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Singular and star-studded writings on America’s neon-lit
playground At once a Technicolor wonderland and the embodiment of
American mythology, Las Vegas exists at the Ground Zero of a
reverence for risk-taking and the transformative power of a winning
hand. Jake Johnson edits a collection of short essays and flash
ideas that probes how music-making and soundscapes shape the City
of Second Chances. Treating topics ranging from Cher to Cirque de
Soleil, the contributors delve into how music and musicians
factored in the early development of Vegas’s image; the role of
local communities of musicians and Strip mainstays in sustaining
tensions between belief and disbelief; the ways aging showroom
stars provide a sense of timelessness that inoculates visitors
against the outside world; the link connecting fantasies of sexual
prowess and democracy with the musical values of Liberace and
others; considerations of how musicians and establishments gambled
with identity and opened the door for audience members to explore
Sin City–only versions of themselves; and the echoes and energy
generated by the idea of Las Vegas as it travels across the
country. Contributors: Celine Ayala, Kirstin Bews, Laura Dallman,
Joanna Dee Das, James Deaville, Robert Fink, Pheaross Graham,
Jessica A. Holmes, Maddie House-Tuck, Jake Johnson, Kelly Kessler,
Michael Kinney, Carlo Lanfossi, Jason Leddington, Janis McKay, Sam
Murray, Louis Niebur, Lynda Paul, Arianne Johnson Quinn, Michael M.
Reinhard, Laura Risk, Cassaundra Rodriguez, Arreanna Rostosky, and
Brian F. Wright
In 1972-73, Barney Childs embarked on an ambitious attempt to
survey the landscape of new American concert music. He recorded
freewheeling conversations with fellow composers, most of them
under forty, all of them important but most not yet famous. Though
unable to publish the interviews in his lifetime, Childs had
gathered invaluable dialogues with the likes of Robert Ashley, Olly
Wilson, Harold Budd, Christian Wolff, and others. Virginia Anderson
edits the first published collection of these conversations. She
pairs each interview with a contextual essay by a contemporary
expert that shows how the composer's discussion with Childs fits
into his life and work. Together, the interviewees cover a broad
range of ideas and concerns around topics like education, notation,
developments in electronic music, changing demands on performers,
and tonal music. Innovative and revealing, Interviews with American
Composers is an artistic and historical snapshot of American music
at an important crossroads.
Where did musical minimalism come fromOCoand what does it mean? In
this significant revisionist account of minimalist music, Robert
Fink connects repetitive music to the postwar evolution of an
American mass consumer society. Abandoning the ingrained formalism
of minimalist aesthetics, "Repeating Ourselves "considers the
cultural significance of American repetitive music exemplified by
composers such as Terry Riley, Steve Reich, and Philip Glass. Fink
juxtaposes repetitive minimal music with 1970s disco; assesses it
in relation to the selling structure of mass-media advertising
campaigns; traces it back to the innovations in hi-fi technology
that turned baroque concertos into ambient easy listening; and
appraises its meditative kinship to the spiritual path of musical
mastery offered by Japan's Suzuki Method of Talent Education."
Singular and star-studded writings on America’s neon-lit
playground At once a Technicolor wonderland and the embodiment of
American mythology, Las Vegas exists at the Ground Zero of a
reverence for risk-taking and the transformative power of a winning
hand. Jake Johnson edits a collection of short essays and flash
ideas that probes how music-making and soundscapes shape the City
of Second Chances. Treating topics ranging from Cher to Cirque de
Soleil, the contributors delve into how music and musicians
factored in the early development of Vegas’s image; the role of
local communities of musicians and Strip mainstays in sustaining
tensions between belief and disbelief; the ways aging showroom
stars provide a sense of timelessness that inoculates visitors
against the outside world; the link connecting fantasies of sexual
prowess and democracy with the musical values of Liberace and
others; considerations of how musicians and establishments gambled
with identity and opened the door for audience members to explore
Sin City–only versions of themselves; and the echoes and energy
generated by the idea of Las Vegas as it travels across the
country. Contributors: Celine Ayala, Kirstin Bews, Laura Dallman,
Joanna Dee Das, James Deaville, Robert Fink, Pheaross Graham,
Jessica A. Holmes, Maddie House-Tuck, Jake Johnson, Kelly Kessler,
Michael Kinney, Carlo Lanfossi, Jason Leddington, Janis McKay, Sam
Murray, Louis Niebur, Lynda Paul, Arianne Johnson Quinn, Michael M.
Reinhard, Laura Risk, Cassaundra Rodriguez, Arreanna Rostosky, and
Brian F. Wright
The Relentless Pursuit of Tone: Timbre in Popular Music assembles a
broad spectrum of contemporary perspectives on how "sound"
functions in an equally wide array of popular music. Ranging from
the twang of country banjoes and the sheen of hip-hop strings to
the crunch of amplified guitars and the thump of subwoofers on the
dance floor, this volume bridges the gap between timbre, our name
for the purely acoustic characteristics of sound waves, and tone,
an emergent musical construct that straddles the borderline between
the perceptual and the political. Essays engage with the entire
history of popular music as recorded sound, from the 1930s to the
present day, under four large categories. "Genre" asks how sonic
signatures define musical identities and publics; "Voice" considers
the most naturalized musical instrument, the human voice, as racial
and gendered signifier, as property or likeness, and as raw
material for algorithmic perfection through software; "Instrument"
tells stories of the way some iconic pop music machines-guitars,
strings, synthesizers-got (or lost) their distinctive sounds;
"Production" then puts it all together, asking structural questions
about what happens in a recording studio, what is produced (sonic
cartoons? rockist authenticity? empty space?) and what it all might
mean.
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