This book was fabulous. Well-researched and compelling, it doubles as a history of Detroit in addition to a study of both the musical and social importance of Dilla himself.
Arts grantmaker living in Austin, TX. Jazz, museums, pre-Kurtzman Star Trek, so forth and such as. Also in the fediverse at @email@example.com.
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2022 Reading Goal
72% complete! Koven Smith has read 18 of 25 books.
A bit more of a slog than I would have liked. There are occasional moments of real insight here, but mostly the book feels like neither fish nor fowl—not technical enough to read as a thorough analysis, but also without enough biographical detail to really bring Debussy alive as a person. Nice, but hardly definitive.
The persistent slow music occasionally drags its heels, and the choral final act, in Paradise, has that slight flatness that often afflicts the music of Heaven by composers who have no particular desire to go there.
Love this quote, but it points up a problem with the book: Walsh’s writing is far more pointed and enjoyable when discussing Debussy’s failures than it is when it attempts to assess his successes.
All three pieces show that Debussy was not in rebellion against tonality, only against the rules by which it supposedly worked.
Finding this book generally to be a bit more of a slog than I’d hoped, but there are periodically little revelatory bits like this.
A breezy, fun(ish, given some of the subject matter) read. The resolution of the book hinges, somewhat, on a twist that is revealed near the end, and I must confess that I was finding the book far more satisfying up to the point that the twist was revealed. It just felt a bit too “plotty” to me in a book that otherwise revels in nice details.