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.

As we approach twenty years since the end of the 1980s, we have the opportunity to see the decade in perspective, and are in a position to question the glib assumption that the 1980s were a mere conservative foil to the 1960s. The 1980s: A Critical and Transitional Decade, edited by Kimberly R. Moffitt and Duncan A. Campbell, places its topics within the context of a decade described as both critical and transitional because the 1980s, in many respects, marked the end of one era and the beginning of another. For example, the Reagan presidency, the end of the Cold War, MTV, and the appearance of the personal computer all reflect a legacy of political, cultural, and social transformation of the United States and the world, and took place specifically within the 1980s. The function of this interdisciplinary volume is not to simply highlight the significant phenomena of the period, but rather demonstrate how so many apparently disparate events were, in fact, closely inter-related and also products of their age. The 1980s is a holistic analysis of the decade that focuses on major turning points, developments in literature, art, entertainment, politics, and social experimentation. The 1980s: A Critical and Transitional Decade, edited by Kimberly R. Moffitt and Duncan A. Campbell is a groundbreaking and stand-alone introductory volume that is unapologetically interdisciplinary in nature and encourages students to explore topics of the decade often overlooked or grouped together with other, more memorable decades such as the 1920s or 1960s.

As we approach twenty years since the end of the 1980s, we have the opportunity to see the decade in perspective, and are in a position to question the glib assumption that the 1980s were a mere conservative foil to the 1960s. The 1980s: A Critical and Transitional Decade, edited by Kimberly R. Moffitt and Duncan A. Campbell, places its topics within the context of a decade described as both critical and transitional because the 1980s, in many respects, marked the end of one era and the beginning of another. For example, the Reagan presidency, the end of the Cold War, MTV, and the appearance of the personal computer all reflect a legacy of political, cultural, and social transformation of the United States and the world, and took place specifically within the 1980s. The function of this interdisciplinary volume is not to simply highlight the significant phenomena of the period, but rather demonstrate how so many apparently disparate events were, in fact, closely inter-related and also products of their age. The 1980s is a holistic analysis of the decade that focuses on major turning points, developments in literature, art, entertainment, politics, and social experimentation. The 1980s: A Critical and Transitional Decade, edited by Kimberly R. Moffitt and Duncan A. Campbell is a groundbreaking and stand-alone introductory volume that is unapologetically interdisciplinary in nature and encourages students to explore topics of the decade often overlooked or grouped together with other, more memorable decades such as the 1920s or 1960s.

This book steps into the long-standing debate about how doctoral programs should prepare students for the profession. The contributors explore both the conceptual and practical specifics of a refocused training. They build a compelling argument that endowing students with a stable identity as rhetoric/composition professionals is less crucial than preparing them to adopt myriad and shifting professional personas that position them for active rhetorical practice.