In this early mind-breaking essay for and against a particular transhumanism, Dick shows us scenes from the life (and possible death) of Joe Chip, an erstwile screw-up with a heart of tin-plated gold, as he comes to battle an evil child-god.
Strangely, none of the above is a spoiler in any way.
What this tome offers is an economic and sociocultural look at the disruptive modalities of music as a cultural product, tracing a wavering line with one end localized in an age when being a musician was being an pariah (its attendant and very real dangers included), through to the creation of academies and conservatories, finishing up slightly inside of the age of stadium rock, recording companies, and radio airplay programming.
IF YOU HAVE EVER ASKED YOURSELF ANY OF THESE QUESTIONS, THIS BOOK MIGHT HELP:
How does sound work?
How is a sound real, physically real?
What consitutes a "sound"?
What is sound, really?