All You Have to Do is Listen: Music from the Inside Out by Rob Kapilow

By Rob Kapilow

Rob Kapilow has been supporting audiences listen extra in nice song for nearly two decades along with his What Makes It nice? sequence on NPR, at Lincoln middle, and in live performance halls during the US and Canada. during this publication, he grants a suite of instruments you should use whilst hearing any piece of track so one can pay attention its “plot”—its tale informed in notes.

The musical examples can be found loose for obtain that can assist you listen the tips awarded. even if you're an skilled concertgoer or a newcomer to classical track, the listening rules Kapilow stocks can assist you "get" track in a thrilling, clean new way.
"Kapilow will get audiences in song with classical tune at a deeper and extra fast point than lots of them notion possible."
—Los Angeles Times
"Rob Kapilow is very reliable at what he does. we'd like him."
—The Boston Globe
"A very good man who brings song alive!"
—Katie Couric
"Rob Kapilow leaps into the void dividing tune research from appreciation and fills it with exhilarating information and sensations."
—The manhattan Times
"You may well virtually see the sunshine bulbs happening above people's heads. . . . The viewers might decipher the tune in a brand new, deeper manner. It was once the complete contrary of passive listening."
—The Philadelphia Inquirer

Show description

Read Online or Download All You Have to Do is Listen: Music from the Inside Out PDF

Best music books

Worlds of Sound: The Story of Smithsonian Folkways

A guy, a microphone, and a dream

When he opened his tiny recording studio in long island in 1940, Moses Asch had a larger-than-life dream: To record and list all of the sounds of his time. He created Folkways files to accomplish his target, not only a checklist label yet an announcement that every one sounds are equivalent and each voice merits to be heard. The Folkways catalog grew to incorporate a myriad of voices, from international- and roots-music to political speeches; the voices of up to date poets and steam engines; people singers Lead stomach and Woody Guthrie and jazz pianists Mary Lou Williams and James P. Johnson; Haitian vodoun singers and Javanese courtroom musicians; deep-sea sounds and sounds from the outer ring of Earth's surroundings. till his loss of life in 1986, Asch—with the aid of collaborators starting from the eccentric visionary Harry Smith to educational musicologists—created greater than 2000 albums, a sound-scape of the modern international nonetheless unrivaled in breadth and scope. Worlds of Sound files this inconceivable trip. alongside the way in which you'll meet:

A younger Pete Seeger, revolutionizing the area along with his five-string banjo
the fantastic vocal ensembles of the Ituri Pygmies
North American tree frogs
Ella Jenkins's children's track
Lead abdominal making a song "The hour of darkness Special"
The nueva canciÓn of Suni Paz.

Folkways grew to become part of the Smithsonian Institution's collections presently after Asch's demise. this present day Smithsonian Folkways keeps to make the "worlds of sound" Moe Asch first dreamed of 60 years in the past on hand to all. The Folkways imaginative and prescient is expansive and all-inclusive, and Worlds of Sound advances its wealthy and full of life spirit.

The First Four Notes: Beethoven's Fifth and the Human Imagination

A TIME journal most sensible 10 Nonfiction booklet of 2012
A New Yorker top booklet of the Year
Los Angeles Magazine's no 1 tune publication of the Year

A specified and revelatory booklet of song heritage that examines in nice intensity what's probably the best-known and most-popular symphony ever written and its four-note starting, which has interested musicians, historians, and philosophers for the final 200 years.

Music critic Matthew Guerrieri reaches again ahead of Beethoven’s time to ascertain what may need stimulated him in writing his 5th Symphony, and ahead into our personal time to explain the ways that the 5th has, in flip, asserted its impact. He uncovers attainable resources for the well-known commencing notes within the rhythms of historical Greek poetry and likely French innovative songs and symphonies. Guerrieri confirms that, opposite to well known trust, Beethoven was once now not deaf while he wrote the 5th. He lines the Fifth’s effect in China, Russia, and the us (Emerson and Thoreau have been passionate lovers) and indicates how the masterpiece used to be utilized by either the Allies and the Nazis in international struggle II. Altogether, a desirable piece of musical detective work—a deal with for track fans of each stripe.  

Grunge Is Dead: The Oral History of Seattle Rock Music

Grunge Is lifeless weaves jointly the definitive tale of the Seattle track scene via a sequence of interviews with the folk who have been there. Taking the shape of an “oral” background, this books comprises over one hundred thirty interviews, in addition to crucial history details from acclaimed song author Greg Prato.

Adrian Willaert and the Theory of Interval Affect: The Musica nova Madrigals and the Novel Theories of Zarlino and Vicentino

Within the writings of Nicola Vicentino (1555) and Gioseffo Zarlino (1558) is located, for the 1st time, a scientific technique of explaining music's expressive strength dependent upon the categorical melodic and harmonic durations from which it truly is developed. yet this 'theory of period affect' originates now not with those theorists, yet with their instructor, influential Venetian composer Adrian Willaert (1490-1562).

Additional info for All You Have to Do is Listen: Music from the Inside Out

Example text

Peripheries and interfaces 21 New music, such as the ten influential solos by the nationalist music reformer Liu Tianhua (1895–1932), took advantage of the new ease with which shifts of register could occur. These solos, which were set down in uncharacteristically detailed notation, demanded the use of new techniques (fingering with the tips of the fingers, for example, or violin-style vibrato), many of which were subsequently applied in the performance of existing traditional pieces. Reform of the erhu, then, led to the rise of new instruments and repertory, and also to the transformation of the instrument’s performance technique.

As already mentioned, Franklin (who comments that progressive ideologies of music have prevented adequate consideration of performance) structures his chapter round Tauber, depicting him as both agent and exemplar of a variety Introduction 13 of historical forces, and emphasizing the way in which Tauber’s activities cut across the perhaps over-confidently drawn boundary between modernism and conservatism. Other contributors present performance as simply an essential element in the circulation of the musical economy, whether the performance in question is of old music, new music, or music that is at the same time old and new – most obviously in the case of the ‘early music’ movement of the 1970s and 80s, in which (at least if you accept Richard Taruskin’s account17 ) music too ancient to have any surviving performance tradition was treated in a thoroughly modern style, resulting in new music for listeners who didn’t like new music.

The first propels it towards difference, to the maintenance (or retrospective establishment16 ) of that group’s distinct heritage; the second thrusts it towards similarity, towards assimilation of traits that signal not the past but the heterogeneous realities of the here and now. Two contrasting Jewish musical practices illustrate the transformation of musics under these forces. 17 Songs in this form set new Hebrew texts to existing (or adapted) melodies. In the early decades of the twentieth century, pizmon composers in Aleppo drew melodies from popular Arabic song, including the tunes of Egyptian singer Umm Kulth¯um.

Download PDF sample

Rated 4.89 of 5 – based on 8 votes