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Die Namen des Minimalismus: Urheberschaft, Kunstmusik und Geschichtsschr
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eBay-Artikelnr.:395012830130
Artikelmerkmale
- Artikelzustand
- ISBN-13
- 9780472039098
- Book Title
- The Names of Minimalism
- ISBN
- 9780472039098
- Subject Area
- Music
- Publication Name
- Names of Minimalism : Authorship, Art Music, and Historiography in Dispute
- Publisher
- University of Michigan Press
- Item Length
- 9 in
- Subject
- History & Criticism
- Publication Year
- 2023
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.8 in
- Item Weight
- 13 Oz
- Item Width
- 6 in
- Number of Pages
- 266 Pages
Über dieses Produkt
Product Identifiers
Publisher
University of Michigan Press
ISBN-10
0472039091
ISBN-13
9780472039098
eBay Product ID (ePID)
22057248708
Product Key Features
Number of Pages
266 Pages
Publication Name
Names of Minimalism : Authorship, Art Music, and Historiography in Dispute
Language
English
Subject
History & Criticism
Publication Year
2023
Type
Textbook
Subject Area
Music
Format
Trade Paperback
Dimensions
Item Height
0.8 in
Item Weight
13 Oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2022-950325
Reviews
" The Names of Minimalism contributes to the effort of producing the historiography of minimal music while introducing and exploring the specific (and crucial) topic of authorship in the field. Nickleson addresses these important questions methodically and with care." --Christophe Levaux, author of We Have Always Been Minimalist: The Construction and Triumph of a Musical Style, The Names of Minimalism is a sustained and highly focused meditation on an inflection point in music history that many people remain interested in, and such a closely detailed rewriting of history is a pleasure for those of us for whom that music remains numinous., "This book presents a total reimagining of minimalism's early history. Rather than narrating this history through musical style or composer biography, Nickleson examines minimalism's history through its politics of authorship, pedagogy, propriety, and egalitarianism. This book makes a significant contribution to scholarship on minimalism and, more broadly, has the potential to reorient any scholarly mind doing historical work." --Kerry O'Brien, co-editor of On Minimalism: Documenting a Musical Movement, "The dialectical discussion is enlivened no end by entertaining anecdotes about spiky relationships between what Nickleson terms the "Big Four" composers. . . he provides a methodological toolkit that, in a different way to On Minimalism but to similar effect, seeks a poetic justice that will enrich our engagement with these musics.", "The dialectical discussion is enlivened no end by entertaining anecdotes about spiky relationships between what Nickleson terms the "Big Four" composers. . . he provides a methodological toolkit that, in a different way to On Minimalism but to similar effect, seeks a poetic justice that will enrich our engagement with these musics." -- The Wire, Though more academic in approach, it's a refreshing rethinking of ideologies and thinking that have offered massive inspirations to generations of creators. Definitely a great book for those keen to expand the picture of this time., Patrick Nickleson's The Names of Minimalism offers a potent critique of the means and methods by which minimalism has been canonized in conventional music histories. Drawing on the writings of Jacques Rancière and Kristin Ross, Nickleson deftly and trenchantly interrogates the lineage that runs--whether via collaboration or contention--from La Monte Young and Tony Conrad to Rhys Chatham and Glenn Branca in order to recover the aesthetic and political challenges that early minimalism proffered at its most radical junctures., The Names of Minimalism contributes to the effort of producing the historiography of minimal music while introducing and exploring the specific (and crucial) topic of authorship in the field. Nickleson addresses these important questions methodically and with care., "Patrick Nickleson's The Names of Minimalism offers a potent critique of the means and methods by which minimalism has been canonized in conventional music histories. Drawing on the writings of Jacques Rancière and Kristin Ross, Nickleson deftly and trenchantly interrogates the lineage that runs--whether via collaboration or contention--from La Monte Young and Tony Conrad to Rhys Chatham and Glenn Branca in order to recover the aesthetic and political challenges that early minimalism proffered at its most radical junctures." --Branden W. Joseph, Columbia University, This book presents a total reimagining of minimalism's early history. Rather than narrating this history through musical style or composer biography, Nickleson examines minimalism's history through its politics of authorship, pedagogy, propriety, and egalitarianism. This book makes a significant contribution to scholarship on minimalism and, more broadly, has the potential to reorient any scholarly mind doing historical work.
Dewey Edition
23
TitleLeading
The
Illustrated
Yes
Dewey Decimal
780.904
Table Of Content
Acknowledgments Introduction. "La Monte Young Does Not Understand 'His' Work." Chapter 1. Policing Process Chapter 2. Writing Minimalism: The Theatre of Eternal Music and the Historiography of Drones Chapter 3. The Lessons of Minimalism: The Big Four and the Pedagogic Myth Chapter 4. Indistinct Minimalisms: Punk, No Wave, and the Death of Minimalism Conclusion. The Names of Minimalism Works Cited
Synopsis
Minimalism stands as the key representative of 1960s radicalism in art music histories--but always as a failed project. In The Names of Minimalism , Patrick Nickleson holds in tension collaborative composers in the period of their collaboration, as well as the musicological policing of authorship in the wake of their eventual disputes. Through examinations of the droning of the Theatre of Eternal Music, Reich's Pendulum Music , Glass's work for multiple organs, the austere performances of punk and no wave bands, and Rhys Chatham and Glenn Branca's works for massed electric guitars, Nickleson argues for authorship as always impure, buzzing, and indistinct. Expanding the place of Jacques Rancière's philosophy within musicology, Nickleson draws attention to disciplinary practices of guarding compositional authority against artists who set out to undermine it. The book reimagines the canonic artists and works of minimalism as "(early) minimalism," to show that art music histories refuse to take seriously challenges to conventional authorship as a means of defending the very category "art music." Ultimately, Nickleson asks where we end up if we imagine the early minimalist project--artists forming bands to perform their own music, rejecting the score in favor of recording, making extensive use of magnetic type as compositional and archival medium, hosting performances in lofts and art galleries rather than concert halls--not as a utopian moment within a 1960s counterculture doomed to fail, but as the beginning of a process with a long and influential afterlife., Minimalism stands as the key representative of 1960s radicalism in art music histories-but always as a failed project. In The Names of Minimalism, Patrick Nickleson holds in tension collaborative composers in the period of their collaboration, as well as the musicological policing of authorship in the wake of their eventual disputes. Through examinations of the droning of the Theatre of Eternal Music, Reich's Pendulum Music, Glass's work for multiple organs, the austere performances of punk and no wave bands, and Rhys Chatham and Glenn Branca's works for massed electric guitars, Nickleson argues for authorship as always impure, buzzing, and indistinct. Expanding the place of Jacques Rancière's philosophy within musicology, Nickleson draws attention to disciplinary practices of guarding compositional authority against artists who set out to undermine it. The book reimagines the canonic artists and works of minimalism as "(early) minimalism," to show that art music histories refuse to take seriously challenges to conventional authorship as a means of defending the very category "art music." Ultimately, Nickleson asks where we end up if we imagine the early minimalist project not as a Utopian moment within a 1960s counterculture doomed to fail, but as the beginning of a process with a long and influential afterlife.
LC Classification Number
ML197.N395 2023
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