Sound commitments : avant-garde music and the sixties
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書誌事項
Sound commitments : avant-garde music and the sixties
Oxford University Press, 2009
- pbk. : alk. paper
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注記
Includes bibliographical references and index
収録内容
- Introduction : Avant-garde music and sixties / Robert Adington
- Avant-garde : Some introductory notes on the politics of a label / Hubert F. van den Berg
- Ideologies. "Demolish serious culture!" : Henry Flynt and Workers World Party / Benjamin Piekut
- Forms of opposition at the "politiek-demonstratief experimenteel" concert / Robert Adlington
- Aesthetic theories and revolutionary practice : Nikolaus A. Huber and Clytus Gottwald in dissent / Beate Kutschke
- Rethinking the popular. "Music is a universal human right" : Musica Elettronica Viva / Amy C. Beal
- The problem of the political in Steve Reich's Come out / Sumanth Gopinath
- The politics of Presque rien / Eric Drott
- Politicising performance. ONCE and the sixties / Ralf Dietrich
- "Scream against the sky" : Japanese avant-garde music in the sixties / Yayoi Uno Everett
- The challenge of institutionalization. After the October revolution : the jazz avant-garde in New York, 1964-65 / Bernard Gendron
- American cultural diplomacy and the mediation of avant-garde music / Danielle Fosler-Lussier
- From Scriabin to Pink Floyd : the ANS synthesizer and the politics of Soviet music between thaw and stagnation / Peter J. Schmelz
内容説明・目次
内容説明
The role of popular music is widely recognized in giving voice to radical political views, the plight of the oppressed, and the desire for social change. Avant-garde music, by contrast, is often thought to prioritize the pursuit of new technical or conceptual territory over issues of human and social concern. Yet throughout the activist 1960s, many avant-garde musicians were convinced that aesthetic experiment and social progressiveness made natural bedfellows.
Intensely involved in the era's social and political upheavals, they often sought to reflect this engagement in their music. Yet how could avant-garde musicians make a meaningful contribution to social change if their music remained the preserve of a tiny, initiated clique? In answer, Sound Commitments,
examines the encounter of avant-garde music and "the Sixties" across a range of genres, aesthetic positions and geographical locations. Through music for the concert hall, tape and electronic music, jazz and improvisation, participatory "events," performance art, and experimental popular music, the essays in this volume explore developments in the United States, France, West Germany, Italy, the Netherlands, the Soviet Union, Japan and parts of the "Third World," delving into the deep richness
of avant-garde musicians' response to the decade's defining cultural shifts.
Featuring new archival research and/or interviews with significant figures of the period in each chapter, Sound Commitments will appeal to researchers and advanced students in the fields of post-war music, cultures of the 1960s, and the avant-garde, as well as to an informed general readership.
目次
- List of contributors
- Introduction: Avant-garde Music and the Sixties
- 1. Avant-garde-Some Introductory Notes on the Politics of a Label
- 2. "Demolish Serious Culture!": Henry Flynt and Workers World Party
- 3. Forms of Opposition at the 'Politiek-Demonstratief Experimenteel' Concert
- 4. Aesthetic Theories and Revolutionary Practice: Nikolaus A. Huber and Clytus Gottwald in Dissent
- 5. "Music is a Universal Human Right": Musica Elettronica Viva
- 6. The Problem of the Political in Steve Reich's Come Out
- 8. ONCE and the Sixties
- 9. "Scream Against the Sky": Japanese Avant-garde Music in the Sixties
- 10. After the October Revolution: The Jazz Avant-garde in New York, 1964-65
- 11. American Cultural Diplomacy and the Mediation of Avant-garde Music
- 12. From Scriabin to Pink Floyd: the ANS Synthesizer and the Politics of Soviet
- Index
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