Free Delivery Over $100
|
|
|||
|
||||
OverviewIn The Political Force of Musical Beauty, Barry Shank shows how musical acts and performances generate their own aesthetic and political force, creating, however fleetingly, a shared sense of the world among otherwise diverse listeners. Rather than focusing on the ways in which music enables the circulation of political messages, he argues that communities grounded in the act and experience of listening can give rise to new political ideas and expression. Analyzing a wide range of ""beautiful music"" within popular and avant-garde genres-including the Japanese traditions in the music of Takemitsu Toru and Yoko Ono, the drone of the Velvet Underground, and the insistence of hardcore punk and Riot grrrl post-punk-Shank finds that when it fulfills the promise of combining sonic and lyrical differences into a cohesive whole, musical beauty has the power to reorganize the basis of social relations and produce communities that recognize meaningful difference. Full Product DetailsAuthor: Barry ShankPublisher: Duke University Press Imprint: Duke University Press Dimensions: Width: 15.20cm , Height: 1.90cm , Length: 22.90cm Weight: 0.467kg ISBN: 9780822356585ISBN 10: 0822356589 Pages: 344 Publication Date: 11 April 2014 Audience: College/higher education , Postgraduate, Research & Scholarly Format: Paperback Publisher's Status: Active Availability: In Print  This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us. Table of ContentsAcknowledgments vii Introduction. A Prelude 1 1. Listening to the Political 10 2. The Anthem and the Condensation of Context 38 3. Turning Inward, Inside Out: Two Japanese Musicians Confront the Limits of Tradition 72 4. Heroin ; or, The Droning of the Commodity 108 5. The Conundrum of Authenticity and the Limits of Rock 147 6. 1969; or, The Performance of Political Melancholy 201 Coda. Listening through the Aural Imaginary 244 Notes 263 Bibliography 301 Discography 317 Index 319ReviewsTreating noise as the recalibration of our sensibility settings and a vision for building community on difference, Barry Shank makes a politics of thorny sound. Even better, when this former Long Ryder s member, turned chair of Comparative Studies, takes on Moby's half-borrowed 'Natural Blues, ' Yoko Ono's obstacle course art, the Velvet Underground's 'Heroin' drone, then Patti Smith, Bad Brains, Bikini Kill, and TV on the Radio with Tinariwen, we get something amazingly long in arriving: an exploration of college radio music by a passionate college professor. --Eric Weisbard, editor of Pop When the World Falls Apart: Music in the Shadow of Doubt In this ambitious, original, and compelling book, Barry Shank addresses the relation of music to politics. In the process, he makes a significant contribution to aesthetic theory. It is beautifully written, nuanced yet accessible. Its central theme, on the political agency of music, is refreshing and Shank's close readings and formal analyses of musical examples are both richly rewarding and entertaining. -- Bernard Gendron, author of Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde Treating noise as the recalibration of our sensibility settings and a vision for building community on difference, Barry Shank makes a politics of thorny sound. Even better, when this formerLong Ryders member, turned chair of Comparative Studies, takes on Moby's half-borrowed 'Natural Blues,' Yoko Ono's obstacle course art, the Velvet Underground's 'Heroin' drone, then Patti Smith, Bad Brains, Bikini Kill, and TV on the Radio with Tinariwen, we get something amazingly long in arriving: an exploration of college radio music by a passionate college professor. -- Eric Weisbard, editor of Pop When the World Falls Apart: Music in the Shadow of Doubt Summer is the season for foreground music, when our desire for melodic accompaniment is on spectacular display. It cradles the widely held conviction, astutely explored by Barry Shank in The Political Force of Musical Beauty, that the word song does rotten justice to certain units of musical experience. As, for instance, when some tune, in the process of unfolding itself, appears at once to exist for us alone and to matter beyond measure. It can happen in a club or a car or a chair. Such an experience's apparent privacy can make its 'political force'-Shank's apposite term-difficult to capture. Shank draws these effects, and insights into the kinds of collectivity they suggest, from an impressive range of musical forms. -- Darby English Artforum While few people reading this magazine would object to the idea that new musical experiences can be radically transformative on an individual level, the conviction that music can influence broader political change is more problematic. Quickly clarifying that his book isn't about how music can be a vehicle for sharing pre-existing political sentiments, Barry Shank instead provides examples of music that has created new shared senses of the world and revealed the political significance of sounds previously heard as noise. -- Jon Marshall The Wire [T]his book is very well researched and abounds with fresh ideas... Essential. Upper-division undergraduates through faculty. -- T. R. Harrison Choice Shank has produced a very engaging, learned, and wide-ranging book on popular music in itself and especially as it slides in one direction or another to the likes of avant-garde music or art or performance. -- Ian Balfour Journal of Popular Music Studies This is an important contribution to the debate about music's relationship to politics, one that takes seriously and treats subtly the contribution of musical sounds and experiences. It takes risks and issues challenges, and we are indebted to Barry Shank for this (and much more) in his fine book. -- John Street Popular Music The book is ... a hybrid creature-part intensive valuation of theory, part heartfelt discussion of the author's own listening experiences, with case studies of songs by artists ranging from Moby and the Velvet Underground to Toru Takemitsu and Alarm Will Sound. But it iscoherent and complete, an admirable effort to probe the social and political stakes of music. -- Alice Miller Cotter Notes Treating noise as the recalibration of our sensibility settings and a vision for building community on difference, Barry Shank makes a politics of thorny sound. Even better, when this former Long Ryder s member, turned chair of Comparative Studies, takes on Moby's half-borrowed 'Natural Blues, ' Yoko Ono's obstacle course art, the Velvet Underground's 'Heroin' drone, then Patti Smith, Bad Brains, Bikini Kill, and TV on the Radio with Tinariwen, we get something amazingly long in arriving: an exploration of college radio music by a passionate college professor. --Eric Weisbard, editor of Pop When the World Falls Apart: Music in the Shadow of Doubt Author InformationBarry Shank is Professor of Comparative Studies at Ohio State University. He is the author of Dissonant Identities: The Rock 'n' Roll Scene in Austin, Texas, and A Token of My Affection: Greeting Cards and American Business Culture, and a coeditor of American Studies: An Anthology and The Popular Music Studies Reader. Tab Content 6Author Website:Countries AvailableAll regions |
||||
