The idea was always a ludicrous one: to reduce millennia of human musical history – not to mention billennia of the Earth’s sonic geology – into a book of 50 pieces of music. And yet that’s the challenge I decided to take on. The most pressing question was: why? To which my answer was: the inevitable failures and gaps of the project are precisely where its interest lies.
The next concern was how. Called A History of the World in 50 Pieces, the book is not a digested history of music, nor a list of my favourite songs, performances or recordings. Instead, it’s centred on the definition of a “piece of music”. This is a democratic principle – a belief that works don’t belong only to their creators but are shared and reinterpreted by generations of musicians at distances of time, geography and technology, in ways their original composers and performers could not imagine.
