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The Philosophy of Modern Song is Bob Dylan's first book of new writing since 2004's Chronicles: Volume One -- and since winning the Nobel Prize for Literature in 2016. Dylan, who began working on the book in 2010, offers a masterclass on the art and craft of songwriting. He writes over 60 essays focusing on songs by other artists, spanning from Stephen Foster to Elvis Costello, and in between ranging from Hank Williams to Nina Simone. He analyses what he calls the trap of easy rhymes, breaks down how the addition of a single syllable can diminish a song and even explains how bluegrass relates to heavy metal. These essays are written in Dylan's unique prose. They are mysterious and mercurial, poignant and profound, and often laugh-out-loud funny. And while they are ostensibly about music, they are really meditations and reflections on the human condition. Running throughout the book are nearly 150 carefully curated photos as well as a series of dream-like riffs that, taken together, resemble an epic poem and add to the work's transcendence. In 2020, with the release of his outstanding album Rough and Rowdy Ways, Dylan became the first artist to have an album hit the Billboard Top 40 in each decade since the 1960s. The Philosophy of Modern Song contains much of what he has learned about his craft in all those years and, like everything that Dylan does, it is a momentous artistic achievement.
Songs, pervasive sonic ephemeral acts that combine words and music, live in a contemporary world of commercialization as commodity. Flowing through our everyday lives as a given and oft-underacknowledged artifact to accompany our shopping, car trips, date nights, and gym days. Yet songs have a history as long as humanity and language. They hold a place, up until recently in our evolution, as an oral history library of the human species. Why then is there limited scholarship about how songs tell stories, and the ways in which those stories come together with sounds? And why is there a disconnect between songwriting as industrial practice and academic thought? A New Philosophy of Songwriting argues that all songwriting choices are storytelling choices and asks the question: how can we think about Song as one of the most memorable, potent, multimodal, and portable storytelling devices ever devised? In doing so, Andy Ward and Briony Luttrell make the case for rethinking the analysis of songs and practice of songwriting with an emphasis on listening. This is a book for songwriters, scholars, and song lovers alike. Ultimately, the authors challenge contemporary thinking on music and song itself and argue for a new theorisation of song as a multimodal storytelling sonic act.
"A handbook for compassion... a Must-Read Music Book.” —Rolling Stone Country "Generous and big-hearted, Gauthier has stories to tell and worthwhile advice to share." —Wally Lamb, author of I Know This Much Is True "Gauthier has an uncanny ability to combine songwriting craft with a seeker’s vulnerability and a sage’s wisdom.” —Amy Ray, Indigo Girls From the Grammy nominated folk singer and songwriter, an inspiring exploration of creativity and the redemptive power of song Mary Gauthier was twelve years old when she was given her Aunt Jenny’s old guitar and taught herself to play with a Mel Bay basic guitar workbook. Music offered her a window to a world where others felt the way she did. Songs became lifelines to her, and she longed to write her own, one day. Then, for a decade, while struggling with addiction, Gauthier put her dream away and her call to songwriting faded. It wasn’t until she got sober and went to an open mic with a friend did she realize that she not only still wanted to write songs, she needed to. Today, Gauthier is a decorated musical artist, with numerous awards and recognition for her songwriting, including a Grammy nomination. In Saved by a Song, Mary Gauthier pulls the curtain back on the artistry of songwriting. Part memoir, part philosophy of art, part nuts and bolts of songwriting, her book celebrates the redemptive power of song to inspire and bring seemingly different kinds of people together.
There are few creative acts more mysterious and magical than writing a song. But what if the goal wasn't so mysterious and was actually achievable for anyone who wants to experience more magic and creativity in their life? That's something that anyone will be inspired to do after reading Jeff Tweedy's How to Write One Song. Why one song? Because the difference between one song and many songs isn't a cute semantic trick—it's an important distinction that can simplify a notoriously confusing art form. The idea of becoming a capital-S songwriter can seem daunting, but approached as a focused, self-contained event, the mystery and fear subsides, and songwriting becomes an exciting pursuit. And then there is the energizing, nourishing creativity that can open up. How to Write One Song brings readers into the intimate process of writing one song—lyrics, music, and putting it all together—and accesses the deep sense of wonder that remains at the heart of this curious, yet incredibly fulfilling, artistic act. But it’s equally about the importance of making creativity part of your life every day, and of experiencing the hope, inspiration, and joy available to anyone who’s willing to get started.
A career-spanning account of the artistry and politics of Bob Dylan’s songwriting Bob Dylan’s reception of the 2016 Nobel Prize for Literature has elevated him beyond the world of popular music, establishing him as a major modern artist. However, until now, no study of his career has focused on the details and nuances of the songs, showing how they work as artistic statements designed to create meaning and elicit emotion. Bob Dylan’s Poetics: How the Songs Work is the first comprehensive book on both the poetics and politics of Dylan’s compositions. It studies Dylan, not as a pop hero, but as an artist, as a maker of songs. Focusing on the interplay of music and lyric, it traces Dylan’s innovative use of musical form, his complex manipulation of poetic diction, and his dialogues with other artists, from Woody Guthrie to Arthur Rimbaud. Moving from Dylan’s earliest experiments with the blues, through his mastery of rock and country, up to his densely allusive recent recordings, Timothy Hampton offers a detailed account of Dylan’s achievement. Locating Dylan in the long history of artistic modernism, the book studies the relationship between form, genre, and the political and social themes that crisscross Dylan’s work. Bob Dylan’s Poetics: How the Songs Work offers both a nuanced engagement with the work of a major artist and a meditation on the contribution of song at times of political and social change.
In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars from all over the world. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarity, fairness, rigour, and utility above all, The Oxford Handbook of Philosophy in Music Education will challenge music educators all over the world to make their own decisions and ultimately contribute to the conversation themselves.
To make money, song-writers need a firm, realistic grasp of how songs generate income. This volume demystifies the process of doing business as a songwriter. It walks the reader step-by-step through the process of starting and operating a publishing company, teaches how to pitch songs to publishers, and more.
An updated edition of the most comprehensive account of Bob Dylan's Nobel Prize-winning work yet published, with the full story of every recording session, every album, and every single released during his nearly 60-year career. Bob Dylan: All the Songs focuses on Dylan's creative process and his organic, unencumbered style of recording. It is the only book to tell the stories, many unfamiliar even to his most fervent fans, behind the more than 500 songs he has released over the span of his career. Organized chronologically by album, Margotin and Guesdon detail the origins of his melodies and lyrics, his process in the recording studio, the instruments he used, and the contribution of a myriad of musicians and producers to his canon.
Think "Woodstock" and the mind turns to the seminal 1969 festival that crowned a seismic decade of sex, drugs, and rock 'n' roll. But the town of Woodstock, New York, the original planned venue of the concert, is located over 60 miles from the site to which the fabled half a million flocked. Long before the landmark music festival usurped the name, Woodstock-the tiny Catskills town where Bob Dylan holed up after his infamous 1966 motorcycle accident-was already a key location in the '60s rock landscape. In Small Town Talk, Barney Hoskyns re-creates Woodstock's community of brilliant dysfunctional musicians, scheming dealers, and opportunistic hippie capitalists drawn to the area by Dylan and his sidekicks from the Band. Central to the book's narrative is the broodingly powerful presence of Albert Grossman, manager of Dylan, the Band, Janis Joplin, Paul Butterfield, and Todd Rundgren-and the Big Daddy of a personal fiefdom in Bearsville that encompassed studios, restaurants, and his own record label. Intertwined in the story are the Woodstock experiences and associations of artists as diverse as Van Morrison, Jimi Hendrix, Tim Hardin, Karen Dalton, and Bobby Charles (whose immortal song-portrait of Woodstock gives the book its title). Drawing on numerous first-hand interviews with the remaining key players in the scene-and on the period when he lived there himself in the 1990s-Hoskyns has produced an East Coast companion to his bestselling L.A. canyon classic Hotel California. This is a richly absorbing study of a vital music scene in a revolutionary time and place.
Written as an artistic, business, and technical guide for singer-songwriters, this book is full of advice and encouragement for aspiring troubadours looking to polish their craft. The book offers tidbits on performing, recording, booking, and working with managers, agents, lawyers, and record executives. The guide is rounded out by excerpts from interviews with seasoned artists such as Joni Mitchell, Paul Simon, Jewel, and Ani DiFranco. At times the book's advice only skims the surface such as its coverage of choosing, maintaining, and insuring gear, but the tips on songwriting and performing should be taken to heart by writers and performers at every level. Rogers is an author and freelance writer who has written for Mojo and Acoustic Guitar magazines. Of all the paths available to today's musicians, the life of the singer-songwriter remains one of the most alluring and popular. From songwriting and solo performing to recording and promotion, singer-songwriters wear many hats, and with all the challenges they face come extravagant creative rewards. The Complete Singer-Songwriter is the ultimate guide for the modern singer-songwriter, full of real-world advice and encouragement for both aspiring and accomplished troubadours. Jeffrey Pepper Rodgers draws on his own experiences as a performing songwriter and interviews with artists such as Joni Mitchell, Ani DiFranco, and Paul Simon to offer an invaluable companion for the journey from idea to song to stage and studio.