Music: A Subversive History

Muy buen libro. Admiro mucho la trayectoria y trabajo del escritor. Muchas gracias

This book takes a common theory about American music, that all its musical art is "outsider" art, and applies the idea to the entirety of musical history. Is that a bad thing? Not if you already believe it. Of course, I was often thinking while reading it, in the back of my mind, that it was all a giant imposition of 21st-century liberal, "woke," ideology onto the past. But the theory and its author's writing is too good, and well-attended, and lengthy, to be denied. If it takes 999 pages for you to be convinced, too (or, at least, come to understand why so many of your fellow music-lovers have already come to the same intimation), then so be it.

I see a lot of complaining here about how this book is not a comprehensive History of All Music Ever Made, with lists of famous popular musicians and cultures that the author failed to mention (that are covered extensively and exhaustively in all other forms of musical history). That was neither the intent nor claim associated with this book. This book does get redundant, pedantic, snobby hippie, and wandering at times, but the intent was to show countless examples in history of how the outsiders, the overlooked, the inconvenient and unappreciated, the unknown and unpopular, the abused and neglected (prostitutes, beggars, itinerants, slaves, often the society of women in general) created over and over again the underlying soul and scaffolding of popular music, and were the leading waves of innovation, which was almost always hated, feared, censored, and mocked by the circles in power, only to be assimilated (stolen) by these same groups for fame or profit later (800 years ago, or 8 weeks ago). Mr. Gioia is correct and shows numerous examples to expose this predictable and shameful trend that affects most art and innovation, not just music. My only issues with the book were the times when the author tried to give pseudoscience and mysticism a level of respectability that they do not deserve, but an author certainly can and will let their personal feelings add tint to their own mosaic. His history of jazz book is superb even if you are not a jazz fan. I will read more Gioia, but I will wince every time that he dances with the butterflies, mushrooms, moons and fairies. Thanks for your patience. Be excellent to each other.

This book is a must read for anyone that disliked music history in college. Ted Gioia makes clear that music is not algorithms and 0s and 1s. This book tells the story of music coming alive at the hands of outsiders that have influenced so many trends.

Funny and appalling at times, this music detective has uncovered how prevailing attitudes overwrite the real history - and herstory - of music. Answers why we are a musical creatures and why this has always aided us in evolution despite the opposition of establishment forces and mores. Gioia puts it all together in an entertaining, logical and convincing manner.

Ted Gioia is an excellent writer and researcher. His breadth of knowledge encompasses more than jazz. This is a must read for every musician

This book opens mind to wider picture, brings awareness to see what wasn't seen before and may change how you perceive music and powers within it.Really enjoyed it, much gratitude for writer and work that's put in this book.

This book purports to be a history of music. Presumably, that means all sorts of music, including what we would call classical, popular, theater, &c. But what is actually included, and even more what is excluded, is beyond strange. Classical? Among composers, there is no mention of Robert Schumann, Arthur Sullivan, Puccini, Mahler, Ravel, Benjamin Britten; Tchaikovsky gets one mention but just a mention without naming a single composition of his. Popular? Richard Rodgers, the composer of Oklahoma, South Pacific, Carousel, The King and I, and The Sound of Music, surely qualifies in that category; his name does not appear in this book. Andrew Lloyd Webber, probably the most popular of living composers of theater music? No, not him either. Bernstein or Sondheim? Nope. Singers? Caruso, Pavarotti, Domingo, Renée Fleming – no mention at all. Bing Crosby, one of the most popular if not the most popular singer of the mid twentieth century? Not a mention. My introduction to jazz was with Dave Brubeck, and as Gioia has written a book on jazz, I looked forward to his take on him in this book, but he too is missing in action. Sid Vicious appears on nine pages, the Beatles on eleven. I could go on in this vein, as more great composers and performers in every genre are missing than included. Gioia does discuss some music, its creators and performers, whom I haven’t heard of before, which is all to the good, but a book advertised as a history of music which leaves out most of the great composers and performers of the past and present cannot be taken seriously.

Not too bad.

Very interesting! It puts music in context with social, political and geographical aspects. I recommend it!

Devo ancora completare la lettura, ma conosco l'autore, forse il più grande esperto di blues e jazz in attività, e trovo stimolante, oltre che ovviamente informato, questo suo saggio. Imperdibile!

Just finished Ted Gioia’s latest remarkable book: Music: A Subversive History, and I’m pleased to say it totally knocked me out!.A superb read that covers a massive amount of ground, I’ve learned so much over the last couple of weeks. Absolutely fascinating from page one. I’ve read a number of Ted’s books and I have never been disappointed. His knowledge is remarkable & his writing style is very accessible, you never feel like you’re being swamped. Each book sits pride of place on my bookshelf & I frequently dip back into them to re read favourite chapters. My previous favourite was his history of Delta Blues, but with this latest book I believe he’s topped that. His best work yet!⭐️⭐️⭐️⭐️⭐️Recommend

I admit I didn’t finish the book! I surrendered about half way through. I am not a novice when it comes to reading works on musical history, having made it even through the Taruskin Volumes (!) However, this one was a challenge too pointless to face in toto. I just could not follow Gioia’s trains of thought. The book, or at least the half I read and the other half I just flew over, is written in such a vague style that any number of pages seem like a big, foggy blur with hardly any highlights worth remembering. In fact, I wouldn’t even know how to summarize any of the chapters. If you are looking for a historical overview of music, which you might think this book is, you are better off with one of the standard works of Grout, Forney, Burkholder and the like.