author's "The Rest is Noise" before reading "Listen to This", I would probably have enjoyed "Listen" more and might given it four stars. But that's the problem with being the pretty good younger sibling of a dazzling first child: nobody judges you on your own merits. "Noise" is one of the few books that have really taught me a lot: it's also a beautifully written book, pulling the reader along without the effort usually entailed in learning a lot."Listen" isn't in the same league as "Noise". Now, before going further, I should say that it clearly was not intended to be. "Listen to This", as Ross says, "combines various New Yorker articles, several of them substantially revised, with one long piece written for the occasion." The articles cover a wide range of musical topics, ranging in time from the Renaissance to yesterday, and in genre from the most popular to the most intellectualized. There is little structural linkage between one article and another, and it probably doesn't matter much if you read them out of order.The articles are well worth reading, though some (not surprisingly) are on topics of more interest to this reader than others. But that is good feature in this sort of miscellany. Reading something about a musician or composer in whom the reader has absolutely no interest could (and in this case did) spark some interest, leading to a listen to one of the works in question, and to a broadening of horizons. The first essay is of particular interest. It traces a pair of musical figures through the whole history of "western" music. It is also demanding, whereas some of the other essays are the non-fiction equivalent of easy listening.As usual, Ross's writing is a delight; clear, supple, and unusually successful in conveying something about music (so much writing about music brings to mind the quote about dancing about architecture) Also, thanks and cheers for his website [...] where you can listen to the music he discusses in the book.In sum, this is a pleasant and perceptive collection of essays by a music critic who is always worth reading. Let's hope that something more major is waiting in the wings.

He had me at "national bombast, materialistic excess, and cultural bizarrerie"- with thoughts as well-formulated as that it will be a book I will look forward to reading; his thoughts transcend music- I just saw a 'thought-provoking' section at Barnes and Nobel, and this book should be placed front and center...He does lament the state of classical music in his preface- which may be a bit dated, or he hasn't been facing East considering what has been uploaded on Youtube recently (quite a direct social barometer)- it is plain to see (literally) that the Classical Baton has been passed from West to East- it has been taken up wholeheartedly and with a youthful, energetic, innocent enthusiasm never realized in the West- it is treated more like pop culture there (sans the gratuitous themes of decadence and death plaguing the West).I'm sure one of his purposes must be to bring relevance to classical music again, and to do that he had to explore the music that is currently relevant. He has a monumental task, for higher art in the West seems to be mired in glossy photos, receptions, and résumés, losing touch with the basic forces of (and fundamental reasons for) art, being more about the artist turning his back on the audience, and the audience is supposed to like it? Just what is going through the narcissistic minds of Western performers/composers these days? I'd say it verges on artistic cluelessness, and I am saying that angrily. He says today's composers hail from China, Estonia, Argentina, and Queens- as far as artistic relevance is concerned I would take that to a much further extreme...Like I said, thought-provoking, and I'll add stirring...

Alex Ross is a stellar writer, and I'm willing to bet he's a great musician, too.This book of essays is based on articles he wrote for the New Yorker and the New York Times from the late 1990's, until 2011. The essays cover everything from the musical history of the descending chromatic bass line (also known as the "lament," and "the walking blues"), to Bjork and Radiohead, and Bach, Brahms, and Bob ... as in Bob Dylan. Along the way, Mr. Ross captures the many ways music communicates deeper emotions than can be expressed in words, as in his description of Peter Lieberson's song for his dying wife, Lorraine Hunt Lieberson, "Sonnet XCII."As with Mr. Ross's previous work, "The Rest if Noise," I have nothing but superlatives. If you love music, you'll want to read this book.

I bought this book to assign chapters to students for an introductory Music 101 class. Many of the chapters -- especially 1 and 3 -- are excellent for a course of this kind. Writings by Alex Ross are intellectual enough to be rigorous for a college course (or an intelligent lay-reader), but accessible enough that students/readers are never confused by musical jargon. That said, for those who want to read the book from beginning to end, it's not cohesive like "The Rest is Noise" -- just a scattered collection of New Yorker pieces.

I had to read this for a college level music class. I was skeptical about reading the title, but the book is amazing. Considering music is a very important part of my life, I look at all music differently from the material Alex discusses in this book. I'd recommend this book to anyone who likes to creatively look at all sides of music. Trust me when I say its worth the read.

This book so far has been a great read. Once again Alex Ross takes the reader beyond the music and words and bring us to a new level of understanding about music, he really opens us to many different generas of music that i have not listen to until reading this book. recommend reading, for music majors and for anyone that loves music

If you're buying the kindle version you're gonna have to do a lot of hunting on Youtube for the music mentioned but that kind of made it more fun.

The item had been thrown around and stored around heavy objects prior to shipping.I needed to give this item as a gift and it’s a little embarrassing, so I can’t now.Front, back and spine worn away and damaged. Looks like the book has been stored in a damp location too.

This book is a good follow-up for 'All the rest is noise'. Many of the concepts explained in the latter are developed in a series of articles compiled in the form of a book. Ross combines references to 20th century composers and classical performers with interesting analysis of 'popular' songwriters and singers. Very interesting and illustrative.

Wide-ranging, from Dylan (a particularly insightful essay) to the appeal of Verdi. The opening, autobiographical, piece tells the unusual story of a young man educated in classical music gradually perceiving the worth of popular music. 'I want to write about popular music as if it were classical and classical music as if it were popular.' Definitely the most thought-provoking critic currently writing about music.

I had only read the Preface and i wanted to know about Alban Beth's Lyric Suite . That is how good this book is. I think I will be a while reading this book. A valuable in site into works of the 20th Century.

Alex Ross on fine form again. If you liked The Rest Is Noise then you will love this as well.