The biggest 100 of music: a ranking that makes you discuss
Marco Di Pasquale published for Arcana (342 pages, 19.50 euros) a book entitled “The 100 largest in music – Of all kinds, of every place, of all times “.” Vaste Program “, General De Gaulle – ambitious purpose, I translate I would say.
The title is missing a parenthesis: it should have been “the greatest 100 of music (in my opinion)”. Because the “taste” rankings, evaluation, as you know leave the time they find and are good to discuss them. In the introduction, the author explains that his ranking concerns the composers, not the interpreters and executors; But it is also obvious that putting in the ranking all together exponents of classical music, pop, rock, world and so on cannot give that results justified only by the author’s personal opinion. Who – teacher of letters – in addition to collaborating with “The island that was not there”, “draws up motivations for musical prizes” (it is the first time that I find this qualification in a biographical curriculum) and is “a juror of the Tenco prize” (one of 312).
It would be interesting for the readers of this article to be able to bring Pasquale’s ranking in full, which sees Johann Sebastian Bach first, to the second Pink Floyd and the third Ludwig Van Beethoven. But to give you an idea, I only report the positions in the ranking of Italian and international pop and rock composers.
6 Queen
12 Yes
15 Led Zeppelin
16 Genesis
20 King Crimson
44 Gentle Giant
45 Dream Theater
47 Magma
48 doors
49 David Bowie
52 System of a down
58 Beatles
64 Deep Purple
74 Kate Bush
76 metal
78 Jethro Tull
83 Bob Dylan
87 Dire Straits
88 Bjork
92 Police
96 Nick Cave
99 Iron Maiden
Of Italians “Popular”, as you can see, in the first hundred there are none, but some are found in the ranking between 101 and 300, reported in the introduction: the PFM at number 112, Francesco Guccini at 133, Fabrizio De André (composer? Mah) at 135, Franco Battiato at 280.
In short, you will have made you an idea. Without going into considerations on the criteria that generated this ranking – which are frankly obscure to me – it remains to be said that the book is made up of the biographical/criticism of each musician included among the first 100, which also include the deepening of one of his work. Written well. But was there any need? And above all, was there a need to make it a book?
