Music : a subversive history
Author(s)
Bibliographic Information
Music : a subversive history
Basic Books, 2019
- : hbk
Available at 1 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p. 473-487) and index
Contents of Works
- Introduction
- The origin of music as a force of creative destruction
- Carnivores at the Philharmonic
- In search of a universal music
- Music history as a battle between magic and mathematics
- Bulls and sex toys
- The storyteller
- The invention of the singer
- The shame of music
- Unmanly music
- The devil's songs
- Oppression and musical innovation
- Not all wizards carry wands
- The invention of the audience
- Musicians behaving badly
- The origins of the music business
- Culture wars
- Subversives in wigs
- You say you want a revolution?
- The great flip-flop
- The aesthetics of diaspora
- Black music and the great American lifestyle crisis
- Rebellion goes mainstream
- Funky butt
- The origins of country music in the neolithic era
- Where did our love go?
- The sacrificial ritual
- Rappers and technocrats
- Welcome our new overlords
- Epilogue: This is not a manifesto
Description and Table of Contents
Description
The phrase "music history" likely summons up images of long-dead composers, smug men in wigs and waistcoats, and people dancing without touching. In Music: A Subversive History, Gioia responds to the false notions that undergird this tedium. Traditional histories of music, Gioia contents, downplay those elements of music that are considered disreputable or irrational-its deep connections to sexuality, magic, trance and alternative mind states, healing, social control, generational conflict, political unrest, even violence and murder. They suppress the stories of the outsiders and rebels who created musical revolutions and instead celebrate the mainstream assimilators who borrowed innovations, diluted their impact and disguised their sources. Here, Gioia attempts to reclaim music history for the riffraff, the insurgents and provocateurs - the real drivers of change and innovation.
In Music, Gioia tells the four-thousand-year history of music as a source of power, change, upheaval and enchantment. He starts by exploring humanity's first instruments, which were closely linked to the food chain: the first horns were animal horns, our earliest string instrument was a hunter's bow and our oldest known instrument, the Neanderthal flute, was constructed from a bear femur. He turns to neuroscience to explain why the Celtic love story of Tristan and Iseult echoes the eleventh century Gorgani Persian love epic about Vis and Ramin, or why the troubadours of Europe echo artisan singers of ancient Egypt. He investigates the idea of "song as sin" as Church leaders for the first thousand years of Christianity attempted to control and suppress the songs of the common people and he explains the shift of music from a social practice to an economic enterprise during the Renaissance. Gioia shows how social outcasts have repeatedly become the great trailblazers of musical expression: slaves and their descendants, for instance, have repeatedly reinvented music in America and elsewhere, from ragtime, blues, jazz, R&B, to bossa nova, soul and hip hop.
A revolutionary and revisionist account, Music: A Subversive History will be essential reading for anyone interested in the meaning of music.
by "Nielsen BookData"