by David Byrne
31 Musicophilia: Tales of Music and the Brain, by Oliver Sacks, Knopf, 2007, p. 102.
32 What Good Are the Arts?, by John Carey, Faber & Faber, 2005.
33 “Transform Education? Yes, We Must,” by Sir Ken Robinson, The Huffington Post, January 11, 2009. www.huffingtonpost.com/sir-ken-robinson/transform-education-yesw_ b_157014.html.
34 The Thinking Ear: Complete Writing on Music Education, by R. Murray Schafer, Arcana Editions, 1986, p. 246–48.
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 Outlines 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.blogspotcom/2007/04/heliocentric-pantheoninterview-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.satiearchives.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.
SUGGESTED READING
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.
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.
Chapter Ten: Harmonia Mundi
Walter Murch interview by Geoff Manaugh, “The Heliocentric Pantheon: An Interview with Walter Murch,” BLDG Blog, April, 2007. http://bldgblog.blogspot.com/2007/04/heliocentricpantheon-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 Musi
c 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.plosoneorg/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.
Bowling, Daniel L.; Choi, Jonathan D.; Gill, Kamraan; Prinz, Joseph; and Purves, Dale, “Major and Minor compared to excited and subdued speech” Journal of the Acoustical Society of America, Volume 127, Issue 1, 2010.
Levitin, Dan, This is Your Brain on Music: The Science of a Human Obsession, Plume/Penguin, 2007.
Sacks, Oliver, Musicophilia, Knopf, 2007.
Cardew, Cornelius, Stockhausen Serves Imperialism, Latimer New Dimensions, 1974.
Zimmermann, Walter, Desert Plants: conversations with Twenty-three American Musicians, A.R.C. Publications, 1976.
Coitt, Jonathan, Stockhausen: Conversations With the Composer, Robson Bks, 1974.
PHOTO CREDITS
Chapter One
A – CBGB interior by Joseph O. Holmes
B – Rancid at CBGB by Justin Borucki
C – Tootsies Orchid Lounge “House Band” by Henry Horenstein
D – Tootsies Orchid Lounge “Last Call” by Henry Horenstein
E – Photo by Eric Ashford, courtesy of Ethnomusicology Review
F – Ely Cathedral by Walt Bistline, 2010
G – Arnstadt Church by Piet Bron
H – Hall of Mirrors by Christiaan van der Blij
I – Hall of Mirrors by Jenson Z. Yu
J – La Scala by Blake Hooper, Hooper & Co. Photography
L – Carnegie Hall by Peter Borg, Westminster Choir College of Rider University
M – Buddy Bolden’s band, from the personal collection of trombonist Willie Cornish
O – Shure Brothers model 55S microphone by John Schneider
P – Graetz Melodia radio
Q – Photo by Harry Sprout
R – Photo by Joe Conzo
S – Photo by Eric W. Beasman
T – Photo by Olaf Mooij
V – Scarlet Tanager by Joe Thompson
Chapter Two
A – Courtesy of David Byrne
B – Photo by Patti Kane
D – Photo by Barbara A. Botdorf
E – Courtesy of The Estate of Karlheniz Weinberger, care of Patrik Schelder, Zurich, Switzerland. Courtesy of Artist Management, New York
F – Photo by Andrej Krasnansky
G – Photo by Maria Varmazis
H – Drawing by David Byrne
I – Photo by Rick Wezenaar Photography, http://www.wezenaar.org
K – Robert Wilson performance by Stephanie Berger
L – Courtesy of Hiro
M – Photo by Clayton Call
N – Photo by Tony Orlando
O – Hoola Hoope Dancer, Sufjan’s BQE show, by Lawrence Fung
P – Photo by Anne Billingsley
Chapter Three
B – Illustration from The Case of the Cottingley Fairies by Joe Cooper
C – Courtesy of Georg Neumann GmbH
E – Photo from the Museum of Making Music
Chapter Four
A –Early 1970’s transister vocoder custom built and used by the pop duo Kraftwerk.
B – Courtesy of David Byrne
Chapter Five
A-B – Courtesy of Record Plant Remote
C-D – Photo by Hugh Brown
E – Electric Boogaloos, courtesy of Vicki Stavrinos
F-J – Courtesy of David Byrne
K – Ad originally appeared in the New York Times
Chapter Six
A – Courtesy of Bibliothèque nationale de France
B – Kente Prestige Cloth, on display at The British Museum, London
D – Courtesy of David Byrne
Chapter Seven
The charts within this chapter were created from statistics and figures provided by the following publications: here: Recording Industry Association of America here, here, here: Wired Magazine here, here, here, here: RZO Music Ltd.
Chapter Eight
A-B – Drawing by David Byrne
Chapter Nine
C – Originally printed in Life magazine
D – Originally printed in the New York Times
H – Photo by Monika Rittershaus
I – Photo by Claudia Uribe
K – Carlinhos Brown from A Tarde Online
ENDNOTES
1a. Sales quoted reflect United States numbers only. Overseas sales can, in fact, “save” deals for bands.
2a. This isn’t a new situation. One could argue that a song produced by Phil Spector back in his sixties heyday is almost a different song from a version he had no hand in. More recently a song with beats—not words or melody—by Timbaland is identifiable and sometimes catchier because of his unique way with samples. Are these guys then automatically co-writers of the songs? Technically and legally, no. But either the producer demands credit or the artist, recognizing the value of the producer’s contribution, gives it.
ABOUT THE AUTHOR
Known as the force behind Talking Heads and later as creator of the highlyregarded record-label Luaka Bop, David Byrne also works as a photographer, film director, author, and solo artist; he has published and exhibited visual art for more than a decade. Among Byrne’s more recent works are Playing the Building, an interactive sound installation at New York’s Battery Maritime Building and London’s Roundhouse; Everything That Happens Will Happen Today, Byrne’s first collaboration with co-writer Brian Eno since 1981’s My Life in the Bush of Ghosts; a series of unique bike racks installed throughout New York City in conjunction with the New York City Department of Transportation; and Bicycle Diaries, a chronicle of his travels on his bicycle. Here Lies Love, his song cycle in collaboration with Fatboy Slim about the life of Imelda Marcos will make its theatrical debut at New York’s Public Theater in the spring of 2013.
Table of Contents
Title page
Copyright page
Dedication page
Contents
Preface
Creation in Reverse
My Life in Performance
Technology Shapes Music: Analog
Technology Shapes Music: Digital
In the Recording Studio
Collaborations
Business and Finances
How to Make a Scene
Amateurs!
Harmonia Mundi
Acknowledgments
Notes
Suggested Reading
Photo Credits
About the Author
