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  <id>2993949</id>
  <title><![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]></title>
  <isbn><![CDATA[184115475X]]></isbn>
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  <description><![CDATA[Anyone who has ever gamely tried and failed to absorb, enjoy, and--especially--understand the complex works of Schoenberg, Mahler, Strauss, or even Philip Glass will allow themselves a wry smile reading <em>New Yorker</em> music critic Alex Ross's outstanding <em>The Rest Is Noise</em>. Not only does Ross manage to give historical, biographical, and social context to 20th-century pieces both major and minor, he brings the scores alive in language that's accessible and dramatic.<br/><br/>Take Ross's description of Schoenberg's Second Quartet, &quot;in which he hesitates at a crossroads, contemplating various paths forming in front of him. The first movement, written the previous year, still uses a fairly conventional late-Romantic language. The second movement, by contrast, is a hallucinatory Scherzo, unlike any other music at the time. It contains fragments of the folk song 'Ach, du lieber Augustin'--the same tune that held Freudian significance for Mahler. For Schoenberg, the song seems to represent a bygone world disintegrating; the crucial line is 'Alles ist hin' (all is lost). The movement ends in a fearsome sequence of four-note figures, which are made up of fourths separated by a tritone. In them may be discerned traces of the bifurcated scale that begins Salome. But there is no longer a sense of tonalities colliding. Instead, the very concept of a chord is dissolving into a matrix of intervals.&quot;<br/><br/>Armed with such a detailed aural roadmap, even a troglodyte--or a heavy metal fan--can explore these pivotal works anew. But it's not all crashing cymbals, honking tubas, and somber Germans stroking their chins. Ross also presents the human dramas (affairs, wars, etc.) behind these sweeping compositions while managing, against the odds, to discuss C-major triads, pentatonic scales, and B-flat dominant sevenths without making our eyes glaze over. And he draws a direct link between the Beatles and Sibelius. It's no surprise that the <em>New York Times</em> named <em>The Rest Is Noise</em> one of the 10 Best Books of 2007. Music nerds have found their most articulate valedictorian. <em>--Kim Hughes</em>]]></description>
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        <name><![CDATA[Alex  Ross]]></name>
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      <review>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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  <average_rating>4.22</average_rating>
  <ratings_count>724</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
  <published>2007</published>
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    <rating>4</rating>
  <votes>6</votes>
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  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Tue Jan 01 00:00:00 -0800 2008</read_at>
  <date_added>Tue Jan 01 19:47:32 -0800 2008</date_added>
  <date_updated>Fri Jan 18 06:18:29 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[This book took me way too long to read, which is a little strange because I found it very interesting and quite inspiring.  I'm tempted to give it five stars, but I'm too much of a dilettante when it comes to cough, <em>serious</em> music to  not necessarily take everything that the author is saying at face ...<a href="http://www.goodreads.com/review/show/11417702">more...</a>]]></body>
    
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</review>
      <review>
  <id>11211519</id>
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    <name><![CDATA[Gary]]></name>
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    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
  <published>2007</published>
</book>

    <rating>5</rating>
  <votes>4</votes>
  <spoiler_flag>false</spoiler_flag>
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  <recommended_for><![CDATA[cultural creatives, anyone interested in 20th century music / art]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Mon Jan 01 00:00:00 -0800 2007</read_at>
  <date_added>Sat Dec 29 07:43:03 -0800 2007</date_added>
  <date_updated>Sat Dec 29 07:52:02 -0800 2007</date_updated>
  <read_count></read_count>
    <body><![CDATA[alex ross is one of the few remaining music critics for a major american periodical (there used to be many more, but it's a dwindling profession/art), in his case, <em>the new yorker</em>.  he attends a concert more than once if possible, with the score and without, in order to both understand the music <em>and</em> ...<a href="http://www.goodreads.com/review/show/11211519">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/11211519]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/11211519]]></link>
</review>
      <review>
  <id>9264688</id>
    <user>
    <id>133661</id>
    <name><![CDATA[Tosh]]></name>
    <location><![CDATA[Los Angeles, CA]]></location>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
  </title>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
  <published>2007</published>
</book>

    <rating>4</rating>
  <votes>4</votes>
  <spoiler_flag>false</spoiler_flag>
  <shelves>
        <shelf name="read" />
          </shelves>
  <recommended_for><![CDATA[the music adventurer and who credit at Amoeba Music]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Mon Jan 28 00:00:00 -0800 2008</read_at>
  <date_added>Sun Nov 18 06:35:03 -0800 2007</date_added>
  <date_updated>Mon Jan 28 20:56:23 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[Alex Ross' wonderful trip to the 20th Century via the world of classical music and it's composers.  As I mentioned I had very little knowledge of classical music  - especially modern.  I knew Glass, Reich, Satie, but overall this is pretty much a new world music wise.<br/><br/>Saying that this is ...<a href="http://www.goodreads.com/review/show/9264688">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/9264688]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/9264688]]></link>
</review>
      <review>
  <id>39271220</id>
    <user>
    <id>192027</id>
    <name><![CDATA[Bob]]></name>
    <location><![CDATA[Duluth, MN]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/192027-bob-king]]></link>
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  <isbn>0374249393</isbn>
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  <text_reviews_count type="integer">204</text_reviews_count>
  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
  </title>
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  <link>http://www.goodreads.com/book/show/392563.The_Rest_Is_Noise_Listening_to_the_Twentieth_Century</link>
  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
  <published>2007</published>
</book>

    <rating>4</rating>
  <votes>3</votes>
  <spoiler_flag>false</spoiler_flag>
  <shelves>
        <shelf name="read" />
          </shelves>
  <recommended_for><![CDATA[]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at></read_at>
  <date_added>Thu Dec 04 05:28:21 -0800 2008</date_added>
  <date_updated>Fri Dec 05 09:32:10 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[I heard many positive comments on this book, and being a lover of contemporary classical music, finally picked up a used copy. What's unique about the writing is that Ross mixes in just the right amount of historical context to the lively music scene of the past hundred years. You get into the heads...<a href="http://www.goodreads.com/review/show/39271220">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/39271220]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/39271220]]></link>
</review>
      <review>
  <id>11737936</id>
    <user>
    <id>746684</id>
    <name><![CDATA[Joe]]></name>
    <location><![CDATA[The United States]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/746684-joe]]></link>
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  <isbn>0374249393</isbn>
  <isbn13>9780374249397</isbn13>
  <text_reviews_count type="integer">204</text_reviews_count>
  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
  </title>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
  <published>2007</published>
</book>

    <rating>4</rating>
  <votes>3</votes>
  <spoiler_flag>false</spoiler_flag>
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        <shelf name="read" />
          </shelves>
  <recommended_for><![CDATA[]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Thu Nov 01 00:00:00 -0700 2007</read_at>
  <date_added>Sat Jan 05 16:31:41 -0800 2008</date_added>
  <date_updated>Sat Jan 05 16:46:01 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[I began this book almost wholly ignorant of most of its central figures.  I knew that &quot;twelve-tone music&quot; was something controversial and supposedly inaccessible, but I didn't know what it was or if I'd ever heard any.  So there may be major composers skipped, controversies skirted, opinio...<a href="http://www.goodreads.com/review/show/11737936">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/11737936]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/11737936]]></link>
</review>
      <review>
  <id>10747312</id>
    <user>
    <id>291009</id>
    <name><![CDATA[Alex]]></name>
    <location><![CDATA[The United States]]></location>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
  </title>
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  <average_rating>4.22</average_rating>
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    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
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    <rating>4</rating>
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  <read_at>Thu Nov 01 00:00:00 -0700 2007</read_at>
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    <body><![CDATA[Ross, whose articles in the New Yorker I have followed religiously for years, and continue to anticipate with a zeal otherwise reserved for The Wire, delivers a multi-layered and exhaustively researched portrait of a century's music and its reception.  His account includes not only a collection of n...<a href="http://www.goodreads.com/review/show/10747312">more...</a>]]></body>
    
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      <review>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
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    <body><![CDATA[This ambitious, thrilling guide to notational music in the twentieth century admirably succeeds in its many goals. Alex Ross, recent recipient of a MacArthur &quot;Genius&quot; Grant, is an accomplished music critic of the New Yorker. He maintains one of the most readable blogs on the internet: <a rel="nofollow" target="_blank" href="http://www.therestisniose.com.">http://www.therestisniose.com.</a>...<a href="http://www.goodreads.com/review/show/51033512">more...</a>]]></body>
    
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      <review>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
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    <rating>4</rating>
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  <read_at>Thu Nov 06 00:00:00 -0800 2008</read_at>
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  <date_updated>Thu Nov 06 15:55:31 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[This is a fantastic book for the most part.  <br/><br/>Beginning with Mahler and Richard Strauss, Ross brings the century's greatest composers and their works to life.  The book is part musical criticism, part history, telling the major events of the Twentieth Century through the accompanying soun...<a href="http://www.goodreads.com/review/show/32764979">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/32764979]]></url>
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      <review>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
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    <rating>5</rating>
  <votes>1</votes>
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  <read_at>Sun Apr 19 16:02:51 -0700 2009</read_at>
  <date_added>Sat Apr 26 12:30:12 -0700 2008</date_added>
  <date_updated>Sun Apr 19 16:02:51 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[Alex Ross is, in my opinion, one of the better writers for <em>The New Yorker</em>.  This history of 20th-century art music is quite a feat: how to make some of the world's most difficult music accessible and understandable to the average music fan?  <br/><br/>Really, even though Ross' ability to describe ...<a href="http://www.goodreads.com/review/show/21042756">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/21042756]]></url>
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      <review>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
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  <read_at>Tue Mar 18 00:00:00 -0700 2008</read_at>
  <date_added>Sat Mar 22 14:17:48 -0700 2008</date_added>
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  <read_count></read_count>
    <body><![CDATA[As a music major, I studied 20th century classical music.  However, it seemed to be placed at the end of the music history courses as kind of a novelty.  The dark plots of the 20th century operas were marveled at.  We thought that Harry Partch's 43 note scale was interesting, but never really consid...<a href="http://www.goodreads.com/review/show/18394744">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/18394744]]></url>
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      <review>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
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  <read_at>Thu May 08 00:00:00 -0700 2008</read_at>
  <date_added>Tue Oct 30 10:45:15 -0700 2007</date_added>
  <date_updated>Thu May 08 08:23:19 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[This is a truly amazing critical and historical survey of &quot;classical&quot; or &quot;composed&quot; music in the 20th century by an author conversant in both the &quot;high art&quot; of the European composers and their progeny, and the ragtime, jazz, folk, rock, and hip-hop music that informed a...<a href="http://www.goodreads.com/review/show/8439541">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/8439541]]></url>
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  <average_rating>4.22</average_rating>
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    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
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    <rating>4</rating>
  <votes>1</votes>
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  <read_at>Sat Dec 01 00:00:00 -0800 2007</read_at>
  <date_added>Sat Dec 15 21:48:56 -0800 2007</date_added>
  <date_updated>Sat Dec 15 21:49:00 -0800 2007</date_updated>
  <read_count></read_count>
    <body><![CDATA[Not sure what this book ultimately is - it's neither truly educational nor openly personal in approach. It's somewhere loose and in-between - like a series of magazine articles that each aims simply to be interesting more than anything else, often via flourishes that don't necessarily add up to anyt...<a href="http://www.goodreads.com/review/show/10489146">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/10489146]]></url>
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      <review>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
  </title>
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  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
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    <rating>4</rating>
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  <read_at>Sat Mar 01 00:00:00 -0800 2008</read_at>
  <date_added>Fri Mar 07 10:16:10 -0800 2008</date_added>
  <date_updated>Thu Mar 13 17:23:05 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[This one vacillates between a 3 and a 4.  When Ross talks about listening to the 20th century - he mean the WHOLE thing.  Everything from Strauss to the Velvet Underground.  He also includes quite a bit of theory behind the myriad of pieces he mentions.  I thought it was fine - if a bit overexplanat...<a href="http://www.goodreads.com/review/show/17240077">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/17240077]]></url>
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      <review>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
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  <read_at>Wed Feb 13 00:00:00 -0800 2008</read_at>
  <date_added>Tue Feb 05 07:16:49 -0800 2008</date_added>
  <date_updated>Wed Feb 13 07:54:09 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[A captivating history on 20th Century classical music. It is sure to provoke a certain nostalgia for your favorite classical pieces. Holst is but a line mention but I immediately put in &quot;Jupiter.&quot; By and large this book will greatly flesh out what knowledge you already of have of 20th Cent...<a href="http://www.goodreads.com/review/show/14611991">more...</a>]]></body>
    
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      <review>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
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    <rating>5</rating>
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  <date_added>Tue Dec 02 10:21:00 -0800 2008</date_added>
  <date_updated>Tue Dec 02 10:21:19 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[This ranks with some of the best non-fiction for laymen out there (much of which is written by John McPhee.)<br/><br/>A glut of information, generously larded through with singular anecdotes and quotes, surrounded by the obvious and intense love for the subject felt by Alex Ross.<br/><br/>In som...<a href="http://www.goodreads.com/review/show/39115820">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/39115820]]></url>
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      <review>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
  <published>2007</published>
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  <read_at>Sat May 30 00:00:00 -0700 2009</read_at>
  <date_added>Thu Sep 10 20:01:31 -0700 2009</date_added>
  <date_updated>Thu Sep 10 20:04:12 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[Alex Ross’ <u>The Rest is Noise</u> is a more or less chronological narrative of 20th century classical music, beginning with Richard Strauss and more or less ending with John Adams.  Initially culled from Ross’ various <em>New Yorker</em> essays, concert reviews, and liner notes, Ross has done a nice job of se...<a href="http://www.goodreads.com/review/show/70796679">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/70796679]]></url>
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</review>
      <review>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
  <published>2007</published>
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  <read_at>Thu Jul 09 00:00:00 -0700 2009</read_at>
  <date_added>Thu Jul 09 21:08:07 -0700 2009</date_added>
  <date_updated>Thu Jul 09 21:19:03 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[	One’s ignorance -- one being the hodge-podge listener of all musics obviously known and rarely rare -- that ignorance smacks right up against this book, which blends interesting tidbits of ‘great man’ biography and historical watersheds with the motivations mysterious and crass whereby putati...<a href="http://www.goodreads.com/review/show/62865974">more...</a>]]></body>
    
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    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
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  <read_at>Thu Jan 01 00:00:00 -0800 2009</read_at>
  <date_added>Wed Apr 29 14:18:19 -0700 2009</date_added>
  <date_updated>Wed Apr 29 14:31:05 -0700 2009</date_updated>
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    <body><![CDATA[I was at odds when I started reading this book.  I felt that when I was in college attempting to become a musician, my interest in 20th century music was minimal. (note: NOT minimalist!)  Over the past few years however, my thoughts and ideas on music and shifted more toward the artists represented ...<a href="http://www.goodreads.com/review/show/54397403">more...</a>]]></body>
    
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      <review>
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  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
  </title>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
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    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
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  <date_updated>Mon Apr 20 05:21:31 -0700 2009</date_updated>
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    <body><![CDATA[A gigantic survey, with all the weaknesses of surveys: speed, superficiality, and the eventual creation of a vague hum in my head, as if I'd been listening to, rather than just reading about, all these works over the last two weeks, at high volume and through very large headphones. That having been ...<a href="http://www.goodreads.com/review/show/53319749">more...</a>]]></body>
    
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  <text_reviews_count type="integer">204</text_reviews_count>
  <title>
    <![CDATA[The Rest Is Noise: Listening to the Twentieth Century]]>
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  <average_rating>4.22</average_rating>
  <ratings_count>764</ratings_count>
  <description>
    <![CDATA[The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky&#8217;s <em>Rite of Spring </em>onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for <em>The New Yorker</em>, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life.<br/><br/><em>The Rest Is Noise </em>takes the reader inside the labyrinth of modern sound. 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.<br/><br/>Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler&#8217;s Germany and Stalin&#8217;s Russia to downtown New York in the sixties and seventies. We follow 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&#8217;s <em>The Embarrassment of Riches </em>and Louis Menand&#8217;s <em>The Metaphysical Club</em>, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.]]>
  </description>
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  <read_at>Wed Apr 15 00:00:00 -0700 2009</read_at>
  <date_added>Wed Apr 15 07:14:30 -0700 2009</date_added>
  <date_updated>Wed Apr 15 07:17:04 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[The great charm of this book comes from the way Ross ties together the work, the lives of the composers, and the general trends in history  much in the way Kenneth Clark did in <strong>Civilisation</strong>, the great art history book (and TV series) of my youth.<br/><br/>The sections on music under Stalin and Hit...<a href="http://www.goodreads.com/review/show/52761817">more...</a>]]></body>
    
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