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Records ruin the landscape : John Cage, the sixties, and sound recording

Auteur : David Grubbs
Éditeur: Durham : Duke University Press, 2014. ©2014
Édition/format:   Livre imprimé : AnglaisVoir toutes les éditions et tous les formats
Résumé:
John Cage's disdain for records was legendary. He repeatedly spoke of the ways in which recorded music was antithetical to his work. In Records ruin the landscape, David Grubbs argues that, following Cage, new genres in experimental and avant-garde music in the 1960s were particularly ill suited to be represented in the form of a recording. These activities include indeterminate music, long-duration minimalism, text  Lire la suite...
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Détails

Genre/forme: Sound recordings
Criticism, interpretation, etc
Personne nommée: John Cage; John Cage; John Cage
Type de document: Livre
Tous les auteurs / collaborateurs: David Grubbs
ISBN: 9780822355762 0822355760 9780822355908 0822355906
Numéro OCLC: 862222200
Description: xxv, 220 pages : illustrations ; 23 cm
Contenu: Henry Flynt on the air --
Landscape with Cage --
John Cage, recording artist --
The antiques trade: free improvisation and record culture --
Remove the records from Texas: online resources and impermanent archives.
Responsabilité: David Grubbs.

Résumé:

John 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  Lire la suite...

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"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 Lire la suite...

 
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Données liées


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    schema:reviewBody "John Cage's disdain for records was legendary. He repeatedly spoke of the ways in which recorded music was antithetical to his work. In Records ruin the landscape, David Grubbs argues that, following Cage, new genres in experimental and avant-garde music in the 1960s were particularly ill suited to be represented in the form of a recording. These activities include indeterminate music, long-duration minimalism, text scores, happenings, live electronic music, free jazz, and free improvisation. How could these proudly evanescent performance practices have been adequately represented on an LP? In their day, few of these works circulated in recorded form. By contrast, contemporary listeners can encounter this music not only through a flood of LP and CD releases of archival recordings but also in even greater volume through Internet file sharing and online resources. Present-day listeners are coming to know that era's experimental music through the recorded artifacts of composers and musicians who largely disavowed recordings. In Records Ruin the Landscape, Grubbs surveys a musical landscape marked by altered listening practices [Publisher description]." ;
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