The rest is noise analysis
Incidentally, I read R. His analysis of music during Nazi Germany, and during the United States in the Cold War period, are especially interesting for their historical information.
Yet it is clear that Ross is invested in the music he describes, but not because he says as much or commits to a rhetoric of value. I found that cumbersome and chose my own inter-activity, playing music from my collection or youtubing.
His treatment of the avant-garde in the early part of the century is limited, but he spends a great deal of space on the twelve-tone and serialist composers, as well as the minimalists.
She stopped composing when her Communist husband, a formulator of "dissonant counterpoint", told her "women can't compose symphonies. James Pritchett's renunciation but not denigration of musicology after a life-changing encounter with and monograph on John Cage. It is notable that, while discussing Strauss, we do not read once about his depicting silverware in music, perhaps the first discussion of Strauss in fifty years not to do so.
But his extensive research, evidenced by nearly a hundred columns of documentation in small type, has turned up a great deal that I at least did not know.
The rest is noise summary
Even the case of Richard Strauss, who served as Hitler's music tsar, is one that attracts Ross's baffled sympathy. But Ross shows no interest in the expressive aspects of music and very limited interest in neoclassicism or neoromanticism. Academies perennially cultivate and reward kitsch kitsch art, kitsch scholarship, kitsch credentials, kitsch theory in the name of "responsibility"; I'm happy to see a journalist like Ross dust his feet of all that. But then he didn't hear Gorecki in Barber; or didn't say so. Strauss "warmed to Hitler", Ross argues, "chiefly because he thought that under the aegis of this music-loving chancellor he would be able to enact a series of long-dreamed-of reforms" in the fields of composers' royalties, copyrights and so on. Of the postwar American composers led by Aaron Copland, he writes: "Climaxes transpired in high Shostakovich style, all pealing trumpets and precisely pounding timpani, the better to punch through the fuzz of radio static" - one of several points in the book where, almost offhandedly, he makes a crucial point about technology's influence on artistic style. The annual Finnish expenditure on the arts is roughly times per capita what the United States spends on the National Endowment of the Arts. Reich is quoted as saying that he was influenced by jazz and rock Bob Dylan , but Ross leans more heavily on Reich's own subsequent influence on popular music. In the case of the Soviet composers, including Shostakovich, battered by the whims of Stalin's culture police, Ross admirably rejects the easy retrospective moralising characteristic of hack polemicists: "These composers were neither saints nor devils; they were flawed actors on a tilted stage.
based on 84 review