Music reviews and criticism Books
Princeton University Press Camille SaintSa235ns and His World
Book SynopsisCamille Saint-Sans - perhaps the foremost French musical figure of the late nineteenth century and a composer who wrote in every musical genre, from opera and the symphony to film music - is now being rediscovered after a century of modernism overshadowed his importance. This book deconstructs the multiple realities behind the man and his music.Trade Review"This study of a versatile, tasteful and often endearing composer, and a serious, playful and sometimes prickly man, may be thoroughly recommended."--Classical Music Magazine "This compilation of masterful scholarship is likely to become a preeminent source for information on Saint-Saens."--Choice "Jann Pasler's edited collection thus offers a significant contribution to Saint-Saens studies, and to the field of nineteenth- and early twentieth century French music as a whole."--Helen Abbott, French Studies "[T]his book represents [quite an] achievement. Saint-Saens is revealed and yet remains intensely private: the book speaks volumes on the composer's life, views, working methods, and cultural and social status."--Clair Rowden, H-France ReviewTable of ContentsAcknowledgments and Permissions viii Introduction: Deconstructing Saint-Saens xi PART I SAINT-SAENS THE PERSON Camille Saint-Saens in (Semi-)Private 2 MITCHELL MORRIS Saint-Saens, The Playful 8 PAUL VIARDOT Inspired by the Skies? Saint-Saens, Amateur Astronomer 12 LEO HOUZIAUX Changes on the Moon, Optical Illusions, The Stars 17 CAMILLE SAINT-SAENS Business and Politics, with Humor: Saint-Saens and Auguste Durand 26 JANN PASLER Rivals and Friends: Saint-Saens, Massenet, and Thais 33 JEAN-CHRISTOPHE BRANGER Massenet-Saint-Saens Correspondence 40 CAMILLE SAINT-SAENS, JULES AND LOUISE MASSENET Saint-Saens and Lecocq: An Unwavering Friendship 48 YVES GERARD PART II SAINT-SAENS THE MUSICIAN Saint-Saens and the Performer's Prestige 56 DANA GOOLEY Le Ma'itre and the "Strange Woman," Marie Jaell: Two Virtuoso-Composers in Resonance 85 FLORENCE LAUNAY AND JANN PASLER Saint-Saens's Improvisations on the Organ (1862) 102 WILLIAM PETERSON Providing Direction for French Music: Saint-Saens and the Societe Nationale 109 MICHAEL STRASSER Saint-Saens as President of the Societe des Compositeurs (1887-1891) 118 LAURE SCHNAPPER Saint-Saens at the Societe des Concerts du Conservatoire de Paris (1903-1904) 125 D. KERN HOLOMAN PART III SAINT-SAENS THE GLOBETROTTER Saint-Saens: The Traveling Musician 134 STEPHANE LETEURE Saint-Saens in Germany 142 MICHAEL STEGEMANN Saint-Saens in England: His Organ Symphony 161 SABINA TELLER RATNER Analytical and Historical Programme for His New Symphony in C Minor and Major 167 CAMILLE SAINT-SAENS Saint-Saens, "Algerian by Adoption" 173 JANN PASLER Friendship and Music in Indochina 184 JANN PASLER Saint-Saens in New York 191 CAROLYN GUZSKI Saint-Saens and Latin America 201 CAROL A. HESS PART IV SAINT-SAENS, AESTHETICS PAST AND PRESENT What's in a Song? Saint-Saens's Melodies 210 ANNEGRET FAUSER Saint-Saens and the Ancient World: From Africa to Greece 232 JANN PASLER Saint-Saens, Writer 260 MAIRE-GABRIELLE SORET Saint-Saens and Rameau's Keyboard Music 266 KATHARINE ELLIS Preface, Rameau's Pieces de Clavecin (Durand, 1895) 271 CAMILLE SAINT-SAENS Lyres and Citharas of Antiquity 275 MARIE-GABRIELLE SORET Ancient Lyres and Citharas 280 CAMILLE SAINT-SAENS Saint-Saens and d'Indy in Dialogue 287 JANN PASLER PART V SAINT-SAENS IN THE 20TH CENTURY Saint-Saens's Advocacy of Music Education in Elementary School 304 JANN PASLER Report of M. Saint-Saens 309 CAMILLE SAINT-SAENS Saint-Saens and the Future of Music 312 BYRON ADAMS AND JANN PASLER Musical Evolution 318 CAMILLE SAINT-SAENS The Fox in the Henhouse, or Saint-Saens at the SMI 324 MICHEL DUCHESNEAU Saint-Saens, Ravel, and Their Piano Concertos: Sounding Out a Legacy 334 MICHAEL J. PURI Saint-Saens and Silent Film / Sound Film and Saint-Saens 357 MARTIN MARKS Beyond the Conceits of the Avant-Garde: Saint-Saens, Romain Rolland, and the Musical Culture of the Nineteenth Century 370 LEON BOTSTEIN Index 405 Notes on the Contributors 419
£74.80
Princeton University Press Camille SaintSaëns and His World
Book SynopsisCamille Saint-Sans - perhaps the foremost French musical figure of the late nineteenth century and a composer who wrote in every musical genre, from opera and the symphony to film music - is now being rediscovered after a century of modernism overshadowed his importance. This book deconstructs the multiple realities behind the man and his music.Trade Review"This study of a versatile, tasteful and often endearing composer, and a serious, playful and sometimes prickly man, may be thoroughly recommended."--Classical Music Magazine "This compilation of masterful scholarship is likely to become a preeminent source for information on Saint-Saens."--Choice "Jann Pasler's edited collection thus offers a significant contribution to Saint-Saens studies, and to the field of nineteenth- and early twentieth century French music as a whole."--Helen Abbott, French Studies "[T]his book represents [quite an] achievement. Saint-Saens is revealed and yet remains intensely private: the book speaks volumes on the composer's life, views, working methods, and cultural and social status."--Clair Rowden, H-France ReviewTable of ContentsAcknowledgments and Permissions viii Introduction: Deconstructing Saint-Saens xi PART I SAINT-SAENS THE PERSON Camille Saint-Saens in (Semi-)Private 2 MITCHELL MORRIS Saint-Saens, The Playful 8 PAUL VIARDOT Inspired by the Skies? Saint-Saens, Amateur Astronomer 12 LEO HOUZIAUX Changes on the Moon, Optical Illusions, The Stars 17 CAMILLE SAINT-SAENS Business and Politics, with Humor: Saint-Saens and Auguste Durand 26 JANN PASLER Rivals and Friends: Saint-Saens, Massenet, and Thais 33 JEAN-CHRISTOPHE BRANGER Massenet-Saint-Saens Correspondence 40 CAMILLE SAINT-SAENS, JULES AND LOUISE MASSENET Saint-Saens and Lecocq: An Unwavering Friendship 48 YVES GERARD PART II SAINT-SAENS THE MUSICIAN Saint-Saens and the Performer's Prestige 56 DANA GOOLEY Le Ma'itre and the "Strange Woman," Marie Jaell: Two Virtuoso-Composers in Resonance 85 FLORENCE LAUNAY AND JANN PASLER Saint-Saens's Improvisations on the Organ (1862) 102 WILLIAM PETERSON Providing Direction for French Music: Saint-Saens and the Societe Nationale 109 MICHAEL STRASSER Saint-Saens as President of the Societe des Compositeurs (1887-1891) 118 LAURE SCHNAPPER Saint-Saens at the Societe des Concerts du Conservatoire de Paris (1903-1904) 125 D. KERN HOLOMAN PART III SAINT-SAENS THE GLOBETROTTER Saint-Saens: The Traveling Musician 134 STEPHANE LETEURE Saint-Saens in Germany 142 MICHAEL STEGEMANN Saint-Saens in England: His Organ Symphony 161 SABINA TELLER RATNER Analytical and Historical Programme for His New Symphony in C Minor and Major 167 CAMILLE SAINT-SAENS Saint-Saens, "Algerian by Adoption" 173 JANN PASLER Friendship and Music in Indochina 184 JANN PASLER Saint-Saens in New York 191 CAROLYN GUZSKI Saint-Saens and Latin America 201 CAROL A. HESS PART IV SAINT-SAENS, AESTHETICS PAST AND PRESENT What's in a Song? Saint-Saens's Melodies 210 ANNEGRET FAUSER Saint-Saens and the Ancient World: From Africa to Greece 232 JANN PASLER Saint-Saens, Writer 260 MAIRE-GABRIELLE SORET Saint-Saens and Rameau's Keyboard Music 266 KATHARINE ELLIS Preface, Rameau's Pieces de Clavecin (Durand, 1895) 271 CAMILLE SAINT-SAENS Lyres and Citharas of Antiquity 275 MARIE-GABRIELLE SORET Ancient Lyres and Citharas 280 CAMILLE SAINT-SAENS Saint-Saens and d'Indy in Dialogue 287 JANN PASLER PART V SAINT-SAENS IN THE 20TH CENTURY Saint-Saens's Advocacy of Music Education in Elementary School 304 JANN PASLER Report of M. Saint-Saens 309 CAMILLE SAINT-SAENS Saint-Saens and the Future of Music 312 BYRON ADAMS AND JANN PASLER Musical Evolution 318 CAMILLE SAINT-SAENS The Fox in the Henhouse, or Saint-Saens at the SMI 324 MICHEL DUCHESNEAU Saint-Saens, Ravel, and Their Piano Concertos: Sounding Out a Legacy 334 MICHAEL J. PURI Saint-Saens and Silent Film / Sound Film and Saint-Saens 357 MARTIN MARKS Beyond the Conceits of the Avant-Garde: Saint-Saens, Romain Rolland, and the Musical Culture of the Nineteenth Century 370 LEON BOTSTEIN Index 405 Notes on the Contributors 419
£37.80
Princeton University Press Music as Thought
Book SynopsisBefore the nineteenth century, instrumental music was considered inferior to vocal music. Kant described wordless music as "more pleasure than culture," and Rousseau dismissed it for its inability to convey concepts. But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and emTrade Review"A fascinating new book."--Alex Ross, The New Yorker "This is a cogent and well-illustrated account of the theoretical basis for the changes in how instrumental music was listened to in the early decades of the 19th century. Bonds clarifies complex material and piles up evidence to make a convincing case for a 'revolution in listening.'"--Patricia Howard, Currents "Philosophical discussion of music can easily become dense, but Bonds presents his arguments and evidence in a clear, discernible manner such that readers with little exposure to the philosophical issues of the time period can follow his reasoning and come away illuminated by a first-hand account concerning the reception of the symphony in the first quarter of the nineteenth century."--John Stine, Music Research ForumTable of ContentsAcknowledgments xi Introduction xiii List of Abbreviations xxi PROLOGUE: An Unlikely Genre: The Rise of the Symphony 1 CHAPTER ONE: Listening with Imagination: The Revolution in Aesthetics 5 From Kant to Hoffmann 6 Idealism and the Changing Perception of Perception 10 Idealism and the New Aesthetics of Listening 22 CHAPTER TWO: Listening as Thinking: From Rhetoric to Philosophy 29 Listening in a Rhetorical Framework 30 Listening in a Philosophical Framework 33 Art as Philosophy 37 CHAPTER THREE: Listening to Truth: Beethoven's Fifth Symphony 44 The Infinite Sublime 45 History as Knowing 50 The Synthesis of Conscious and Unconscious 53 Organic Coherence 55 Beyond the Sublime 57 CHAPTER FOUR: Listening to the Aesthetic State: Cosmopolitanism 63 The Communal Voice of the Symphony 63 The Imperatives of Individual and Social Synthesis 68 The State as Organism 71 Schiller's Idea of the Aesthetic State 73 Goethe's Pedagogical Province 75 CHAPTER FIVE: Listening to the German State: Nationalism 79 German Nationalism 79 The Symphony as a "German" Genre 88 The Performance Politics of the Music Festival 92 The Symphony as Democracy 99 EPILOGUE: Listening to Form: The Refuge of Absolute Music 104 Notes 117 Bibliography 153 Index 167
£22.50
Princeton University Press Carlos Ch225vez and His World
Book SynopsisCarlos Chavez (1899-1978) is the central figure in Mexican music of the twentieth century and among the most eminent of all Latin American modernist composers. An enfant terrible in his own country, Chavez was an integral part of the emerging music scene in the United States in the 1920s. His highly individual style--diatonic, dissonant, contrapuntTrade Review"An insightful volume."--William Robin, The New York TimesTable of ContentsPreface ix Acknowledgments xvii Permissions and Credits xviii PART 1 CHAVEZ'S MUSICAL WORLD Chavez, Modern Music, and the New York Scene 2 CHRISTINA TAYLOR GIBSON The Pan/American Modernisms of Carlos Chavez and Henry Cowell 28 STEPHANIE N. STALLINGS "The heartbeat of an intense life": Mexican Music and Carlos Chavez's Orquesta Sinfonica de Mexico, 1928-1948 46 RICARDO MIRANDA Carlos Chavez's Symphonies 62 JULIAN ORBON, TRANSLATED, INTRODUCED, AND ANNOTATED BY LEONORA SAAVEDRA Carlos Chavez and Silvestre Revueltas: Retracing an Ignored Dialogue 76 ROBERTO KOLB-NEUHAUS Aaron Copland, Carlos Chavez, and Silvestre Revueltas 99 HOWARD POLLACK PART II BIOGRAPHICAL AND ANALYTICAL PERSPECTIVES Chavez and the Autonomy of the Musical Work: The Piano Music 112 LUISA VILAR-PAYA Carlos Chavez and the Myth of the Aztec Renaissance 134 LEONORA SAAVEDRA Non-Repetition and Personal Style in the Inventions and Solis 165 AMY BAUER Music and the Marketplace: On the Backstory of Carlos Chavez's Violin Concerto178 DAVID BRODBECK PART III CHAVEZ'S GREATER WORLD Carlos Chavez and the Mexican "Vogue," 1925-1940 204 HELEN DELPAR Carlos Chavez and Paul Strand 220 JAMES KRIPPNER Masters Carlos Chavez and Miguel Covarrubias: A Puppet Show 237 ANTONIO SABORIT, TRANSLATED BY REBECCA LEVI The Literary Affinities and Poetic Friendships of Carlos Chavez 255 SUSANA GONZALEZ AKTORIES, TRANSLATED BY REBECCA LEVI The Composer as Intellectual: Carlos Chavez and El Colegio Nacional 273 ANA R. ALONSO-MINUTTI Portraits of Carlos Chavez: Testimonies of Collaboration 295 ANNA INDYCH-LOPEZ The Modernist Invention of Mexico: Carlos Chavez, the Mexican Revolution, and the Cultural Politics of Music 306 LEON BOTSTEIN Index 339 Notes on the Contributors 357
£28.80
Princeton University Press Tchaikovsky and His World
Book SynopsisTchaikovsky has long intrigued music-lovers as a figure who straddles many borders--between East and West, nationalism and cosmopolitanism, tradition and innovation, tenderness and bombast, masculine and feminine. In this book, through consideration of his music and biography, scholars from several disciplines explore the many sides of Tchaikovsky.Table of ContentsAcknowledgmentsPermissionsPrefacePt. IBiographical WorksTchaikovsky: A Life Reconsidered3Unknown Tchaikovsky: A Reconstruction of Previously Censored Letters to His Brothers (1875-1879)55Pt. IIEssaysMusic as the Language of Psychological Realism: Tchaikovsky and Russian Art99Line of Succession: Three Productions of Tchaikovsky's Sleeping Beauty145Per Aspera ad Astra: Symphonic Tradition in Tchaikovsky's First Suite for Orchestra163An Examination of Problem History in Tchaikovsky's Fourth Symphony197Tchaikovsky's Tatiana216On the Role of Gremin: Tchaikovsky's Eugene Onegin220Review of The Maid of Orleans [1899]234Tchaikovsky Androgyne: The Maid of Orleans239The Coronation of Alexander III277Tchaikovsky, Chekhov, and the Russian Elegy300Tchaikovsky and the Russian "Silver Age"319Pt. IIITheoretical WritingsA Documentary Glance at Tchaikovsky and Rimsky-Korsakov as Music Theorists333IndexList of Contributors
£46.75
Princeton University Press The Science and Art of Renaissance Music
Book SynopsisAs a distinguished scholar of Renaissance music, James Haar has had an abiding influence on how musicology is undertaken, owing in great measure to a substantial body of articles published over the past three decades. Collected here for the first time are representative pieces from those years, covering diverse themes of continuing interest to him and his readers: music in Renaissance culture, problems of theory as well as the Italian madrigal in the sixteenth century, the figures of Antonfrancesco Doni and Giovanthomaso Cimello, and the nineteenth century''s views of early music.In this collection, the same subject is seen from several angles, and thus gives a rich context for further exploration. Haar was one of the first to recognize the value of cultural study. His work also reminds us that the close study of the music itself is equally important. The articles contained in this book show the author''s conviction that a good way to address large problems is to begin by foTrade ReviewAn Outstanding Book by the Gustavus Meyers Center for the Study of Human Rights in North America for 1998Table of ContentsPrefaceEditor's PrefaceBibliographical AbbreviationsCh. 1A Sixteenth-Century Attempt at Music Criticism3Ch. 2The Courtier as Musician: Castiglione's View of the Science and Art of Music20Ch. 3Cosimo Bartoli on Music38Ch. 4The Frontispiece of Gafori's Practica Musicae (1496)79Ch. 5False Relations and Chromaticism in Sixteenth-Century Music93Ch. 6Zarlino's Definition of Fugue and Imitation121Ch. 7Lessons in Theory from a Sixteenth-Century Composer149Ch. 8Josquin as Interpreted by a Mid-Sixteenth-Century German Musician176Ch. 9The Note Nere Madrigal201Ch. 10The "Madrigale Arioso": A Mid-Century Development in the Cinquecento Madrigal222Ch. 11Giovanthomaso Cimello as Madrigalist239Ch. 12Notes on the Dialogo della Musica of Antonfrancesco Doni271Ch. 13A Gift of Madrigals to Cosimo I: The Ms. Florence, Bibl. Naz. Centrale, Magl. XIX, 130300Ch. 14The Libraria of Antonfrancesco Doni323Ch. 15Berlioz and the "First Opera"353Ch. 16Music of the Renaissance as Viewed by the Romantics366Index of Names383
£49.30
Cornell University Press Retracing a Winters Journey
Book SynopsisYouens addresses the different aspects of the Winterreise: its cultural milieu, the genesis of both the poetry and the music, Schubert's transformation of poetic cycle into music, the philosophical dimension of the work, and its musical structure.Trade ReviewSusan Youens displays a rare ability at making penetrating comments on both poetry and music, as well as their interrelationship, and her book is full of interesting observations of details easily overlooked by those who have not studied the song cycle closely. * Times Higher Education Supplement *Susan Youens's Retracing a Winter's Journey is the most successful and appealing of the various recent studies of Winterreise. Youens is a true Schubertian, able to find the subtlety of the cycle and to take the reader through it in a way that broadens the understanding regardless of how familiar one may be with the work. She pays special attention to the texts, interpreting Müller's various images with a skill born of wide knowledge of the poet's other works as well as those of his contemporaries, and proceeding to an illumination of the role and importance of the texts in the musical setting.... The author's lucid and elegant writing never allows one to falter through the retracing of this fascinating journey. * Music and Letters *This is a book of considerable importance. Given the quantity of distinguished writing about Schubert's great song-cycle it is the author's outstanding achievement to have written a study that for scope, insight, and sheer readability eclipses previous responses to the challenge.... Youens combines to a degree as rare as it is admirable the sensitivities and deep knowledge of literary historian and musicologist. * German History *This is the definitive book on the subject, by one of the world's leading lieder scholars. * Time Out New York *Table of ContentsPrefacePart I. The Poet and the Composer1. Genesis and Sources 2. The Texts of Winterreise 3. The Music of WinterreisePart II. The Songs1. Gute Nacht 2. Die Wetterfahne 3. Gefror'ne Tränen 4. Erstarrung 5. Der Lindenbaum 6. Wasserflut 7. Auf dem Fluße 8. Rückblick 9. [Das] Irrlicht 10. Rast 11. Frühlingstraum 12. Einsamkeit 13. Die Post 14. Der greise Kopf 15. Die Krähe 16. Letzte Hoffnung 17. Im Dorfe 18. Der stürmische Morgen 19. Täuschung 20. Der Wegweiser 21. Das Wirtshaus 22. Mut 23. Die Nebensonnen 24. Der LeiermannPostludeAppendix. Ludwig Uhland's Wander-LiederSelected Bibliography Index
£97.20
Cornell University Press Music and Meaning
Book SynopsisIn order to promote new ways of thinking about musical meaning, this volume brings together scholars in music theory, musicology, and the philosophy of music, disciplines generally treated as separate and distinct. This interdisciplinary collaboration, while respecting differences in perspective, identifies and elaborates shared concerns.This volume focuses on the many and various kinds of meaning in music. Do musical meanings exist exclusively in internal, formal musical relations or might they also be found in the relationship between music and other areas of experience, such as action, emotion, ideas, and values? Also discussed is the vexed question why people listen to and apparently enjoy music which expresses unpleasant emotions, such as melancholy or despair. Among the particular pieces the writers discuss are Mahler''s Ninth Symphony, Shostakovich''s Tenth Symphony, and Schubert''s last sonata. More broadly, they consider the relation of musical meaning and interpretaTrade ReviewReading this book is a satisfying experience since it gives one the impression that progress is being made in the philosophy of music.... Scholars working in the philosophy of music will want to have a copy for ease of reference.... Libraries supporting research on aesthetics will need a copy. * The Journal of Aesthetics and Art Criticism *This collection can be enthusiastically recommended to philosophers who want to hear some of the latest news from musicology. * British Journal of Aesthetics *This excellent collection... is a humanistically rich, argumentatively subtle, and music-analytically accomplished volume, engendering a fuller awareness of the conceptual legacy of the Wagner-Hanslick debate that would place formal analysis in polemical opposition to narrative and emotive content, and taking a great stride towards overcoming that pernicious dichotomy. The book well deserves an enthusiastic recommendation to everyone desiring a fuller comprehension of the complexities of musical experience. * Philosophy in Review *
£24.69
Cornell University Press Music Alone Philosophical Reflections on the
Book SynopsisWhat makes a musical work profound? What is it about pure instrumental music that the listener finds attractive and rewarding? In addressing these questions, Peter Kivy continues his highly regarded exploration of the philosophy of musical aesthetics...
£24.69
Cornell University Press Retracing a Winters Journey Franz Schuberts
Book SynopsisYouens addresses the different aspects of the Winterreise: its cultural milieu, the genesis of both the poetry and the music, Schubert's transformation of poetic cycle into music, the philosophical dimension of the work, and its musical structure.Trade ReviewSusan Youens displays a rare ability at making penetrating comments on both poetry and music, as well as their interrelationship, and her book is full of interesting observations of details easily overlooked by those who have not studied the song cycle closely. * Times Higher Education Supplement *Susan Youens's Retracing a Winter's Journey is the most successful and appealing of the various recent studies of Winterreise. Youens is a true Schubertian, able to find the subtlety of the cycle and to take the reader through it in a way that broadens the understanding regardless of how familiar one may be with the work. She pays special attention to the texts, interpreting Müller's various images with a skill born of wide knowledge of the poet's other works as well as those of his contemporaries, and proceeding to an illumination of the role and importance of the texts in the musical setting.... The author's lucid and elegant writing never allows one to falter through the retracing of this fascinating journey. * Music and Letters *This is a book of considerable importance. Given the quantity of distinguished writing about Schubert's great song-cycle it is the author's outstanding achievement to have written a study that for scope, insight, and sheer readability eclipses previous responses to the challenge.... Youens combines to a degree as rare as it is admirable the sensitivities and deep knowledge of literary historian and musicologist. * German History *This is the definitive book on the subject, by one of the world's leading lieder scholars. * Time Out New York *Table of ContentsPrefacePart I. The Poet and the Composer1. Genesis and Sources 2. The Texts of Winterreise 3. The Music of WinterreisePart II. The Songs1. Gute Nacht 2. Die Wetterfahne 3. Gefror'ne Tränen 4. Erstarrung 5. Der Lindenbaum 6. Wasserflut 7. Auf dem Fluße 8. Rückblick 9. [Das] Irrlicht 10. Rast 11. Frühlingstraum 12. Einsamkeit 13. Die Post 14. Der greise Kopf 15. Die Krähe 16. Letzte Hoffnung 17. Im Dorfe 18. Der stürmische Morgen 19. Täuschung 20. Der Wegweiser 21. Das Wirtshaus 22. Mut 23. Die Nebensonnen 24. Der LeiermannPostludeAppendix. Ludwig Uhland's Wander-LiederSelected Bibliography Index
£23.19
University of Nebraska Press The BrahmsKeller Correspondence
Book SynopsisFor two decades, beginning in the early 1870s, Robert Keller ushered into print most of Johannes Brahms's major compositions. This volume collects for the first time the complete extant correspondence between Brahms and Keller. Their correspondence illuminates a relationship of mutual respect and friendship and highlights the labour that went into the publication of Brahms's masterpieces.Trade Review"George Bozarth introduces and annotates every item with a scrupulousness to rival Keller's own, building a compelling picture of two professionals intent upon the service of music."—Music Magazine"An invaluable addition to Brahms literature."—Times Literary Supplement"The scholarship is really superior. The editor has a wonderful grasp of the secondary literature and handles the primary sources with great skill."—Walter Frisch, Columbia University"Few scholars can match Bozarth's experience with Brahms primary sources or his general knowledge of the field of Brahms studies."—David Brodbeck, editor of Brahms Studies
£55.80
University of Nebraska Press The Guitar in Jazz An Anthology
Book SynopsisPresents the history and development of the guitar as a jazz instrument. This volume traces the evolution of jazz guitar playing, from the pioneering styles of Nick Lucas and Eddie Lang through the innovations of such contemporary masters as Jim Hall and Ralph Towner.Trade Review"Guitarists have been making major contributions to jazz since the 1920s, when Eddie Lang first began adding his brand of six-string sophistication to performances by the Mound City Blowers. Yet the history of the jazz guitar has remained largely undocumented, at least in any methodical way. Now James Sallis has put together a long-overdue anthology which traces the evolution of jazz guitar as well as celebrating some of the instrument’s greatest players."—Jazz Times"Probably the most comprehensive anthology of essays essential to a complete understanding of jazz guitar and its stylistic history. . . . Sallis’ exhaustive research is clearly edited and written, and I feel it’ll be the reference source for the jazz lover, guitarist and non-guitarist alike in the next few years."—Dennis Gonzalez, The New Jazz Review"An unfailingly lively and informative collection of essays that traces the guitar’s evolution in the hands of jazz and jazz-influenced artists who have not only mastered the instrument, but repeatedly reinvented it."—Gary Giddins, author of Faces in the Crowd
£26.59
Stanford University Press Music Body and Desire in Medieval Culture
Book SynopsisRanging chronologically from the 12th to the 15th centuries and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages.Trade Review"What a wonderful book! It will change the whole way we look at, read, and listen to the Middle Ages. Holsinger's grasp of the history of Latin and vernacular literature, philosophy, art, and history as it pertains to his topic, is breathtaking. What holds the whole argument together is [the author's superb grasp of] music."—Michael Camille, University of Chicago"The book is interesting, intriguing, and provides a valuable model for new ways of approaching musical repertory."—Notes"Provides a very close reading of a wide range of texts from late Antiquity to the early modern period that deal with the corporeal production and reception of music . . . .Some of these texts are well known to musicologists or students of literature, but few scholars of any stripe would know all of them or even the majority intimately. Scholars of literature and music, and of culture in general, will therefore find much of interest here as well as an important synthesis of many of the most colorful passages on music from the writings of this period."—Echo: A Music-Centered Journal"Bruce W. Holsinger's Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer is an ambitious and original book. It is also something rarer, a genuine pleasure to read; because of the confident way the book moves between literary criticism, iconography and musicology, it will provide most medievalists with glimpses of something outside their particular field; an obscure or under-read text, an unfamiliar element of musical practice, an unknown aspect of pedagogy in the Middle Ages, a new vision of the medieval body."—Maud Burnett McIrney, Haverford College"The virtues of Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer are many. Holsinger's volume is deeply learned, forcefully argued, generous even in its polemics, and, not least, written with a soaring and searing elouence...it is a brilliant provocation that will change its field forever, and what is more, it will bring music vividly to the attention of medievalists who have neglected it far too long."—The Journal of ReligionTable of ContentsPreface and acknowledgments; List of illustrations; Abbreviations; Introduction; Part I. Backgrounds: Musical Embodiments in Christian Late Antiquity: 1. The resonance of the flesh; 2. Saint Augustine and the rhythms of embodiment; Part II. Liturgies of Desire: 3. Sine Tactu Viri: the musical somatics of Hildegard of Bingen; 4. Polyphones and sodomites: music and sexual dissidence from Leoninus to Chaucer's pardoner; Part III. Sounds of Suffering: 5. The musical body in pain: passion, percussion, and melody in the thirteenth-century religious practice; 6. Musical violence and the pedagogical body: the prioress's tale and the ideologies of 'song'; Part IV. Resoundings: 7. Orpheus in parts: music, fragmentation, remembrance; Epilogue; Notes; Bibliography; Index.
£105.40
Stanford University Press Music Body and Desire in Medieval Culture
Book SynopsisRanging chronologically from the 12th to the 15th centuries and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages.Trade Review"What a wonderful book! It will change the whole way we look at, read, and listen to the Middle Ages. Holsinger's grasp of the history of Latin and vernacular literature, philosophy, art, and history as it pertains to his topic, is breathtaking. What holds the whole argument together is [the author's superb grasp of] music."—Michael Camille, University of Chicago"The book is interesting, intriguing, and provides a valuable model for new ways of approaching musical repertory."—Notes"Provides a very close reading of a wide range of texts from late Antiquity to the early modern period that deal with the corporeal production and reception of music . . . .Some of these texts are well known to musicologists or students of literature, but few scholars of any stripe would know all of them or even the majority intimately. Scholars of literature and music, and of culture in general, will therefore find much of interest here as well as an important synthesis of many of the most colorful passages on music from the writings of this period."—Echo: A Music-Centered Journal"Bruce W. Holsinger's Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer is an ambitious and original book. It is also something rarer, a genuine pleasure to read; because of the confident way the book moves between literary criticism, iconography and musicology, it will provide most medievalists with glimpses of something outside their particular field; an obscure or under-read text, an unfamiliar element of musical practice, an unknown aspect of pedagogy in the Middle Ages, a new vision of the medieval body."—Maud Burnett McIrney, Haverford College"The virtues of Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer are many. Holsinger's volume is deeply learned, forcefully argued, generous even in its polemics, and, not least, written with a soaring and searing elouence...it is a brilliant provocation that will change its field forever, and what is more, it will bring music vividly to the attention of medievalists who have neglected it far too long."—The Journal of ReligionTable of ContentsPreface and acknowledgments List of illustrations Abbreviations Introduction Part I. Backgrounds: Musical Embodiments in Christian Late Antiquity: 1. The resonance of the flesh 2. Saint Augustine and the rhythms of embodiment Part II. Liturgies of Desire: 3. Sine Tactu Viri: the musical somatics of Hildegard of Bingen 4. Polyphones and sodomites: music and sexual dissidence from Leoninus to Chaucer's pardoner Part III. Sounds of Suffering: 5. The musical body in pain: passion, percussion, and melody in the thirteenth-century religious practice 6. Musical violence and the pedagogical body: the prioress's tale and the ideologies of 'song' Part IV. Resoundings: 7. Orpheus in parts: music, fragmentation, remembrance Epilogue Notes Bibliography Index.
£28.80
Louisiana State University Press American Lonesome
Book SynopsisOffers an innovative study of Bruce Springsteen and his position in American culture that blends scholarship with personal reflection, providing both an academic examination of Springsteen's work and a moving account of how it offers a way out of emotional solitude and the potential lonesomeness of modern life.
£35.06
Louisiana State University Press American Lonesome
Book SynopsisBegins with a visit to the Jersey Shore and ends with a meditation on the international legacy of Springsteen’s writing, music, and performances. Gavin Cologne-Brookes’s innovative study of this popular musician and his position in American culture blends scholarship with personal reflection.
£21.95
LSU Press The Downhome Sound
Book SynopsisAmerican roots music can be challenging to categorise, spanning the genres of jazz, bluegrass, country, blues, rock and roll, and an assortment of variations in between. In The Downhome Sound, Mandi Bates Bailey explores the messages, artists, community, and appeal of this seemingly disparate musical collective.
£44.20
LSU Press The Downhome Sound
Book SynopsisAmerican roots music can be challenging to categorise, spanning the genres of jazz, bluegrass, country, blues, rock and roll, and an assortment of variations in between. In The Downhome Sound, Mandi Bates Bailey explores the messages, artists, community, and appeal of this seemingly disparate musical collective.
£23.36
University Press of Florida Good Day Sunshine State How the Beatles Rocked
Book SynopsisIn 1964 The Beatles appeared live on the Ed Sullivan Show and embarked on their first tour of North America - and they spent more time in Florida than anywhere else. Good Day Sunshine State dives into this momentous time and place, exploring the band’s seismic influence on the people and culture of the state.Trade Review“[Kealing’s] sources come from outside the Beatles camp, adjacent observers offering reflective testimony on a moment when The Beatles were not yet fully draped in myth.”—Uncut Magazine
£21.56
New York University Press To the Break of Dawn A Freestyle on the Hip Hop
Book SynopsisThe artistic evolution of hip hop from the South Bronx to EminemTrade Review"With poetic passion and surgical precision, William Jelani Cobbs engaging exploration of the hip hop aesthetic lovingly demonstrates that, when it comes to beats and rhymes, the beauty of the (bass) god resides in the details." -- Joan Morgan,author of When Chickenheads Come Home to Roost"Wow! To the Break of Dawn is a crucial contribution to hip hop history. I'm thrilled that William Jelani Cobb has documented hip hop's relationship to the blues. If you want to truly understand how hip hop was born, read this book." * MC Lyte *"To the Break of Dawn tells the serious story of hip hop's artistic roots, and in the process revels in the great MCs who stand at the crossroads of music and literature. In a crowded field of hip hop scholars, pundits, and journalists, To the Break of Dawn puts William Jelani Cobb way out in front." -- Ta-Nehisi Coates"At a time when academics are just beginning to recognize hip hop as a legitimate form, William Jelani Cobb, a child of rap himself, brings an unparalleled level of understanding to the music. His historically informed yet hip-to-the-tip viewpoint roots readers in the art form rather than the hype." -- Chuck D"Finally, a hip hop study that captures the verve and swagger that marked the work of our critical forebears Albert Murray and Amiri Baraka. In his brilliant new tome, William Jelani Cobb bridges the gap between the majesty of the blues and the gully regality of hip hop." -- Mark Anthony Neal,author of New Black Man"Upon finishing To The Break of Dawn any objective fan will acknowledge that Cobb has done a commendable job in chronicling raps evolution and explaining its multiple influences and impact." * City Paper *"This book makes an important contribution to hip-hop history. . . . Cobbs writing style is engaging, and the book benefits from the legitimacy provided by the author’s background: he is a former MC who grew up with the culture." * Choice *"To the Break of Dawn marks a crucial turning point in hip-hop writing. . . . By opening the discourse on hip-hops aesthetic, Cobb spearheads a new sub-genre, and perhaps a return or revolution in hip-hop aesthetics." * Black Issues Book Review *"Vital stuff for hip hop fans eager to know more about their favorite cultural idiom’s development and underpinnings." * Booklist *"Cobb has contributed a worthy study to the growing literature on hip-hop." * Popular Music *"What makes William Jelani Cobbs To the Break of Dawn so refreshing is that it centers on what hip-hop is, rather than on what it does. Eschewing the common practice of treating rap lyrics as just another way to talk about race, politics or the self, Cobb treats them as art. His aim is ambitious: to articulate hip-hop's aesthetic principles while tracing its roots back to the & ancestral poetic and musical traditions of black oral culture, from Sunday sermons to gut-bucket blues. To the Break of Dawn celebrates lyrical invention, the artists and even the particular rhymes that make hip-hop great. For the uninitiated, it is Hip-Hop 101, offering a rich overview of rap's verbal artistry. For the aficionado, it alternately affirms and challenges deeply held beliefs of what is valuable in hip-hop." * Washington Post Book World *"To the Break of Dawn dissects the evolution of hip hop lyricism from its most primitive beginnings to its current manifestation as a global phenomenon. Author Jelani Cobb examines issues of race, geography, genre and bravado in this overview of hip hops lyrical art. Covering words from B.I.G., Cube, Obie Trice and Pimp C, Cobb offers an intellectual and up-to-date report on hip hops most powerful element." * The Source Magazine *"[P]eels back the many digitized layers of hip-hop to explore the evolution of the MC, from African folkloric traditions to the global (and often hypercommercial) phenomenon it is today." * Utne *"On literally every page [Cobb] displays a tremendous command of language and history as he ‘examines the aesthetic, stylistic, and thematic evolution of hip hop from its inception in the South Bronx to the present era.’ But make no mistake: this groundbreaking work is an artfully constructed and vividly written look at & the artistic evolution of rap music and its relationship to earlier forms of black expression. Much of the book's pleasure also comes from Cobbs ability to & freestyle serious and humorous insights-from how artists such as Tupac and Nas sometimes ‘stepped outside the conventions of hip-hop to pen sympathetic narratives about the sexual exploitation of young women,’ to how LL Cool Js pioneering & I Need a Beat sounded & like hed raided every entry in an SAT book." * Publishers Weekly (starred review) *"To the Break of Dawn is smart, funny, conversationala book to touch off serious study of the modern MC." * The Austin Chronicle *Table of ContentsMicrophone Check: An Intro The Roots The Score Word of Mouth Asphalt Chronicles: Hip Hop and the Storytelling Tradition Seven MCs Conclusion Shout Outs Notes Index About the Author
£55.25
New York University Press To the Break of Dawn A Freestyle on the Hip Hop
Book SynopsisWith roots that stretch from West Africa through the black pulpit, hip-hop emerged in the streets of the South Bronx in the 1970s and has spread to the farthest corners of the earth. This book examines this freestyle verbal artistry on its own terms. It illuminates hip-hop's innovations in a freestyle form that speaks to both aficionados and more.Trade ReviewWith poetic passion and surgical precision, William Jelani Cobbs engaging exploration of the hip hop aesthetic lovingly demonstrates that, when it comes to beats and rhymes, the beauty of the (bass) god resides in the details. -- Joan Morgan,author of When Chickenheads Come Home to RoostWow! To the Break of Dawn is a crucial contribution to hip hop history. I'm thrilled that William Jelani Cobb has documented hip hop's relationship to the blues. If you want to truly understand how hip hop was born, read this book. * MC Lyte *To the Break of Dawn tells the serious story of hip hop's artistic roots, and in the process revels in the great MCs who stand at the crossroads of music and literature. In a crowded field of hip hop scholars, pundits, and journalists, To the Break of Dawn puts William Jelani Cobb way out in front. -- Ta-Nehisi CoatesAt a time when academics are just beginning to recognize hip hop as a legitimate form, William Jelani Cobb, a child of rap himself, brings an unparalleled level of understanding to the music. His historically informed yet hip-to-the-tip viewpoint roots readers in the art form rather than the hype. -- Chuck DFinally, a hip hop study that captures the verve and swagger that marked the work of our critical forebears Albert Murray and Amiri Baraka. In his brilliant new tome, William Jelani Cobb bridges the gap between the majesty of the blues and the gully regality of hip hop. -- Mark Anthony Neal,author of New Black ManUpon finishing To The Break of Dawn any objective fan will acknowledge that Cobb has done a commendable job in chronicling raps evolution and explaining its multiple influences and impact. * City Paper *This book makes an important contribution to hip-hop history. . . . Cobbs writing style is engaging, and the book benefits from the legitimacy provided by the author’s background: he is a former MC who grew up with the culture. * Choice *To the Break of Dawn marks a crucial turning point in hip-hop writing. . . . By opening the discourse on hip-hops aesthetic, Cobb spearheads a new sub-genre, and perhaps a return or revolution in hip-hop aesthetics. * Black Issues Book Review *Vital stuff for hip hop fans eager to know more about their favorite cultural idiom’s development and underpinnings. * Booklist *Cobb has contributed a worthy study to the growing literature on hip-hop. * Popular Music *What makes William Jelani Cobbs To the Break of Dawn so refreshing is that it centers on what hip-hop is, rather than on what it does. Eschewing the common practice of treating rap lyrics as just another way to talk about race, politics or the self, Cobb treats them as art. His aim is ambitious: to articulate hip-hop's aesthetic principles while tracing its roots back to the & ancestral poetic and musical traditions of black oral culture, from Sunday sermons to gut-bucket blues. To the Break of Dawn celebrates lyrical invention, the artists and even the particular rhymes that make hip-hop great. For the uninitiated, it is Hip-Hop 101, offering a rich overview of rap's verbal artistry. For the aficionado, it alternately affirms and challenges deeply held beliefs of what is valuable in hip-hop. * Washington Post Book World *To the Break of Dawn dissects the evolution of hip hop lyricism from its most primitive beginnings to its current manifestation as a global phenomenon. Author Jelani Cobb examines issues of race, geography, genre and bravado in this overview of hip hops lyrical art. Covering words from B.I.G., Cube, Obie Trice and Pimp C, Cobb offers an intellectual and up-to-date report on hip hops most powerful element. * The Source Magazine *[P]eels back the many digitized layers of hip-hop to explore the evolution of the MC, from African folkloric traditions to the global (and often hypercommercial) phenomenon it is today. * Utne *On literally every page [Cobb] displays a tremendous command of language and history as he ‘examines the aesthetic, stylistic, and thematic evolution of hip hop from its inception in the South Bronx to the present era.’ But make no mistake: this groundbreaking work is an artfully constructed and vividly written look at & the artistic evolution of rap music and its relationship to earlier forms of black expression. Much of the book's pleasure also comes from Cobbs ability to & freestyle serious and humorous insights-from how artists such as Tupac and Nas sometimes ‘stepped outside the conventions of hip-hop to pen sympathetic narratives about the sexual exploitation of young women,’ to how LL Cool Js pioneering & I Need a Beat sounded & like hed raided every entry in an SAT book. * Publishers Weekly (starred review) *To the Break of Dawn is smart, funny, conversationala book to touch off serious study of the modern MC. * The Austin Chronicle *Table of ContentsMicrophone Check: An Intro The Roots The Score Word of Mouth Asphalt Chronicles: Hip Hop and the Storytelling Tradition Seven MCs Conclusion Shout Outs Notes Index About the Author
£20.99
John Wiley & Sons Old Jewish Folk Music
Book SynopsisThis volume presents a cultural record of the Jewish folk music of Eastern Europe, through the eyes of ethnomusicologist, Moshe Beregovski. It includes contextual responses to Jewish folk music, essays on musical influences, and notes and lyrics of nearly 300 folk songs.
£22.46
MP-SYR Syracuse University P The Musical Tradition of the Eastern European Sy
Book SynopsisThe Sabbath Eve Service, a three-book set, is to date the most comprehensive annotated anthology of authentic musical liturgy of the Eastern European synagogue Friday night Shabbat service. Part of a projected five-volume set, this series is dedicated to the preservation of the legacy of Eastern European synagogue music.
£108.80
University of Minnesota Press Dreams of Difference Songs of the Same
Book SynopsisTable of ContentsIntroduction 1. Illustrating Music: The Impossible Embodiments of the Jukebox Film 2. Dissonant Refrains: Carmen on Film 3. En Chanté: Music, Memory, and Perversity in the Films of Jacques Demy 4. Becoming-Fluid: History, Corporeality, and the Musical Spectacle Conclusion Acknowledgments Notes Index
£19.79
The University of Alabama Press No One to Meet
Book SynopsisThe literary establishment tends to regard Bob Dylan as an intriguing, if baffling, outsider. That changed when Dylan was awarded the Nobel Prize in Literature. This book places Dylan the artist within a long tradition of literary production and offers an innovative way of understanding his unique, and often controversial, methods of composition.
£28.01
UNIV OF ALABAMA PR Gringos Get Rich
Book SynopsisDocuments counter-imperialism in Chilean music since the 1960s.Trade Review“This is an original account of how one country sings against another country whose musical, imperial, and imaginary influences shaped its national songbook. And by analyzing the image of the United States in Chile’s unique popular poetics, the book stimulates in the reader’s mind and ears other musical dialogues across the region and the world."—Pablo Palomino, author of The Invention of Latin American Music: A Transnational History
£26.96
LUP - University of Georgia Press The Philosopher King T Bone Burnett and the
Book SynopsisTexas-born T Bone Burnett is an award-winning musician, songwriter, and producer with over forty years of experience in the entertainment industry. Heath Carpenter evaluates and positions Burnett as a major cultural catalyst by grounding his work, and that of others abiding by a similar ""roots"" ethic, in the American South.
£32.26
University of Georgia Press The Music and Mythocracy of Col. Bruce Hampton A
Book SynopsisNeither a true biography in the Boswellian sense nor a work of cultural studies, although it combines elements of both. Even as biographer Jerry Grillo has investigated and pursued the facts, this life history of Col. Bruce reads like a novel-one full of amazing and hard-to-believe tales of a musical life lived on and off the road.
£30.51
Ohio University Press An Introduction to Richard Wagners Der Ring des
Book SynopsisToday, more than a century after its first performance, Richard Wagner’s The Ring of Nibelung endures as one of the most significant artistic creations in the history of opera.Trade Review“Professor Cord’s 163 pages encompass just about everything one needs to know about the Ring outside of sitting down and listening to it…This handbook is definitely recommended for the new Ring-goer, who may find here even more material than is needed at first, and it is certainly recommended for the veteran.” * The Opera Quarterly *“Mr. Cord has accomplished his self-imposed assignment with the thorough hand of a scholar.” * Opera Canada *
£18.99
Duke University Press Deep River
Book SynopsisFocuses on the role of African American folk music in Renaissance aesthetic and political debates about racial performance, social memory, and national identity. This book elucidates how spirituals, African American concert music, the blues, and jazz became symbolic sites of social memory and anticipation in the era of the Harlem Renaissance.Trade Review“Paul Anderson’s Deep River is the best, most convincing, and most richly textured work on black socio-musical criticism in print. In examining the views of twelve commentators on black music, ranging from W. E. B. DuBois and his ‘sorrow songs’ theory to Wynton Marsalis and his jazz neoclassicism, Anderson builds his interpretations and critiques on that of previous and current critics to develop a sophisticated examination and treatment of important ideas about social and cultural positioning of black music in America. I recommend this book to anyone interested in black music as a field of study or inquiry.”—Samuel A. Floyd, Jr., Columbia College“While many scholars have attempted histories of the early years of jazz—and even more have examined Du Bois’s appeals to the musical in his social and cultural criticism—few have attempted the kind of sustained examination of the critical debates about black music that Anderson does. Deep River places these long-standing debates in a crucial new context.”—Aldon L. Nielsen, author of Black Chant: Languages of African American PostmodernismTable of ContentsAcknowledgments Introduction 1. “Unvoiced Longings”: Du Bois and the Sorrow Songs 2. Swan Songs and Art Songs: The Spirituals and the “New Negro” in the 1920s 3. “The Twilight of Aestheticism”: Locke on Cosmopolitanism and Musical Evolution 4. “Beneath the Seeming Informality”: Hughes, Hurston, and the Politics of Form 5. Saving Jazz From Its Friends: The Predicament of Jazz Criticism in the Swing Era Epilogue Notes Selected Bibliography Index
£27.90
Duke University Press Soundtrack Available
Book SynopsisFrom the silent era to the present day, popular music has been a key component of the film experience. This title aims to fill this gap, as its contributors provide detailed analyses of individual films as well as historical overviews of genres, styles of music, and approaches to film scoring.Trade Review“Soundtrack Available represents a great leap forward in the analysis of film soundtracks. It is a smart, lively book that moves nicely between the detailed analysis of individual cases and broader, theoretical issues. The editors are to be commended for a collection which covers so many historical periods and national cinemas, and for staking out exciting new directions for scholarship. At the same time, this is a compelling, refreshingly jargon-free read for the non-specialist interested in film, music, or media.”—Will Straw, McGill University“From Bollywood to Hollywood, Wim Wenders to Wong Kar-Wai, popular music permeates movies. Rigorous scholarship has finally begun to catch up with this phenomenon to make sense of its rich and varied cultural meanings. Wocjik’s and Knight’s first-rate collection is muscular, theoretically informed, historically textured, and full of exciting discoveries for all interested in the confluence of pop music, film, and identity.”—Claudia Gorbman, University of WashingtonTable of ContentsList of Illustrations Acknowledgments Overture / Arthur Knight and Pamela Robertson Wojcik I. Popular vs. “Serious” Cinema and Popular Song: The Lost Tradition / Rick Altman Surreal Symphonies: “L’Age d’or and the Discreet Charms of Classical Music / Priscilla Barlow “The Future’s Not Ours to See”: Song, Singer, and Labryinth in Hitchcock’s The Man Who Knew Too Much / Murray Pomerance “You Think They Call Us Plastic Now . . . “: The Monkees and Head / Paul B. Ramaeker II. Singing Stars Real Men Don’t Sing Ballads: The Radio Crooner in Hollywood, 1929–1933 / Allison McCracken Flower of the Asphalt: The Chanteuse Realiste in 1930s French Cinema / Kelley Conway The Embodied Voice: Song Sequences and Stardom in Popular Hindi Cinema / Neepa Majumdar III. Music as Ethnic Marker Music as Ethnic Marker in Film: The “Jewish” Case / Andrew P. Killick Sounding the American Heart: Cultural Politics, Country Music, and Contemporary American Film / Barbara Ching Crossing Musical Borders: The Soundtrack for Touch of Evil / Jill Leeper Documented/Documentary Asians: Gurinder Chadha’s I’m British But . . . and the Musical Mediation of Sonic and Visual Identities / Nabeel Zuberi IV. African American Identities Class Swings: Music, Race, and Social Mobility in Broken Strings / Adam Knee Borrowing Black Masculinity: The Role of Johnny Hartman in The Bridges of Madison County / Krin Gabbard V. Case Study: Porgy and Bess It Ain’t Necessarily So That It Ain’t Necessarily So: African American Recordings of Porgy and Bess as Film and Cultural Criticism / Arthur Knight “Hollywood Has Taken On a New Color”: The Yiddish Blackface of Samuel Goldwyn’s Porgy and Bess / Jonathan Gill VI. Contemporary Compilations Picturizing American Cinema: Hindi Film Songs and the Last Days of Genre / Corey K. Creekmur Popular Songs and Comic Allusion in Contemporary Cinema / Jeff Smith VII. Gender and Technology The Girl and the Phonograph; or the Vamp and the Machine Revisited / Pamela Robertson Wojcik Bibliography Contributors Index
£27.90
Duke University Press Books Singing the Classical Voicing the Modern
a huge range and FREE tracked UK delivery on ALL orders.
£24.99
MD - Duke University Press Singing the Classical Voicing the Modern
Book SynopsisReveals how Karnatic music emerged as India's classical music through a particular politics of voice that developed in the crucible of colonial modernity, nationalist ideology, and South Indian regional politics.Trade Review“Singing the Classical, Voicing the Modern ranks as one of the most important contributions to South Asian music studies in recent years.” -- Rolf Groesbeck * Ethnomusicology *“Brilliant and essential are two words that are best avoided in any review, and though I made every effort to resist, I cannot properly conclude without invoking them. I have hardly scratched the surface of this well-supported, provocative, multifaceted text. Weidman’s book deserves multiple close readings and further discussion by anyone interested in the processes and politics involved in the cultural construction of aesthetics. Those who have specific interest in Indian Classical music, Karnatic music, or the postcolonial negotiation will be well rewarded by this brilliant and essential read.” -- Joshua S. Levin * American Anthropologist *“In this fascinating study Amanda J. Weidman brings postcolonial theory to bear upon music, a field of endeavour largely neglected by postcolonial scholarship in general. . . . [T]his book is well-written and cogently argued, and it should be suitable for use in graduate classrooms. It should also be of particular interest to anyone interested in postcolonial theory, modernity, performance and Indian music more generally.” -- Joshua Tucker * Social Anthropology *“This work will be indispensable to anyone interested in South Indian musical culture and wishing to go beyond encyclopedia articles.” -- B. Nettl * Choice *“Through analysis of music theory treatises, advertisements and other media, and drawing from contemporary feminist theory, linguistic anthropology, and musicology, Weidman pieces together an erudite study of the political and historical roots of one of India’s cherished musical traditions. Her theoretical framework deserves special attention; it engages productively with historical detail in order to conceptualize the role of music in producing modes of South Indian subjectivity and modernity. . . . What makes this book exemplary is Weidman’s painstaking historiography, her postcolonial stance, and her commitment to putting Karnatic music in its social context.” -- Chloe Coventry * Pacific Review of Ethnomusicology *“Weidman should be commended for her thoroughly interdisciplinary effort in undertaking such a complex and problematic task, for understanding the importance of performance and history, and for taking account of modern technology in writing that history. The book opens the way for area specialists, anthropologists, and music scholars alike to produce work that takes seriously the place of music in debates about modernity, especially in colonial contexts.” -- Sindhumathi Revuluri * Journal of Asian Studies *“Weidman’s is one of the best books I’ve read about a contemporary musical tradition.” -- Ian Bedford * The Australian Journal of Anthropology *“Weidman’s narrative traverses the various modes of ethnography beginning from her own experience as a student of Carnatic classical music, . . . These various strands are sutured into a perceptive narrative which has the multiple facets of being partly a social history of Carnatic music, partly a theoretical exposition of the politics of voice as well as an eminently readable account of the interaction of cultural and aesthetic forms with larger political structures. . . . [W]e must make mention, enviously, of Weidman’s writing which is crisp and simple and yet capable of carrying complex ideas within a sparse and measured prose.” -- Ashwin Kumar * Economic and Political Weekly *Table of ContentsList of Illustrations xii Acknowledgements ix Note on Transliteration of Spelling xvii Introduction 1 1. Gone Native?: Travels of the Violin in South India 25 2. From the Palace to the Street: Staging “Classical” Music 59 3. Gender and the Politics of Voice 111 4. Can the Subaltern Sing?: Music, Language, and the Politics of Voice 150 5. A Writing Lesson: Musicology and the Birth of the Composer 192 6. Fantasic Fidelities 245 Afterword: Modernity and the Voice 286 Notes 291 Works Cited 325 Index 343
£80.10
Duke University Press Records Ruin the Landscape
Book SynopsisJohn Cage's disdain for records was legendary. It was shared by other experimental and avant-garde musicians in the 1960s. Scholar and longtime musician David Grubbs explores the present-day musical landscape, as listeners encounter experimental music through the recorded artifacts of composers and musicians who largely disavowed recordings.Trade Review“An engaging book.” -- David Revill * Times Higher Education *“For compositions whose whole raison d’être is to generate a drastically different realization with every performance . . . no recording of any one performance could be said to ‘be’ the piece. . . . David Grubbs’s exhaustively researched Records Ruin the Landscape explores this dilemma specifically as it affected the generation of avant-garde composers who hit their stride in the sixties, John Cage being the most prominent and outspoken among them.” -- Dave Mandl * Los Angeles Review of Books *“The premise of [Grubbs’s] understandably authoritative first book is that experimental music’s flowering in the 1960s . . . was incompatible with the limitations of orthodox recording formats. . . . With an engaging frankness . . . Grubbs contrasts this tendency with his own fan-by appetite for records and the documentary efficacy of the contemporary digital realm, concluding positively that the latter potentially offers unmediated, universal access to the panoply of esoteric music—something unthinkable in the 1960s.” -- David Sheppard * Mojo *“The risk writers run, of course, with the big questions approach, is universalising their personal narrative in order to present the big answer. Grubbs is too skilled and self-aware to run into this problem. His breadth of research in musicology and aesthetic theory is balanced in this short and engaging book with candid writing about his own experiences of recordings of experimental music. . . . It is testament to Grubbs’s sensitivity as a writer that a sympathetic picture emerges of these musicians, who seem often to be railing against hierarchies they can’t quite help being part of.” -- Frances Morgan * The Wire *"One of the chief joys of this book is that [it] seeks to rediscover the avant-gardes of the 1960s in all their spontaneity, in their present-ness, as if unfolding these mavericks from their own perspectives, without benefit of current hindsight. We learn, reading this book, what the future looked like to the past. Records Ruin the Landscape seeks to prestidigitate the landscape of the 1960s back to life. For this, one should be thankful—including for the recordings that allow David Grubbs’ act of imagination and scholarship to have taken place." -- Daniel Herwitz * Critical Inquiry *Table of ContentsPreface ix Acknowledgments xxiii Introduction 1 1. Henry Flynt on the Air 19 2. Landscape with Cage 45 3. John Cage, Recording Artist 67 4. The Antiques Trade: Free Improvisation and Record Culture 105 5. Remove the Records from Texas: Online Resources and Impermanent Archives 135 Notes 167 Selected Disography 195 Bibliography 199 Index 209
£72.25
Duke University Press Records Ruin the Landscape
Book SynopsisJohn Cage's disdain for records was legendary. It was shared by other experimental and avant-garde musicians in the 1960s. Scholar and longtime musician David Grubbs explores the present-day musical landscape, as listeners encounter experimental music through the recorded artifacts of composers and musicians who largely disavowed recordings.Trade Review“An engaging book.” -- David Revill * Times Higher Education *“For compositions whose whole raison d’être is to generate a drastically different realization with every performance . . . no recording of any one performance could be said to ‘be’ the piece. . . . David Grubbs’s exhaustively researched Records Ruin the Landscape explores this dilemma specifically as it affected the generation of avant-garde composers who hit their stride in the sixties, John Cage being the most prominent and outspoken among them.” -- Dave Mandl * Los Angeles Review of Books *“The premise of [Grubbs’s] understandably authoritative first book is that experimental music’s flowering in the 1960s . . . was incompatible with the limitations of orthodox recording formats. . . . With an engaging frankness . . . Grubbs contrasts this tendency with his own fan-by appetite for records and the documentary efficacy of the contemporary digital realm, concluding positively that the latter potentially offers unmediated, universal access to the panoply of esoteric music—something unthinkable in the 1960s.” -- David Sheppard * Mojo *“The risk writers run, of course, with the big questions approach, is universalising their personal narrative in order to present the big answer. Grubbs is too skilled and self-aware to run into this problem. His breadth of research in musicology and aesthetic theory is balanced in this short and engaging book with candid writing about his own experiences of recordings of experimental music. . . . It is testament to Grubbs’s sensitivity as a writer that a sympathetic picture emerges of these musicians, who seem often to be railing against hierarchies they can’t quite help being part of.” -- Frances Morgan * The Wire *"One of the chief joys of this book is that [it] seeks to rediscover the avant-gardes of the 1960s in all their spontaneity, in their present-ness, as if unfolding these mavericks from their own perspectives, without benefit of current hindsight. We learn, reading this book, what the future looked like to the past. Records Ruin the Landscape seeks to prestidigitate the landscape of the 1960s back to life. For this, one should be thankful—including for the recordings that allow David Grubbs’ act of imagination and scholarship to have taken place." -- Daniel Herwitz * Critical Inquiry *Table of ContentsPreface ix Acknowledgments xxiii Introduction 1 1. Henry Flynt on the Air 19 2. Landscape with Cage 45 3. John Cage, Recording Artist 67 4. The Antiques Trade: Free Improvisation and Record Culture 105 5. Remove the Records from Texas: Online Resources and Impermanent Archives 135 Notes 167 Selected Disography 195 Bibliography 199 Index 209
£18.89
Duke University Press Microgroove
Book SynopsisMicrogroove continues John Corbett's exploration of diverse musics, with essays, interviews, and musician profiles that focus on jazz, improvised music, contemporary classical, rock, folk, blues, post-punk, and cartoon music, as well as painting, design, dance, and poetry.Trade Review"Corbett has just published a terrific new anthology of his writing called Microgroove, the long-delayed follow-up to his 1994 book Extended Play. . . . There's a lot of great stuff in the new book—which went through multiple iterations over the years, scrapped and revisited several times—but in his introduction to a piece called 'Twenty-Seven Enthusiasms: A Spontaneous Listening Session,' Corbett expresses a major part of what makes his work so special. 'Show-and-tell was always my favorite part of school,' he writes, eventually explaining that 'you accumulate things not to own them, but to share them.' It's what he's done as a writer, a music presenter, and, in recent years, a gallerist, at Corbett vs. Dempsey." -- Peter Margasak * Chicago Reader *"One of the more interesting features of Microgroove is the inclusion of multiple pieces on some of the artists. This allows Corbett to consider them from different angles or over time, providing a fuller picture of their art in the process. That, combined with the eclectic scope of Corbett’s interests, makes of Microgroove a rich, multifaceted survey of some of the more challenging artists of the last two decades." -- Daniel Barbiero * Avant Music News *"The far-ranging scope of the 53 essays and interviews collected in these nearly 500 pages, dating from 1993 to just last year, reminds us that even within music’s commercially neglected fringes complex gradations of sub-genre exist, separating the hardcore avant-garde devotee from one who thinks they’re down because they own a copy of Space Is the Place. ... But first and foremost [Corbett] is a devotee of challenging and outré sounds, and his essays are most compelling when he dives headfirst into his chronicles with a fan’s enthusiasm and verve. ...These pieces beautifully balance serious musical scholarship and critical analysis with the kind of collar-grabbing, “give-this-a-listen” excitement that draws us all to music in the first place." -- Matt R. Lohr * JazzTimes *"Corbett, like the best kind of record store crate digger, pinpoints the association between acknowledged innovators and the achievements of lesser-known figures. . .. [T]he book’s key achievement is how Corbett’s psychiatrist-like probing questions elicit the most definitive and/or instructive statements about their art from certain musicians." -- Ken Waxman * MusicWorks *"John Corbett is a smart guy who really, really loves music, and his intelligence and enthusiasm come through in every one of the essays and articles in this volume of his collected writings.... Anyone interested in what was happening on the cutting edge of music during the years these articles appeared needs to read this anthology of John Corbett’s writing." -- Ed Hazell * ARSC Journal *"John Corbett's singular critical voice is wildly alive in his latest book, a compendium of previous writings, sober reflections, clever visuals, idiosyncratic interviews, and post-genre insights into the thriving ecology of knowledge that is the contemporary music scene. At once this is a book that takes its place alongside other distinctive voices in the pell-mell topography of recent musical criticism, from Greg Tate and Lester Bangs to Nat Hentoff and Nate Chinen, and the work of an itinerant witness bearing testimony marked by a vast respect and love for improvised musicking and musical diversity.... Microgroove is an eloquent, readable, playful testimony to the otherness of music as an allegory for creative freedom and as a generative social practice that refuses limitations." -- Daniel T. Fischlin * Journal of Popular Music Studies *Table of ContentsPreface: Tympanum of the Other Frog xv Acknowledgments xix Introduction 1 One. On The Road, Into The Cul-De-Sac Joe Harriott and Bernie McGann: Flying without Ornette 15 Michael Hurley: Jocko's Lament 21 Mayo Thompson: Genre of One 33 John Stevens: Unpopular Populists 36 Peter Brötzmann Tentet: Freeways 40 Steve Lacy: Sojourner Saxophone 49 David Grubbs: Postcards from the Edge 57 Voice Crack: From Nothing to Everything 67 Two. Exigeneses Of Creative Music Milford Graves: Pulseology 71 Out of Nowhere: Deleuze, Gräwe, Cadence 79 Carla Bley and Steve Swallow: Feeding Quarters to the Nonstop Mental Jukebox 85 Misha Mengelberg: No Simple Calculations for Life 93 Misha Mengelberg and Han Bennink: Natural Inbuilt Contrapuncto 109 Form Follows Faction? Ethnicity and Creative Music 116 Anthony Braxton: Ism vs. Is 123 Anthony Braxton: Bildungsmusik—Thoughts on Composition 171 129 Paul Lowens: Lo Our Lo 132 Clark Coolidge: The Improvised Line 136 Nathaniel Mackey: Steep Incumbencies 142 Sun Ra: From the Windy City to the Omniverse—Chicago Life as a Street Priest of D.I.Y. Jazz 153 Fred Anderson: The House That Fred Built 162 Three. Ululations And Other Vocal Stimulants Sun Ra: Queer Voice 169 Jaap Blonk: Uncommon Tongue 170 PJ Harvey: Mother's Tongue 179 Aural Sex: The Female Orgasm in Popular Sound (coauthored with Terri Kapsalis) 182 Liz Phair and Lou Barlow: On Music, Sex, TV, and Beyond 194 Liz Phair and Kim Gordon: Exile in Galville? 205 Koko Taylor: The Blue Queen Cooks 212 Brion Gysin and Steve Lacy: Nothing Is True, Everything Is Permuted 217 Four. The Horn Section Ornette Coleman: Doing Is Believing 233 Roscoe Mitchell: Citizen of Sound 244 Fred Anderson and Von Freeman: Tenacity 250 George Lewis: Interactive Imagination 258 Mats Gustafsson: MG at Half-C 264 Ken Vandermark: Six Dispatches from the Memory Bank 270 Ken Vandermark and Joe McPhee: Mutual Admiration Society 278 Peter Brötzmann and Evan Parker: Bring Something to the Table 285 Five. Track Marks Oncology of the Record Album 297 Discaholic or Vinyl Freak? Mats Gustafsson Interrogates John Corbett 301 Twenty-Seven Enthusiasms: A Spontaneous Listening Session 308 A Very Visual Kind of Music: The Cartoon Soundtrack beyond the Screen 313 R. L. Burnside and Jon Spencer: Fattening Frogs for Snake Drive 322 Before and After Punk: The Comp as Teaching Tool 331 Raymond Scott: Cradle of Electronica 336 Six. Melodic Line and Tone Color Peter Brötzmann: Graphic Equalizer 343 Albert Oehlen: Bionic Painting 347 Albert Oehlen: Mangy—A Conversation and a Playlist 352 Christopher Wool: Impropositions—Improvisation, Dub Painting 359 Christopher Wool: Into the Woods—Six Meditations on the Interdisciplinary 366 Sun Ra: An Afro-Space-Jazz Imaginary—The Printed Record of El Saturn 371 Seven. The Texture Of Refusal Helmut Lachenmann: Hellhörig, or the Intricacies of Perceptiveness 379 Guillermo Gregorio: Madi Music 387 Experimental Oriental: New Music and Other Others 391 Afterword: A Concise History of Music 417 Grooving On: Selected Listening 423 Credits 443 Index 447
£27.90
Duke University Press Microgroove
Book SynopsisMicrogroove continues John Corbett's exploration of diverse musics, with essays, interviews, and musician profiles that focus on jazz, improvised music, contemporary classical, rock, folk, blues, post-punk, and cartoon music, as well as painting, design, dance, and poetry.Trade Review"Corbett has just published a terrific new anthology of his writing called Microgroove, the long-delayed follow-up to his 1994 book Extended Play. . . . There's a lot of great stuff in the new book—which went through multiple iterations over the years, scrapped and revisited several times—but in his introduction to a piece called 'Twenty-Seven Enthusiasms: A Spontaneous Listening Session,' Corbett expresses a major part of what makes his work so special. 'Show-and-tell was always my favorite part of school,' he writes, eventually explaining that 'you accumulate things not to own them, but to share them.' It's what he's done as a writer, a music presenter, and, in recent years, a gallerist, at Corbett vs. Dempsey." -- Peter Margasak * Chicago Reader *"One of the more interesting features of Microgroove is the inclusion of multiple pieces on some of the artists. This allows Corbett to consider them from different angles or over time, providing a fuller picture of their art in the process. That, combined with the eclectic scope of Corbett’s interests, makes of Microgroove a rich, multifaceted survey of some of the more challenging artists of the last two decades." -- Daniel Barbiero * Avant Music News *"The far-ranging scope of the 53 essays and interviews collected in these nearly 500 pages, dating from 1993 to just last year, reminds us that even within music’s commercially neglected fringes complex gradations of sub-genre exist, separating the hardcore avant-garde devotee from one who thinks they’re down because they own a copy of Space Is the Place. ... But first and foremost [Corbett] is a devotee of challenging and outré sounds, and his essays are most compelling when he dives headfirst into his chronicles with a fan’s enthusiasm and verve. ...These pieces beautifully balance serious musical scholarship and critical analysis with the kind of collar-grabbing, “give-this-a-listen” excitement that draws us all to music in the first place." -- Matt R. Lohr * JazzTimes *"Corbett, like the best kind of record store crate digger, pinpoints the association between acknowledged innovators and the achievements of lesser-known figures. . .. [T]he book’s key achievement is how Corbett’s psychiatrist-like probing questions elicit the most definitive and/or instructive statements about their art from certain musicians." -- Ken Waxman * MusicWorks *"John Corbett is a smart guy who really, really loves music, and his intelligence and enthusiasm come through in every one of the essays and articles in this volume of his collected writings.... Anyone interested in what was happening on the cutting edge of music during the years these articles appeared needs to read this anthology of John Corbett’s writing." -- Ed Hazell * ARSC Journal *"John Corbett's singular critical voice is wildly alive in his latest book, a compendium of previous writings, sober reflections, clever visuals, idiosyncratic interviews, and post-genre insights into the thriving ecology of knowledge that is the contemporary music scene. At once this is a book that takes its place alongside other distinctive voices in the pell-mell topography of recent musical criticism, from Greg Tate and Lester Bangs to Nat Hentoff and Nate Chinen, and the work of an itinerant witness bearing testimony marked by a vast respect and love for improvised musicking and musical diversity.... Microgroove is an eloquent, readable, playful testimony to the otherness of music as an allegory for creative freedom and as a generative social practice that refuses limitations." -- Daniel T. Fischlin * Journal of Popular Music Studies *Table of ContentsPreface: Tympanum of the Other Frog xv Acknowledgments xix Introduction 1 One. On The Road, Into The Cul-De-Sac Joe Harriott and Bernie McGann: Flying without Ornette 15 Michael Hurley: Jocko's Lament 21 Mayo Thompson: Genre of One 33 John Stevens: Unpopular Populists 36 Peter Brötzmann Tentet: Freeways 40 Steve Lacy: Sojourner Saxophone 49 David Grubbs: Postcards from the Edge 57 Voice Crack: From Nothing to Everything 67 Two. Exigeneses Of Creative Music Milford Graves: Pulseology 71 Out of Nowhere: Deleuze, Gräwe, Cadence 79 Carla Bley and Steve Swallow: Feeding Quarters to the Nonstop Mental Jukebox 85 Misha Mengelberg: No Simple Calculations for Life 93 Misha Mengelberg and Han Bennink: Natural Inbuilt Contrapuncto 109 Form Follows Faction? Ethnicity and Creative Music 116 Anthony Braxton: Ism vs. Is 123 Anthony Braxton: Bildungsmusik—Thoughts on Composition 171 129 Paul Lowens: Lo Our Lo 132 Clark Coolidge: The Improvised Line 136 Nathaniel Mackey: Steep Incumbencies 142 Sun Ra: From the Windy City to the Omniverse—Chicago Life as a Street Priest of D.I.Y. Jazz 153 Fred Anderson: The House That Fred Built 162 Three. Ululations And Other Vocal Stimulants Sun Ra: Queer Voice 169 Jaap Blonk: Uncommon Tongue 170 PJ Harvey: Mother's Tongue 179 Aural Sex: The Female Orgasm in Popular Sound (coauthored with Terri Kapsalis) 182 Liz Phair and Lou Barlow: On Music, Sex, TV, and Beyond 194 Liz Phair and Kim Gordon: Exile in Galville? 205 Koko Taylor: The Blue Queen Cooks 212 Brion Gysin and Steve Lacy: Nothing Is True, Everything Is Permuted 217 Four. The Horn Section Ornette Coleman: Doing Is Believing 233 Roscoe Mitchell: Citizen of Sound 244 Fred Anderson and Von Freeman: Tenacity 250 George Lewis: Interactive Imagination 258 Mats Gustafsson: MG at Half-C 264 Ken Vandermark: Six Dispatches from the Memory Bank 270 Ken Vandermark and Joe McPhee: Mutual Admiration Society 278 Peter Brötzmann and Evan Parker: Bring Something to the Table 285 Five. Track Marks Oncology of the Record Album 297 Discaholic or Vinyl Freak? Mats Gustafsson Interrogates John Corbett 301 Twenty-Seven Enthusiasms: A Spontaneous Listening Session 308 A Very Visual Kind of Music: The Cartoon Soundtrack beyond the Screen 313 R. L. Burnside and Jon Spencer: Fattening Frogs for Snake Drive 322 Before and After Punk: The Comp as Teaching Tool 331 Raymond Scott: Cradle of Electronica 336 Six. Melodic Line and Tone Color Peter Brötzmann: Graphic Equalizer 343 Albert Oehlen: Bionic Painting 347 Albert Oehlen: Mangy—A Conversation and a Playlist 352 Christopher Wool: Impropositions—Improvisation, Dub Painting 359 Christopher Wool: Into the Woods—Six Meditations on the Interdisciplinary 366 Sun Ra: An Afro-Space-Jazz Imaginary—The Printed Record of El Saturn 371 Seven. The Texture Of Refusal Helmut Lachenmann: Hellhörig, or the Intricacies of Perceptiveness 379 Guillermo Gregorio: Madi Music 387 Experimental Oriental: New Music and Other Others 391 Afterword: A Concise History of Music 417 Grooving On: Selected Listening 423 Credits 443 Index 447
£89.10
Duke University Press Improvisation and Social Aesthetics
Book SynopsisAddressing a diverse set of improvised art and music forms—from jazz and cinema to dance and literature—this volume traces how the social, political, and the aesthetic relate within the context of improvisation.Trade Review"An indispensable collection that cracks open a site for more rich and interdisciplinary work." -- Dan DiPiero * boundary 2 *"[Readers] will be more than rewarded by the insight it offers into the social aesthetics of improvisation, issues you will no longer be able to ignore as you listen to your next improv recording or attend your next improv concert." -- Lawrence Joseph * Musicworks *"Through both their rigorous theoretical grounding and curation of such a brilliant array of cross-disciplinary contributions, Born, Lewis and Straw offer a thoroughly inspiring set of tools for the academy to begin theorizing where, how and for whom art’s social mediations are occurring. I cannot recommend it highly enough." -- Toby Young * Visual Studies *Table of ContentsAcknowledgments vii Introduction. What is Social Aesthetics? / Georgina Born, Eric Lewis, and Will Straw 1 Part I. The Social and the Aesthetic 1. After Relational Aesthetics: Improvised Music, the Social, and (Re)Theorizing the Aesthetic / Georgina Born 33 2. Scripting Social Interaction: Improvisation, Performance, and Western "Art" Music / Nicholas Cook 59 3. From the American Civil Rights Movement to Mali: Reflections on Social Aesthetics and Improvisation / Ingrid Monson 78 4. From Network Bands to Ubiquitous Computing: Rich Gold and the Social Aesthetics of Interactvity / George E. Lewis 91 Part II. Genre and Defintion 5. The Social Aesthetics of Swing in the 1940s: Or the Distribution of the Non-Sensible / David Brackett 113 6. What Is "Great Black Music"? The Social Aesthetics of the AACM in Paris / Eric Lewis 135 7. Kenneth Goldsmith and Uncreative Improvisation / Darren Wershler 160 Part III. Sociality and Identity 8. Strayhorn's Queer Arrangements / Lisa Barg 183 9. What's Love Got to Do with It? Creating Art, Creating Community, Creating a Better World / Tracey Nicholls 213 10. Improvisation in New Wave Cinema: Beneath the Myth, the Social / Marian Froger, translated by Will Straw 233 Part IV. Performance 11. Social Aesthetics and Transcultural Improvisation: Wayde Compton and the Performance of Black Time / Winfried Siemerling 255 12. Devices of Existence: Contact Improvisation, Mobile Performances, and Dancing through Twitter / Susan Kozel 268 13. The Dramaturgy of Spontaneity: Improvising the Social in Theater / Zoë Svendsen 288 References 309 Contributors' Biographies 335 Index 339
£112.20
Duke University Press Terminated for Reasons of Taste
Book SynopsisIn Terminated for Reasons of Taste, veteran rock critic Chuck Eddy brings lost, ignored, and maligned pop music to the fore, considering marginalized styles and artists right alongside pop music's heavyweights like Bruce Springsteen, the Beastie Boys, and Taylor Swift.Trade Review"Taking his cue from rock writer Lester Bangs and gonzo journalist Hunter S. Thompson, Eddy consistently assumes the literary character of a victimized, knowledgeable, smart-ass rock writer who has just uncovered the latest hidden musical treasure." -- David P. Szatmary * Library Journal *"Eddy's smarts, freakish knowledge of the obscure, and some hilarious takedowns make the collection feel like hanging out with a cool uncle who gifts you music knowledge nuggets impossible to find elsewhere." -- Libby Webster * Austin Chronicle *"Terminated for Reasons of Taste reads like an eclectic Spotify mix on shuffle. . . . Eddy’s knowledgeable and clever writing makes even his most exploratory essays feel less like indulgent ‘Think Pieces’ and more like listening to a clerk at a store that sells records to a very diverse customer base: no judgment, no arrogance, just a pure love of music and some honest opinion." -- Eric Rovie * PopMatters *"Can we talk for a second about what a good year Duke University Press is having with rock critic anthologies? They’ve released Greg Tate’s long-awaited FlyBoy 2: The Greg Tate Reader and this tasty slab by Austin-based, Detroit-reared critic Chuck Eddy . . . . This collection draws from such diverse outlets as the Village Voice, Creem magazine, Rhapsody.com, music message boards, and Eddy’s high school newspaper and presents all sides of the seasoned scribe: combative and thoughtful, contrary and compelling." -- Joe Gross * Austin American-Statesman *"Prioritising enjoyment over critical dogma with a rigour that becomes almost ideological, Eddy scrapes off the barnacles of conventional wisdom to help the music he loves sail into uncharted realms of aesthetic scrutiny. . . . [A] selection which blends Eddy’s ‘proper’ Village Voice journalism with fanzine clippings and message board posts seamlessly enough (and with a sufficient absence of 'generational kvetching') to suggest music writing might have a future as well as a past." -- Ben Thompson * Mojo *"A challenging and rewarding book for those interested in music history and criticism, and a quirky introduction to so much of what has passed for popular music over the decades. Highly recommended. Lower-division undergraduates through faculty; general readers." -- R. D. Cohen * Choice *Table of ContentsAcknowledgments xi Introduction. Sold a Decade at a Time 1 1. B.C. The Best Songs of 1930 11 Depression Music 13 Country Rap Prehistory 15 Country Songs I 17 Niela Miller: Songs of Leaving 25 '60s Catholic Folk Mass 27 Country Songs II 28 CB Jeebies 39 Can't Fool Mother Nature 40 Prog on the Prairie: Midwestern Bands Roll Over Beethoven 41 Past Expiry Hard Rock Dollar Bin 44 Sonic Taxonomy: Fake New Wave 56 Inventing Indie Rock 64 Urinals→No Age 67 2. 80s Sonic Taxonomy: Unsung '80s R&B Bands 77 Country Rap: The 80s 85 Sonic Taxonomy: Old Old Old School Rap Albums 87 Public Enemy Do the Punk Rock 96 Beastie Boys: Lay It Down, Clowns 98 Aerosmith, Endangered No More 105 Metallica: Kill 'Em All Turns 30 110 Fates Warning and Possessed Open Up and Say . . . Ahh! 113 Dead Milkmen vs. Thelonious Monster: Battle of the Lame 114 Einstürzende Neubauten / Killdozer: The Graystone, Detroit, 11 June 1986 116 New Wave über Alles 118 Frank Chickens→M.I.A. 124 Owed to the Nightingales 127 Mekons Stumble toward Oblivion 130 Mekons: So Good It Hurts 132 Pet Shop Boys: 18 Shopping Days Left 133 Billy Joel: It's Not His Fault! 135 John Hiatt: Bring the Family 139 John Anderson Serves the Doofus Majority 140 Country Songs III 142 The '80s: One Step Forward, Two Steps Back 145 3. 90s TLC and Kris Kross: Women and Children First 157 Cause & Effect: Trip 160 The Cure: Spectrum, Philadelphia, 16 May 1992 161 SOS from the Metal of Nowhere 163 Motörhead Überkill 164 Pankow and Treponem Pal Ring in Desert Storm 168 How Nirvana Didn't Kill Hair Metal 170 Sponge: From Grunge to Glam 171Radio On Reviews I 172 Travis Marries a Man! 178 John Mellencamp: Dance Naked 179 Sawyer Brown: Café on the Corner 181 Patricia Conroy: A Bad Day for Trains 182 Grupo Exterminador: Dedicado a Mis Novias 183 When FSK Plays, Schnitzel Happens 184Radio On Reviews II 185 Alanis Morissette: Addicted to Love 189 4. '00s Singles Again: Backstabs in the Material World 197 Bruce Springsteen: Working on a Dream 202 Frat Daze, Clambake, Anyways, It's Still Country Soul to Kenny Chesney 204 Country Music Goes to Mexico 204 September 11: Country Music's Response 204 Battle of the Country Hunks 214 Country Songs IV 217 The Ladies of Triple A 222 Anvil Won't Go Away 225 Excellent Boring Metal from Germany 227 The Many Ideas of Oneida 228 Next Little Things 232 5. '10sSingles Jukebox Reviews 248 The Dirtbombs: Ooey Gooey Chewy Ka-Blooey! 252 Redd Kross: Researching the Blues 256 Mayer Hawthorne←Robert Palmer 258 Kanye West: VEVO Power Station, Austin, 20 March 2011 261 Taylor Swift and Ke$ha: Not So Different 263 Ke$ha: Warrior 267 Strange Brew: Metal's New Blare Witch Project 269 Metal's Severed Extremities 275 Walking Dead: The Divided States of Metal 278 Voivod: Target Earth 281 Merchandise: Totale Nite 285 Mumford and Sons: Babel 287 The Gospel Truth 289 Southern Soul Keeps On Keepin' On 293 Jamey Johnson Sprawls Out 297 Country Songs V 300 Bro-Country Isn't as Dumb as It Looks 302 Ashley Monroe and Kacey Musgraves Are What They Are 304 When the Angels Stopped Watching Mindy McCready 308 Conclusion. I Am the World's Forgettin' Boy 311 Index 315
£75.65
Duke University Press Improvisation and Social Aesthetics
Book SynopsisAddressing a diverse set of improvised art and music forms—from jazz and cinema to dance and literature—this volume traces how the social, political, and the aesthetic relate within the context of improvisation.Trade Review"An indispensable collection that cracks open a site for more rich and interdisciplinary work." -- Dan DiPiero * boundary 2 *"[Readers] will be more than rewarded by the insight it offers into the social aesthetics of improvisation, issues you will no longer be able to ignore as you listen to your next improv recording or attend your next improv concert." -- Lawrence Joseph * Musicworks *"Through both their rigorous theoretical grounding and curation of such a brilliant array of cross-disciplinary contributions, Born, Lewis and Straw offer a thoroughly inspiring set of tools for the academy to begin theorizing where, how and for whom art’s social mediations are occurring. I cannot recommend it highly enough." -- Toby Young * Visual Studies *Table of ContentsAcknowledgments vii Introduction. What is Social Aesthetics? / Georgina Born, Eric Lewis, and Will Straw 1 Part I. The Social and the Aesthetic 1. After Relational Aesthetics: Improvised Music, the Social, and (Re)Theorizing the Aesthetic / Georgina Born 33 2. Scripting Social Interaction: Improvisation, Performance, and Western "Art" Music / Nicholas Cook 59 3. From the American Civil Rights Movement to Mali: Reflections on Social Aesthetics and Improvisation / Ingrid Monson 78 4. From Network Bands to Ubiquitous Computing: Rich Gold and the Social Aesthetics of Interactvity / George E. Lewis 91 Part II. Genre and Defintion 5. The Social Aesthetics of Swing in the 1940s: Or the Distribution of the Non-Sensible / David Brackett 113 6. What Is "Great Black Music"? The Social Aesthetics of the AACM in Paris / Eric Lewis 135 7. Kenneth Goldsmith and Uncreative Improvisation / Darren Wershler 160 Part III. Sociality and Identity 8. Strayhorn's Queer Arrangements / Lisa Barg 183 9. What's Love Got to Do with It? Creating Art, Creating Community, Creating a Better World / Tracey Nicholls 213 10. Improvisation in New Wave Cinema: Beneath the Myth, the Social / Marian Froger, translated by Will Straw 233 Part IV. Performance 11. Social Aesthetics and Transcultural Improvisation: Wayde Compton and the Performance of Black Time / Winfried Siemerling 255 12. Devices of Existence: Contact Improvisation, Mobile Performances, and Dancing through Twitter / Susan Kozel 268 13. The Dramaturgy of Spontaneity: Improvising the Social in Theater / Zoë Svendsen 288 References 309 Contributors' Biographies 335 Index 339
£27.90
Duke University Press Vinyl Freak
Book SynopsisMusic writer, curator, and collector John Corbett burrows deep inside the record collector's mind, documenting and reflecting on his decades-long love affair with vinyl. Discussing more than 200 rare and out-of-print LPs, Corbett combines memoir and criticism to explain what makes vinyl special and what drives collectors everywhere.Trade Review"Vinyl Freak could have easily been a stale trip down memory lane by a record collector. Yet Corbett takes an almost philosophical look at how music passes through listening mediums and what that means for listeners. As a result, the text will appeal to both vinyl freaks and non-freaks as it speaks to the transience of pop culture and its intersection with everyday lives." -- Amanda McCorquodale * Foreword Reviews *"... since the discussion is at least as much about the music being collected as the vinyl package, there is also a lot of intriguing music in the book. Much (but not all) of it jazz, and all of it worth seeking out: it comes with Corbett's highest recommendation." -- Mark Sullivan * All About Jazz *"[A] fascinating look at a subculture og hard-core collectors and a gold mine of information about various kinds of music and recording esoterica.... The illustrations of the record covers under review are fascinating and the author's musical savvy is daunting. This lively book could appeal to a wide range of readers." -- David Keymer * Library Journal *"... one of the most readable books about the arcane magic of hunting down and listening to rare and unusual albums, or even rediscovering them from your own collection." -- Jon Newey * Jazzwise *"As a person who is not quite an over-the-top Sun Ra aficionado but is certainly more than a casual fan, I am forever grateful for Corbett’s obsession. As a person who is always interested in discovering new and obscure music, I am also forever grateful for Corbett and his publisher compiling this collection of reviews. Although I read several of them in their original incarnation in Downbeat, this little book is now my reference guide for music I need to check out. Thanks again, John Corbett." -- Ron Jacobs * Counterpunch *"[Corbett's] new book digs deep into the culture of the vinyl lover and digs even deeper into his personal record collection. In the process, he exposes a beautiful and dusty world largely forgotten but kept alive by that dead medium known as the vinyl record." -- Christopher Laird * PopMatters *"Corbett really is an 'equal opportunity ear filler' and is willing to acquire the music he really enjoys in any format. With Vinyl Freak John Corbett invites us to join him in the pleasure of discovering new sounds to indulge our ears. So what are you waiting for? You’ve been invited. Highly Recommended!" -- Chris De Chiara * Avant Music News *"Corbett still has an obscene record collection, but he's realized that his greatest mission is to share and educate—to arrange things so that others can experience the joy that he does. As much as anything I've read by him, Vinyl Freak does precisely that." -- Peter Margasak * Chicago Reader *"John Corbett is one of my favourite music writers. This book gathers up his elegaic and highly informative columns for Vinyl Freak magazine along with a series of mediations or essays on his love of music, an engaging mix of autobiography, reflection and storytelling. There are lots of colour pictures of record sleeves too." -- Rupert Loydell * International Times *"Corbett's deep knowledge in his chosen fields yields many valuable insights about records you may never have even heard of, let alone heard. Sure, he appreciates the classics, but he favours outliers. Admirably, he wants to broaden the canon (it would behoove readers to keep a notebook handy to tabulate all the records for which they should search).... And that is the motor of Vinyl Freak: an insatiable desire for the next revelatory recording, offering a thrilling portal to discover a hidden facet of your identity through a work of art. And if it impresses your mates or seduces a potential lover, so much the better." -- Dave Segal * The Wire *"John Corbett revels in the knowledge he's gained from a life spent rooting round shops and chats with like-minded souls. It's the final section that will resonate with most, detailing his experience unearthing an entire house-worth of Sun Ra memorabilia, it is so vividly written that you can almost sense his pulse racing as he ecstatically rifles through priceless artefacts." * Record Collector *"Corbett writes with both enthusiasm and a keen ear, the upshot of which is that high-dollar rarities and cheapies that shred get near-equal attention." -- Clifford Allen * New York City Jazz Record *"John Corbett shows how vinyl collecting serves archival and perhaps even societal purposes. By actively reanimating obscure and hard to find vinyl, he demonstrates that 'vinyl freaks' make worlds available that otherwise might be lost. Vinyl Freak opens up a world of vinyl, revealing recordings, musicians, as well as cultural history, that remain written in the grooves of decades-old records." -- Janet Borgerson & Jonathan Schroeder * Popular Music and Society *“Vinyl Freak is a good read, a well-written collection that helps with the fun and overwhelming project of trying to come to grips with the huge amount of music preserved in the LP era. I cannot imagine even casual collectors making it through Vinyl Freak without adding several items to their wants lists.” -- Carlos Peña * ARSC Journal *"The spirit of this book, it’s generosity and enthusiasm all work to support John’s preferred status as a 'Freak' not a 'Snob.' I love records. I love books. A beautiful book about crazy rare and out-of-print records?! Heaven." -- Jeff Tweedy * Amazon Book Review *Table of ContentsTrack One / Formation of a Freak 1 Track Two / "News of My Death, Greatly Exaggerated," Quoth the Record 5 Column One / 2000–2003 Philly Joe Jones, Philly Joe Jones 15 Paul Gonsalves, Cookin' 16 Takashi Furuya with the Freshmen, Fanky Drivin' 18 Carsten Meinert Kvartet, To You 20 Melvin Jackson, Funky Skull 21 Gloria Coleman Quartet featuring Pola Roberts, Soul Sisters 23 Elmo Hope Ensemble, Sounds from Rikers Island 24 Chris McGregor's Brotherhood of Breath, Brotherhood 26Morris Grants Presents J.U.N.K. 28 Tom Stewart, Sexette / Quintette 30 Kenny Graham and His Satellites, Moondog and Suncat Suites 31 John Coltrane, Cosmic Music 33 André Hodeir, Jazz et Jazz: Jazz Experiments; Triple Play Stereo, Pop+Jazz=Swing; Bill Russo Orchestra, Stereophony 35 George Davis Sextet, various acetates 37 Staffan Harde, Staffan Harde 39 Art Pepper, Chile Pepper 42 Jack Wilson, The Jazz Organs 43 Craig Harris, Tributes 45 Quintet Moderne, The Strange and the Commonplace 46 A. K. Salim, Afro-Soul / Drum Orgy 48 Tristan Meinecke, home recordings, 1939–43 50 Chico Hamilton Quintet, Sweet Smell of Success 52 Lehn-Strid, Here There; Klapper-Küchen, Irregular 54 Bill Leslie, Diggin' the Chicks; Thornel Schwartz with Bill Leslie, Soul Cookin' 55 Tony Scott and His Buddies, Gypsy 57 Herbie Mann, Great Ideas of Western Mann 58 Track Three / Freek, Not Snob 61 Column Two . 2004–2006 Afreaka!, Demon Fuzz 69 Contemporary Sound Series 70 Beaver Harris / Don Pullen 360-Degree Experience, A Well-Kept Secret 72 Mike Osborne Trio, Border Crossing 73 The Three Souls, Dangerous Dan Express 75 Steve Lacy, Raps 77 Halki Collective, Halki Collective 79 The Amran-Barrow Quartet, The Eastern Scene 80 Charlie Parke acetates 82 Tommy "Madman" Jones, A Different Sound and Just Friends 84 New York Art Quartet, Mohawk 86 Paul Gonsalves / Tubby Hayes, Just Friends; Paul Gonsalves All Stars Featuring Tubby Hayes, Change of Setting 88 Anthony Braxton, New York, Fall 1974 90 Herbie Fields Sextet, A Night at Kitty's 91 Air, 80° Below '82 93 Guy Warren with Red Saunders Orchestra, Africa Speaks—American Answers! 94 Barry Altschul, Another Time, Another Place 96 The Korean Black Eyes, "Higher" 97 Rufus Jones, Five on Eight 99 Johnny Shacklett Trio, At the Hoffman House 100 The Mad-Hatters, The Mad-Hatters at Midnight 102 Klaus Doldinger, Doldinger Goes On 103 Max Roach, Solos 105 Dick Johnson, Most Likely . . . 106 Phil Seaman, The Phil Seamen Story 108 Paul Smoker Trio, QB 109 Khan Jamal, Drumdance to the Motherland; Franz Koglmann, For Franz / Opium 111 Track Four / Brand New Secondhand: Record Collector Subcultures 113 Column Three / 2006–2012 Walt Dunn, seven-inch singles 123 Leonard Feather, The Night Blooming Jazzmen 125 Eddie "Lockjaw" Davis, Modern Jazz Expressions 126 Archie Shepp, Plays the Music of James Brown; Cozy Eggleston, Grand Slam 128 Black Grass, Black Grass 129 Yoke & Yohs seven-inch 45 The Bill Dixon Orchestra, Intents and Purposes 132 Orchestre Régional de Mopti, Orchestre Régional de Mopti 134 The Jihad, Black & Beautiful . . . Soul & Madness 136 Milford Graves / Don Pullen, Milford Graves & Don Pullen at Yale University 137 Heikki Sarmanto Sextet, Flowers in the Water; G.L. Unit, Orangutang! 139 Ernie and Emilio Caceres, Ernie & Emilio Caceres 141 Maarten Altena, Papa Oewa 142 London Experimental Jazz Quartet, Invisible Roots 144 Sunny Murray, Big Chief; Solidarity Unit, Inc., Red, Black, and Green 146 Dick Wetmore, Dick Wetmore 147 United Front, Path with a Heart 149 Joseph Scianni, Man Running 150 The Residents, The Beatles Play the Residents and the Residents Play the Beatles 152 John Carter / Bobby Bradford Quartet, Flight for Four and Self Determination Music 153 Johnny Lytle Trio, Blue Vibes 155 Orchid Spangiafora, Flee Pasts Ape Elf 156 Noah Howard, Space Dimension 158 Baikida Carroll, The Spoken Word 159 Randy Weston, Blues 161 Charles Bobo Shaw Human Arts Ensemble Çonceré Ntasiah 163 Lee "Scratch" Perry, Double-7 164 Eddie Shu / Joe Roland / Wild Bill Davis, New Stars—New Sounds 166 Cecil Taylor / Tony Oxley, Ailanthus / Altissima 167 Unidentified Kenyan Highlife Band, seven-inch test pressing 169 Track Five / Specialty of the House 173 Track Six / Anything Can Happen Day: Sun Ra, Alton Abraham, and the Taming of the Freak 221 Column Four / 2016 Le Sun-Ra and his Arkistra, "Saturn" seven-inch single; Tom Prehn Quartet, Axiom 243 Track Seven / Run-Off Groove 247 Acknowledgements 249
£75.65
Duke University Press Listening for Africa
Book SynopsisDavid F. Garcia examines the work of a wide range of musicians, dancers, academics, and activists between the 1930s and the 1950s to show how their belief in black music's African roots would provide the means to debunk racist ideologies, aid decolonization of Africa, and ease racial violence.Trade Review“Listening for Africa is a book that deserves to be read carefully and slowly. It is a work of sensitive and rigorous archival research combined with a sophisticated theoretical framework.” -- Ryan T. Skinner * American Anthropologist *“Scholars of Africanisms and race relations will appreciate Garcia's message. Recommended.” -- K. W. Mukuna * Choice *"An interesting and insightful read. . . . With an extensive bibliography at the end, this book will be of much interest to a wide variety of scholars interested in sound studies: anthropologists, musicologists, cultural studies scholars, and critical race theorists, to name a few. Garcia’s work gives scholars new tools to examine racial motivations behind music studies and discussions of music and sound, and new ways to discuss how that affects our writing, scholarly discussions and consensus, and the cultural influences of that information." -- Chelsea Adams * Journal of Anthropological Research *"Listening for Africa ambitiously and provocatively weaves together multiple strands of a rich, complex, and decidedly important tale: how academics and artists of diverse backgrounds engaged and promoted the African origins of diasporic black music and dance. . . . The best parts of the book were so ear-opening that I wished I was reading the first volume of a historical trilogy on the locus of artistic and intellectual biography at formative moments in the disciplinary organization of anthropology and ethnomusicology." -- Steven Feld * Journal of Anthropological Research *"Theoretically ambitious and meticulously researched. . . sure to become a classic account of the discursive construction of blackness through music." -- Michael Birenbaum Quintero * Journal of Popular Music Studies *"This impressive monograph is an archaeology of knowledge via several intersecting fields—anthropology, comparative musicology, folklore, African American, and dance studies—and interrogates the performances of an African past as manifested in Afro-Cuban, Caribbean, and African American contexts." -- Joel Dinerstein * African American Review *"Listening for Africa is an immensely useful study, documenting as it does the roles of numerous actants who otherwise do not appear in the established histories of jazz." -- Bruce Johnson * Journal of Iberian and Latin American Research *Table of ContentsPreface ix Acknowledgments xi Introduction 1 1. Analyzing the African Origins of Negro Music and Dance in a Time of Racism, Fascism, and War 21 2. Listening to Africa in the City, in the Laboratory, and on Record 74 3. Embodying Africa against Racial Oppression, Ignorance, and Colonialism 124 4. Disalienating Movement and Sound from the Pathologies of Freedom and Time 173 5. Desiring Africa, or Western Civilization's Discontents 221 Conclusion. Dance-Music as Rhizome 268 Notes 277 Bibliography 323 Index 345
£112.20
Duke University Press Listening for Africa
Book SynopsisDavid F. Garcia examines the work of a wide range of musicians, dancers, academics, and activists between the 1930s and the 1950s to show how their belief in black music's African roots would provide the means to debunk racist ideologies, aid decolonization of Africa, and ease racial violence.Trade Review“Listening for Africa is a book that deserves to be read carefully and slowly. It is a work of sensitive and rigorous archival research combined with a sophisticated theoretical framework.” -- Ryan T. Skinner * American Anthropologist *“Scholars of Africanisms and race relations will appreciate Garcia's message. Recommended.” -- K. W. Mukuna * Choice *"An interesting and insightful read. . . . With an extensive bibliography at the end, this book will be of much interest to a wide variety of scholars interested in sound studies: anthropologists, musicologists, cultural studies scholars, and critical race theorists, to name a few. Garcia’s work gives scholars new tools to examine racial motivations behind music studies and discussions of music and sound, and new ways to discuss how that affects our writing, scholarly discussions and consensus, and the cultural influences of that information." -- Chelsea Adams * Journal of Anthropological Research *"Listening for Africa ambitiously and provocatively weaves together multiple strands of a rich, complex, and decidedly important tale: how academics and artists of diverse backgrounds engaged and promoted the African origins of diasporic black music and dance. . . . The best parts of the book were so ear-opening that I wished I was reading the first volume of a historical trilogy on the locus of artistic and intellectual biography at formative moments in the disciplinary organization of anthropology and ethnomusicology." -- Steven Feld * Journal of Anthropological Research *"Theoretically ambitious and meticulously researched. . . sure to become a classic account of the discursive construction of blackness through music." -- Michael Birenbaum Quintero * Journal of Popular Music Studies *"This impressive monograph is an archaeology of knowledge via several intersecting fields—anthropology, comparative musicology, folklore, African American, and dance studies—and interrogates the performances of an African past as manifested in Afro-Cuban, Caribbean, and African American contexts." -- Joel Dinerstein * African American Review *"Listening for Africa is an immensely useful study, documenting as it does the roles of numerous actants who otherwise do not appear in the established histories of jazz." -- Bruce Johnson * Journal of Iberian and Latin American Research *Table of ContentsPreface ix Acknowledgments xi Introduction 1 1. Analyzing the African Origins of Negro Music and Dance in a Time of Racism, Fascism, and War 21 2. Listening to Africa in the City, in the Laboratory, and on Record 74 3. Embodying Africa against Racial Oppression, Ignorance, and Colonialism 124 4. Disalienating Movement and Sound from the Pathologies of Freedom and Time 173 5. Desiring Africa, or Western Civilization's Discontents 221 Conclusion. Dance-Music as Rhizome 268 Notes 277 Bibliography 323 Index 345
£27.90
Duke University Press Black and Blur
Book SynopsisIn Black and Blur—the first volume in his consent not to be a single being trilogy—Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life, exploring a wide range of thinkers, musicians, and artists.Trade Review"Simply put, Moten is offering up some of the most affecting, most useful, theoretical thinking that exists on the planet today.... Moten’s work makes the activities of reading and thinking feel palpably fresh, weird, and vital." -- Maggie Nelson * 4Columns *"Some readers will come here because of The Feel Trio, because of The Undercommons. Some because Moten is the activists’ theorist, the contemporary art institution’s darling, because of performance studies, jazz studies, literature. Some readers will come here to encounter a brain that is at once more erudite, generous, capacious, fierce, jokey and infuriating than most others on the planet right now. Everybody ought to arrive here to be schooled and troubled, elated and confused, invited and indicted by a sparklingly original vision for black study." -- Nabil Kashyap * Full Stop *"It's this spirit of the collective effort of study and exchange and resonance, the effort to keep the channels open and keep listening, that has made Moten (or, maybe, 'Moten/s') such a celebrated thinker. At the end of sentences like these, you want to say something like Amen." -- Jess Row * Bookforum *"Be ready to be wowed; be ready to be challenged; most of all, be ready for the long haul. It is, apparently, the first in a planned trilogy. Moten is tracking his own course, and it’s fast-moving and spectacular." -- Patrick James Dunagan * Rain Taxi *"At a time when both theory and criticism are frequently and convincingly attacked as exhausted forms, Moten’s trilogy has reinvented both. . . . In its mixture of theoretical complexity and disarming directness, Moten’s beautifully written trilogy offers the sheer pleasure of art." -- Lidija Haas * Vulture *"2018 must go down for me as the year of Fred Moten’s trilogy: Black and Blur, Stolen Life, and The Universal Machine. You could say they’re essays about art, philosophy, blackness, and the refusal of social death, but I think of them more as a fractal universe forever inviting immersion and exploration, a living force now inhabiting my bookshelf." -- Maggie Nelson * Bookforum *"My favorite book(s) of 2018 are the three volumes of Fred Moten’s consent not to be a single being, individually titled Black and Blur, Stolen Life, and The Universal Machine. In this collection of essays stretching back fifteen years, Moten challenges the reader to imagine a radically interconnected aesthetic and political sphere that stretches from Glenn Gould to Fanon to Kant to Theaster Gates, sometimes in the space of a single sentence. This trilogy is one of the great intellectual adventures of our era." -- Jess Row * Bookforum *"A brilliant collection of essays, part of a series that investigates notions of Blackness and its representation. This is writing and practice that summons the irregular and the resistant.” -- Katrina Palmer * The Art Newspaper *Table of ContentsPreface vii Acknowledgments xv 1. Not In Between 1 2. Interpolation and Interpellation 28 3. Magic of Objects 34 4. Sonata Quasi Una Fantasia 40 5. Taste Dissonance Flavor Escape (Preface to a Solo by Miles Davis) 66 6. The New International of Rhythmic Feel/ings 86 7. The Phonographic Mise-en Scène 118 8. Line Notes for Lick Piece 134 9. Rough Americana 147 10. Nothing, Everything 152 11. Nowhere, Everywhere 158 12. Nobody, Everybody 168 13. Remind 170 14. Amuse-Bouche 174 15. Collective Head 184 16. Cornered, Taken, Made to Leave 198 17. Enjoy All Monsters 206 18. Some Extrasubtitles for Wildness 212 19. To Feel, to Feel More, to Feel More Than 215 20. Irruptions and Incoherences for Jimmie Durham 219 21. Black and Blue on White. In and And Space 226 22. Blue Vespers 230 23. The Blur and Breathe Books 245 24. Entanglement and Virtuosity 270 25. Bobby Lee's Hands 280 Notes 285 Works Cited 317 Index 329
£75.65
Fordham University Press Hits Philosophy in the Jukebox
Book SynopsisTrade Review"A writer of exquisite sensitivity and wit, as well as of impeccable clarity... A fascinating and thoroughly unique contribution to the study of popular culture, music, and more." -- -Gil Anidjar Columbia University
£24.29
Fordham University Press Speaking of Music
Book SynopsisA collection of essays that address the ways that writers, musicians, philosophers, politicians, critics, and scholars speak of music from varying standpoints and in varying ways. An introduction to the volume identifies common themes and issues.Trade Review"A rare, useful, and rich book, destined to attract musicologists, philosophers, theorists of all sorts, and philosophers of language." -- -Pierre Saint-Amand Brown University "Throughout the book there are imaginative insights and unique perspectives that challenge preconceptions and give new directions for further investigation." -- -Kenneth Gloag Cardiff UniversityTable of ContentsList of Illustrations Acknowledgments Speaking of Music: A View across Disciplines and a Lexicon of Topoi Keith Chapin and Andrew H. Clark Speaking of Music Lawrence Kramer Waiting for the Death Knell: Speaking of Music (So to Speak) Laura Odello Mattheson's Words, Bach's Silence: Humanist and Professional Ways of Speaking of Music Keith Chapin Making Music Speak Andrew H. Clark Rousseau: Music, Language, and Politics Tracy B. Strong Listening to Music Lawrence M. Zbikowski Mi manca la voce: How Balzac Talks Music-or How Music Takes Place-in Massimilla Doni John T. Hamilton Speaking of Music in the Romantic Era: Dynamic and Resistant Aspects of Musical Genre Matthew Gelbart Weather Reports: Discourse and Musical Cognition Per Aage Brandt Messiaen, Deleuze, and the Birds of Proclamation Sander van Maas Parole, parole: Tautegory and the Musicology of the (Pop) Song Peter Szendy Speaking of Microsound: The Bodies of Henri Chopin Kiene Brillenburg Wurth On the Ethics of the Unspeakable Jairo Moreno Recit Recitation Recitative Jean-Luc Nancy Notes List of Contributors Index
£74.70
Fordham University Press Speaking of Music Addressing the Sonorous
Book SynopsisA collection of essays that address the ways that writers, musicians, philosophers, politicians, critics, and scholars speak of music from varying standpoints and in varying ways. An introduction to the volume identifies common themes and issues.Trade Review"A rare, useful, and rich book, destined to attract musicologists, philosophers, theorists of all sorts, and philosophers of language." -- -Pierre Saint-Amand Brown University "Throughout the book there are imaginative insights and unique perspectives that challenge preconceptions and give new directions for further investigation." -- -Kenneth Gloag Cardiff UniversityTable of ContentsList of Illustrations Acknowledgments Speaking of Music: A View across Disciplines and a Lexicon of Topoi Keith Chapin and Andrew H. Clark Speaking of Music Lawrence Kramer Waiting for the Death Knell: Speaking of Music (So to Speak) Laura Odello Mattheson's Words, Bach's Silence: Humanist and Professional Ways of Speaking of Music Keith Chapin Making Music Speak Andrew H. Clark Rousseau: Music, Language, and Politics Tracy B. Strong Listening to Music Lawrence M. Zbikowski Mi manca la voce: How Balzac Talks Music-or How Music Takes Place-in Massimilla Doni John T. Hamilton Speaking of Music in the Romantic Era: Dynamic and Resistant Aspects of Musical Genre Matthew Gelbart Weather Reports: Discourse and Musical Cognition Per Aage Brandt Messiaen, Deleuze, and the Birds of Proclamation Sander van Maas Parole, parole: Tautegory and the Musicology of the (Pop) Song Peter Szendy Speaking of Microsound: The Bodies of Henri Chopin Kiene Brillenburg Wurth On the Ethics of the Unspeakable Jairo Moreno Recit Recitation Recitative Jean-Luc Nancy Notes List of Contributors Index
£29.70
Fordham University Press Thresholds of Listening
Book SynopsisThis collection of essays addresses recent and historical changes in the ways in which listening has been conceived as a cultural agency and act. It argues that listening, by emancipating from an essentially implied, passive-receiving, and subjected position, has become an explicit factor in culture and the object of proactive collective and individual politics.Trade Review"Thresholds of Listening intervenes into an extraordinarily wide range of subjects, ranging from masochism and torture at one extreme to Cage and Kafka at the other. Chapters zoom by at high speed, covering enormous ground and wrestling on all fronts with music's potential value as a transformative biopolitical praxis. The level of scholarship is excellent, and van Maas's cast of contributors includes stellar names alongside emerging scholars. This is less a book about listening to music than a virtuosic inquiry into the relationships between listening, hearing, sound, and space and an investigation of the limits of the human body." -- -Anthony Gritten Royal Academy of Music "Clearly the scholarship that underpins Thresholds of Listening is generally very thorough and 'experimental,' which tests conventional understandings of scholarship. Given its unique qualities, I would rate this book as an important contribution that will be useful across a number of disciplines, from musicology and music theory to philosophy and literary theory, but also touching upon certain strands of science." -- -Kenneth Gloag Cardiff UniversityTable of ContentsContents Introduction Sander van Maas 1. The Auditory Re-turn (The Point of Listening) Peter Szendy 2. Dear Listener ...: Music and the Invention of Subjectivity Lawrence Kramer 3. Scenes of Devastation: Interpellation, Finite and Infinite Sander van Maas 4. Positive Feedback: Listening Behind Hearing David Wills 5. Antennas Have Long Since Invaded Our Brains: Listening to 'the Other Music' in Friedrich Kittler Melle Kromhout 6. Movement at the Boundaries of Listening, Composition, and Performance Jason Freeman 7. The Biopolitics of Noise: Kafka's 'Der Bau' Anthony Adler 8. Torture as an Instrument of Music John Hamilton 9. Stop it, I Like it! Embodiment, Masochism and Listening for Traumatic Pleasure Robert Sholl 10. Sounds of Belonging: Accented Writing in Jean Rhys's Good Morning, Midnight Liedeke Plate 11. Back to the Beat: Silent Orality in Young Hae Chang Heavy Industries Kiene Brillenburg Wurth 12. The Discovery of Slowness in Music Alexander Rehding 13. Negotiating Ecstasy: Electronic Dance Music and the Temporary Autonomous Zone Andrew Shenton Notes List of Contributors Index
£92.70
