Rebirth


My book: Rebirth: The Future of Classical Music. I'm unfolding it bit by bit online, even before it's written. My idea is both to promote the book, and to spread the ideas in it around. To get reactions to the ideas, and to how I put them. This is invaluable. I've learned so much, been so much helped, by people who've commented, either on the blog, or by email.

I'd also like to build a community for classical music change, and I hope the book can help with that. More on this to come.

Click "more" to see what's available from the book so far.
Contact me with comments!

And you can subscribe to my book updates. You'll get whatever's new in the book directly by email. There's no obligation, the list is completely private, and you can opt out at any time. Just email me with the word "subscribe" in the subject line.

The book so far::

Outline of the book. Brief but thorough. Newly revised, and subject to ongoing changes.

Riffs on the content:

Part I -- The Crisis

Chapter one:

A riff on chapter one. "Rebirth and Resistance." What the first chapter of the book is likely to say. Fairly long. Brings together, in revised form, the four riffs on chapter one that I put on my blog. (See below.)

Riff on chapter one -- shorter. For those who want a shorter read. Many details, subtleties missing. But also some small revisions, maybe making a few things clearer.

Chapter two:

Riff on chapter two, "Dire Data," in which I document the quantifiable part of the classical music crisis.

shorter version

Chapter three:

Riff on chapter three, "The Culture Ran Away From Us":

first part 

second part 

complete

Part 2: The Nature of Classical Music

Chapter four:

Riff on chapter four, "What Classical Music Is"
Chapter five:

Riff on chapter five, part one: "The Myth of Classical Music Superiority."

(the second part of this riff is coming soon)
Chapter six:

"World Gone Wrong":Problems that classical music has, even if we take the classical music world on its own terms. (riff forthcoming)

I'm going to need much better chapter titles! The only one I love is the one for chapter six, taken from a Bob Dylan song.
For the old versions of the book -- my two previous unfoldings of what I thought the book would be -- go here. They're thoroughly superseded now, but they're lively, and full of good insights.
January 10, 2007 12:24 PM | | Comments (2)

Categories:

2 Comments

Greg,
This is truly daring and intriguing to me, since I'm also thinking about how to distribute a work of fiction. (But I don't think I want the same form of feedback that you do in a non-fiction book).

Here's the thing --and maybe I missed it if you've thought of this already -- you _write_ and _talk_ about music...but that's the finger pointing at the moon, not the moon itself. Do you have an idea for a book that's comprised of text with actual musical interludes? Inserting digital files into the text? That's what's on my mind as I think of working with the non-HD footage I have and exploring what spoke to me out of my past and my upbringing, about the UFO phenomenon, I need words, interior monologues, musings, philosophy, science -- much best expressed in prose. But the emotional content -- thats where I want my archival photos, my sound recordings and my videotape as an insider to a subculture that drew me. Is there a format for that? Would that interest you for your book on the transformation of music?

Hi, Carol. Good question. Thing is, you'd be using your own materials, which you own. No reason you can't put them in the book. Publishers -- who are aching to enhance ebooks with sound and video -- would love you.

For a book on classical music, a big problem arises. I don't own the rights to recordings I might like to use. And to license those recordings would be wildly expensive. As well as cumbersome. I'd be facing the same thing writers face when they put photos in a nonfiction book -- separate negotiations with every rights-holder involved.

As long as you keep the clips short (30 secs) is a general rule of thumb, you can actually use audio or video under fair use guidelines. I'd also imagine that a lot of the music you would be reference is in the public domain.

Leave a comment

Resources

Solutions 
Here are some of solutions to the problems classical music has, as sent in by readers, or found elsewhere. Updated every Tuesday.
more

Age of the audience 
Conventional wisdom: the classical music audience has always been the age it is now. Here's evidence that it used to be much younger.
more

earlier resources

Things I like

"Revolutions are NOT begun by the Establishment!" 
On the League of American Orchestras' Orchestra R/Evolution blog, I posted something that won't exactly take my regular readers by surprise. I suggested that the most important thing orchestras can do is to see themselves as those who don't go to orchestra concerts see them. Or, more broadly, to start functioning in the larger culture that classical music fled from over the past two generations.

I got a wonderful response in a comment from Rick Robinson, a bass player with the Detroit Symphony. I'm posting it here with his permission. Eloquent, to say the least. And right on target.

As a black musician in a great orchestra, I concur that we have so LITTLE resonance in our larger community that I'm usually too embarrassed to tell strangers what I do for a living... fearing they will give me the usual lip service of how PROUD they are of me yet they have never come, or even WANTED to come to a concert.

We feel the love of our donors, subscribers, volunteers and sponsors, but if the otherwise savvy concert-going man on the street doesn't consider us a good time because he feels alienated, we either need to find a way to make it REAL for him or keep ignoring him!

I desparately want to engage him but it's going to take some crazy new music that blends classical with styles that speak to him already... and it's going to take some clever amplification. Then it's going to take some speaking from the heart like a BEAT poet about how Bach and Mahler empowered me to overcome fear and inferiority.

I go to hear great jazzers in my neighborhood and discovered why improvising is so RIVETING... whether as foreground OR background. When I hear rock music, I know that the body fully resonates to the strum of the guitar, the buzz of the bass and the intoxicating patterns of the drums. Volume is key.

For this reason, I believe a TRUE revolution can only be driven by musicians... musicians able and willing to TRANSCRIBE the orchestra experience into a jazz or rock-LIKE experience.

I've started two "symphonic bands" that COULD possibly do this with some investment. But revolutions are NOT begun by the Establishment!
I love that last sentence. Which among other things would seem to mean -- and I'll stress that this is my interpretation, not necessarily Rick's -- that the League can talk all it wants about revolution, and invite the whole world to join the conversation, but won't be able to do much to make a revolution happen.
more things

About this Entry

This page contains a single entry by Sandow published on January 10, 2007 12:24 PM.

New book episode -- no blog for a while -- and happy holidays to all! was the previous entry in this blog.

Where we stand (1) is the next entry in this blog.

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