If writing about music is like dancing about architecture, you'd do best to hone your chops and avoid clich�s (like the one that begins this sentence) by learning from the prime movers. How to Write About Music offers a selection of the best writers on what is perhaps our most universally beloved art form. Selections from the critically-acclaimed 33 1/3 series appear alongside new interviews and insights from authors like Lester Bangs, Chuck Klosterman, Owen Pallet, Ann Powers and Alex Ross. How to Write About Music includes primary sources of inspiration from a variety of go-to genres such as the album review, the personal essay, the blog post and the interview along with tips, writing prompts and advice from the writers themselves. Music critics of the past and the present offer inspiration through their work on artists like Black Sabbath, Daft Punk, J Dilla, Joy Division, Kanye West, Neutral Milk Hotel, Radiohead, Pussy Riot and countless others. How to Write About Music is an invaluable text for all those who have ever dreamed of getting their music writing published and a pleasure for everyone who loves to read about music.

A self-training manual as well as a classroom text, this book is a complete step-by-step course to develop the musician's ability to hear and notate any style of music. Personal training, thoery and exercises produce techniques which are combined in an integrated craft which may be applied to composition, orchestration, arranging, improvisation and performance. A kind of finishing school for those who wish to pursue a career in composing, orchestrating, arranging or performing. -- The Score, Society of Composers and Lyricists A myriad of practical information. Comprehensive ear training, important because aural skills are among the most overlooked in music education. -- Survey of New Teaching Materials, Jazz Educators journal A synthesis of the author's vast knowledge and his quest to define the question, "How do we hear?" -- ITG Journal A wonderfully systematic approach to ear training . . . neatly designed and structured, it just flows. Direct and easily understood. -- New books, Jazz Educators Journal Bernard Brandt says: "Hearing and Writing Music", by Ron Gorow, is a superb book. It makes a simple and elegant presentation of the internal process by which we hear sounds and music, how we recognize intervals, chords, melody, harmony, counterpoint, and the timbre of instrumentation/ orchestration, how we can develop the skills of listening, auditory memory and imagination, and how to use these skills to hear and to write down music of any sort. The hallmark of an expert is the ability to explain the basics of his field as simply as possible. By that standard, Mr. Gorow has proven his expertise in this book. I note that the other reviews, both for Amazon and in musical journals, tend to limit the importance of "Hearing and Writing Music" to ear training. I believe that Mr. Gorow's book is valuable for much more than ear training. I have studied it, and as a result of that study, I believe that my auditory memory and imagination and my abilities in score reading have improved enormously. Further, I have been able to use the skills in this book to transcribe melodies, harmonies and counterpoint almost effortlessly, both those that I have heard, and those which existed only in my imagination. This book has opened many doors for me. I believe that it can do so for many others.

Table of contents: Preface 1. Music Terminology 2. Narrative Text 3. Citations 4. Musical Examples 5. Tables and Illustrations 6. The Printed Program 7. Electronics 8. Best Practices for Student Writers Appendix: Problem Words and Sample Style Sheet Bibliography.

Music in Words is a compact guide to researching and writing about music, addressing all the issues that anyone who writes about music--from students to professional musicians and critics--may confront when putting together anything from brief program notes to a lengthy thesis. The book is a writing guide and a reference manual in one: the first part, a "how to" section, offers a clear explanation of the purpose of music research and how it is to be done, including basic introductions to the most necessary tools for musical inquiry (with special emphasis on strategic use of the internet), and how they can be accessed and used. The second part is a compendium of information on style and sources for quick reference, including a straightforward presentation of the purpose and use of citation and reference systems as they are applied to and in music. As a whole, the volume gives readers a clear picture of how to write about music at different levels and for different purposes in a handy, thoroughly cross-referenced format. This American edition has been thoroughly revised and expanded, and features an extensive section on writing for the Internet and new sections on writing for jazz, popular music, world musics, and ethnography. Additionally, a companion website presents a broad range of writing samples and links to key resources.

Not only have a breathtaking array of musical giants come from the South—think Elvis Presley, Robert Johnson, Louis Armstrong, Jimmie Rodgers, to name just obvious examples—but so have a breathtaking array of American music genres. From blues to rock & roll to jazz to country to bluegrass—and areas in between—it all started in the American South. Since its debut in 1996, The Oxford American's more-or-less annual Southern Music Issue has become legendary for its passionate and wide-ranging approach to music and for working with some of America's greatest writers. These writers—from Peter Guralnick to Nick Tosches to Susan Straight to William Gay—probe the lives and legacies of Southern musicians you may or may not yet be familiar with, but whom you'll love being introduced, or reintroduced, to. In one creative, fresh way or another, these writers also uncover the essence of music—and why music has such power over us. To celebrate ten years of Southern music issues, most of which are sold-out or very hard to find, the fifty-five essays collected in this dynamic, wide-ranging, and vast anthology appeal to both music fans and fans of great writing.

New novel from the cult author of 'The Good Faires of New York' and 'Milk, Sulphate and Alby Starvation'. Glasgow, 1972: All the coolest kids, rockstar angels and mystical creatures in town are queuing up to see the greatest rock band in the world. Meanwhile over-imaginative Martin and Greg compete for the attention of Suzy, who dates the hippest guy in school. With Led Zeppelin on their way, anything can happen. 'Brixton's answer to Kurt Vonnegut' - The Guardian 'One of the most valuable presences on the British literary scene' - Mail on Sunday

Writing in Music demystifies music writing conventions and methods by offering strategies for the types of writing that students most often encounter in college courses on music. The book offers guidance through the writing process and, for research assignments, through the research process. Geared for an audience of music majors and other students taking undergraduate music-major courses--as well as for master's students in music desiring more training in academic writing--Writing in Music covers the two approaches common to academic coursework in virtually all music-major programs: the study of music with a focus on its cultural and historical contexts, and the exploration of works using the tools of music analysis. Whether students want to apply a specific approach or take a broader, interdisciplinary stance, this guide prepares them to think and write about music.