How Music Works (61 page)

338 | HOW MUSIC WORKS

4

Capturing Sound: How Technology Has Changed Music
, by Mark Katz, University of California Press,
2010, p. 70.

5

“What’s Wrong with Classical Music?” by Colin Eatock,
3 Quarks Daily,
October 4, 2010
.

www.3quarksdaily.com/3quarksdaily/2010/10/whats-wrong-with-classical-music.html.

6

Ibid.

7

What Good Are the Arts?
, by John Carey, Faber & Faber, 2005, p. 11.

8

Ibid, p. 97.

9

Ibid, p. 97
–
99.

10

Ibid, p. 101.

11

The Blockbuster attendance figures can be found here:
http://blogs.artinfo.com/

realcleararts/2011/08/08/wait-a-minute-further-thoughts-on-two-blockbuster-shows.

12

What Good Are the Arts?
by John Carey, Faber & Faber, 2005, p. 20–32.

13

Ibid, p. 25.

14

Ibid, p. 90.

15

Ibid, p. 60.

16

Ibid, p. 61.

17

Criticisms on Art,
by William Hazlitt
,
Nabu Press, 2011, p. 110.

18

Patronizing the Arts,
by Marjorie Garber, Princeton University Press, 2008, p. 52.

19

Ibid, p. 54.

20

“Design for Living,” by Paul Goldberger,
The New Yorker,
April 4, 2011.

21

What Good Are the Arts?
by John Carey, Faber & Faber, 2005, p. 132–133.

22

Perfecting Sound Forever: An Aural History of Recorded Music
, by Greg Milner, Faber & Faber, 2010, p. 119.

23

“A Metropolitan Opera High Note, as Donations Hit $182 Million,” by Daniel J.

Wakin,
The New York Times,
October 10, 2011.
www.nytimes.com/2011/10/11/arts/

music/metropolitan-operas-donations-hit-a-record-182-million.html?pagewanted=all.

DAV I D BY R N E | 339

24

“L.A. Opera’s ‘Ring’ cycle may be in the red,” by Mike Boehm,
Los Angeles Times
, May 29, 2010.
http://articles.latimes.com/2010/may/29/entertainment/la-et-ring-tickets-20100529.

25

“A Metropolitan Opera High Note, as Donations Hit $182 Million,” by Daniel J.

Wakin,
The New York Times,
October 10, 2011.
www.nytimes.com/2011/10/11/arts/music/

metropolitan-operas-donations-hit-a-record-182-million.html?pagewanted=all.

26

“Reader Response: Orchestras Are Overextended,” by Daniel J. Wakin,
The New York
Times
, April 22, 2011.
http://artsbeat.blogs.nytimes.com/2011/04/22/reader-response-orchestras-are-over-extended.

27

“Los galeones en el siglo XXI. El Roxy, un ejemplo de art deco tapatio,” in
Replicante
vol. 3, No. 12, Summer 2007.

28

What Good Are the Arts?
by John Carey, Faber & Faber, 2005, p. 40.

29

“Beyond Baby Mozart: Students Who Rock,” by David Bornstein,
The New York Times
, September 8, 2011.
http://opinionator.blogs.nytimes.com/2011/09/08/beyond-baby-mozart-students-who-rock.

30

“Rock Is Not the Enemy,” by David Bornstein,
The New York Times
, September 13, 2011.

http://opinionator.blogs.nytimes.com/2011/09/13/rock-is-not-the-enemy.

31

“Strings Attached: What the Venezuelans Are Doing for British Kids,” by Ed Vulliamy,
The Observer,
October 3, 2010.

32 Ibid.

33 Ibid.

34

“Let’s Get Serious About Cultivating Creativity,” by Steven J. Tepper & Georde D. Kuh,
The Chronicle of Higher Education,
September 4, 2011.
www.chronicle.com/article/Lets-Get-Serious-About/128843.

35

Musicophilia:
Tales of Music and the Brain
, by Oliver Sacks, Knopf, 2007, p. 102.

36

What Good Are the Arts?
, by John Carey, Faber & Faber, 2005.

37

“Transform Education? Yes, We Must,” by Sir Ken Robinson,
The
Huffington Post
, January 11, 2009.
www.huffingtonpost.com/sir-ken-robinson/transform-education-yes-w_b_157014.html.

38

The Thinking Ear: Complete Writing on Music Education,
by R. Murray Schafer, Arcana Editions, 1986, p. 246
–
48.

340 | HOW MUSIC WORKS

Chapter Ten:
Harmonia Mundi

1

Selected Essays and Readings: On the Origin of Music
, by Robert Fink, Greenwich Publishing, 2003.

2

The Secret Teachings of All Ages: An Encyclopedia Outline of Masonic, Hermetic,
Qabbalistic and Rosicrucian Symbolical Philosophy
, by Manly P. Hall, Jeremy P Tarcher/

Penguin, 2003, p. 252.

3

The Harmony of the World
, by Johannes Kepler, American Philosophical Society, 1997, p. 440.

4

“The Heliocentric Pantheon: An Interview with Walter Murch,” by Geoff Manaugh,
BLDG Blog
, April 2007.
http://bldgblog.blogspot.com/2007/04/heliocentric-pantheon-interview-with.html.

5

The Music of Pythagoras: How an Ancient Brotherhood Cracked the Code of the Universe
and Lit the Path from Antiquity to Outer Space
by Kitty Ferguson, Walker Publishing Company, 2008, p. 239.

6

“Ether Ore: Mining Vibrations in American Modernist Music,” by Douglas Kahn

in
Hearing Cultures: Essays on Sound, Listening and Culture
, Veit Erlmann, ed., Berg Publishers, 2004, p.127.

7

“In Search of Music’s Biological Roots,” by Ker Than,
Duke Magazine
vol. 94, No. 3, May
–
June 2008.
www.dukemagazine.duke.edu/issues/050608/music1.html.

8

“A Sonorous, Smiling City,” by Kerri MacDonald and Béatrice de Géa,
The New York
Times
, March 16, 2011.

9

“Cage’s Place in the Reception of Satie,” by Matthew Shlomowitz, 1999.
www.satie-archives.com/web/article8.html.

10

“Experimental Music,” by John Cage, statement given as an address to the convention of the Music Teachers National Association in Chicago in 1957.
www.kim-cohen.com/

seth_texts/artmusictheorytexts/Cage%20Experimental%20Music.pdf.

11

Outsider: John Rockwell on the Arts, 1967–2006
, 2006, Limelight Editions, p. 210.

12

“Experimental Music,” by John Cage, statement given as an address to the convention of the Music Teachers National Association in Chicago in 1957.
www.kim-cohen.com/

seth_texts/artmusictheorytexts/Cage%20Experimental%20Music.pdf.

DAV I D BY R N E | 341

s u g g e s t e d r e a d i n g

Chapter One:
Creation in Reverse

Campbell, Joseph,
The Hero With a Thousand Faces,
New World Library, 2008.

Lomax, Alan,
Folk Song Style and Culture
, Transaction Publishers, 1978.

Lomax, Alan; Paulay, Forrestine, directors,
Rhythms of Earth: The Choreometrics Films of Alan
Lomax and Forrestine Paulay
, NTSC, Media-Generation, 2008.

Chapter Two:
My Life in Performance

Tanizaki, Junichiro,
In Praise of Shadows,
Leete’s Island Books, 1977.

Rouget, Gilbert,
Music and Trance: A Theory of the Relations between Music and Possession,
University of Chicago Press, 1985.

PAJ: A Journal of Performance and Art
, originally called,
Performing Arts Journal
, often featured interviews with “experimental” theatrical artists such as Mabou Mines and Bob Wilson.

Artaud, Antonin
, The Theater and Its Double
, Grove Press, 1938.

Thompson, Robert Farris
, African Art in Motion,
University of California Press, 1979.

Canetti, Elias,
Crowds and Power,
Farrar, Straus and Giroux, 1984.

Goodman, Felicitas D.,
Speaking in Tongues: A Cross Cultural Study in Glossolalia
, University of Chicago Press, 1972.

Young, Neil; Crazy Horse,
Rust Never Sleeps
, LP, Reprise Records 1979.

Country Legends
, VHS, Hallway Entertainment Inc., 2000

Chapter Three:
Technology Shapes Music,
Analog

Eisenberg, Evan,
The Recording Angel
, Yale University Press, 2005

Erlmann, Veit, ed.,
Hearing Cultures: Essays on Sound, Listening and Modernity
, Berg Publishers, 2004.

Emmerson, Simon; Wishart, Trevor;, ed.,
On Sonic Art
, Hardwood Academic Publishers, 1996.

Katz, Mark,
Capturing Sound: How Technology Has Changed Music
, University of California Press, 2010.

Milner, Greg,
Perfecting Sound Forever: An Aural History of Recorded Music
, Faber & Faber, 2010.

Jones, George,
Anniversary: Ten Years of Hits
, CD, Sony, 1982.

Chapter Five:
In The Recording Studio

Emerick, Geoff; Massey, Howard,
Here There and Everywhere: My Life Recording the Music of the
Beatles,
Gotham, 2007.

Davis, Miles; Troupe, Quincy,
Miles: The Autobiography
, Simon & Schuster, 1990.

Chernoff, John Miller,
African Rhythm and African Sensibility
, University of Chicago Press, 1981.

33 1/3
(Thirty-Three and a Third) is a series of books written about music albums, featuring one author per album, published by Bloomsbury Publishing.

Godard, Jean-Luc, director,
Sympathy for the Devil
, film, 1968.

342 | HOW MUSIC WORKS

s u g g e s t e d r e a d i n g

Chapter Six:
Collaborations

Jacobs, Jane,
The Death and Life of Great American Cities
, Modern Library, 2011.

Eggers, Dave,
What is the What,
Vintage, 2007.

Mercado, Monina Allarye,
People Power: The Philippine Revolution of 1986: An Eyewitness History
, Writers & Readers, 1987.

Solnit, Rebecca,
A Paradise Built In Hell: The Extraordinary Communities That Arise in Disaster
, Viking, 2010.

Veloso, Caetano,
Tropical Truth: A Story of Music and Revolution in Brazil,
Da Capo Press, 2003.

Chapter Seven:
Business and Finances

Krasilovsky, M. William; Shemel, Sidney; and Gross, John M.,
This Business of Music
, Billboard Books, 2007.

Dannen, Fredric,
Hit Men: Power Brokers and Fast Money Inside the Music Business,
Vintage, 1991.

Stokes, Geoffrey,
Starmaking Machinery: The Odyssey of an Album
, Bobbs-Merrill, 1976.

Chapter Eight:
How To Make A Scene

Wilson, E.O.,
On Human Nature
,
Harvard University Press
, 2004.

Guillermoprieto, Alma,
Samba,
Vintage, 1991.

Tiger, Lionel,
Men in Groups
, Transaction Publishers, 2004.

Chapter Nine:
Amateurs!

Carey, John,
What Good are the Arts?
, Oxford University Press, 2010.

Robinson, Ken,
Out of Our Minds: Learning to be Creative
, Captone, 2011.

The Trips Festival
, DVD, directed by Eric Christensen (2008; Trips Festival).

Ross, Alex,
Listen To This
, Farrar, Straus and Giroux, 2011.

Friedman, B.H., ed.,
Give My Regards to Eighth Street: Collected Writings of Morton Feldman
, Exact Change, 2004.

Roberts, John Storm,
The Latin Tinge: The Impact of Latin Music on the United States,
Oxford University Press, 1999.

Krich, John,
Why Is This Country Dancing?: A One-Man Samba to the Beat of Brazil,
Cooper Square Press, 2003.

Schafer, R. Murray,
The Thinking Ear: Complete Writing on Music Education
, Arcana Editions, 1986.

Dissanayake, Ellen,
Homo Aestheticus: Where Art Comes From and Why
, University of Washington Press, 1995.

Kuh, George D.; Tepper, Steven J., “Let’s Get Serious About Cultivating Creativity”

The Chronicle of Higher Education
, September 4, 2011
http://chronicle.com/article/Lets-Get-Serious-About/128843.

DAV I D BY R N E | 343

Chapter Ten:
Harmonia Mundi

i l l u s t r a t i o n c r e d i t s

Walter Murch interview by Geoff Manaugh, “The Heliocentric Pantheon: An Interview with Walter Murch,” BLDG Blog, April, 2007.
http://bldgblog.blogspot.com/2007/04/heliocentric-pantheon-interview-with.html.

Wittkower, Rudolf,
Architectural Principals in the Age Of Humanism
, W.W. Norton & Company, 1971.

Blesser, Barry,
Spaces Speak, Are You Listening?: Experiencing Aural Architecture
, The MIT Press, 2009.

Mitrovic, Branko,
Learning From Palladio
, W.W. Norton & Company, 2004.

Pontynen, Arthur,
For the Love Of Beauty: Art History and the Moral Foundations of
Aesthetic Judgement,
Transactions Publishers, 2006.

Cage, John, “Experimental Music,” an address given at the convention of the Music Teachers National Association in Chicago in the winter of 1957.
http://www.kim-cohen.com/seth_texts/

artmusictheorytexts/Cage%20Experimental%20Music.pdf

Gill, Kamraan Z.; Purves, Dale, “A Biological Rationale for Musical Scales,” Duke University Center for Cognitive Neuroscience and Department of Neurobiology, as published on plsone.org, December 3, 2009.
http://www.plosone.org/article/info:doi%2F10.1371%2Fjournal.pone.0008144

Molnar-Skazaks, Istvan; Overy, Katie,
Social Cognitive and Affective Neuroscience
, “Music and Mirror Neurons: from motion to ‘e’ motion,” Oxford University Press, 2006.

Balkwill, Laura-Lee; Thompson, William Forde, “A Cross Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues”
Music Perception: An
Interdisciplinary Journal
, vol. 17, Fall 1999.