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Editorial Reviews
Review
"The most important, and clearly that most culturally and theoretically informed, of any of the major studies on minimalism. No other book comes remotely close to establishing the historical links between early postmodernist Euro-American social changes. Fink's scholarship is as impeccable as his readings of minimalist compositions are stunningly insightful. Not least, the book is beautifully written." --This text refers to the Hardcover edition.
Product Description
Where did musical minimalism come from--and what does it mean? In this significant revisionist account of minimalist music, Robert Fink connects repetitive music to the postwar evolution of an American mass consumer society. Abandoning the ingrained formalism of minimalist aesthetics, Repeating Ourselves considers the cultural significance of American repetitive music exemplified by composers such as Terry Riley, Steve Reich, and Philip Glass. Fink juxtaposes repetitive minimal music with 1970s disco; assesses it in relation to the selling structure of mass-media advertising campaigns; traces it back to the innovations in hi-fi technology that turned baroque concertos into ambient "easy listening"; and appraises its meditative kinship to the spiritual path of musical mastery offered by Japan's Suzuki Method of Talent Education.
See all Editorial Reviews
"The most important, and clearly that most culturally and theoretically informed, of any of the major studies on minimalism. No other book comes remotely close to establishing the historical links between early postmodernist Euro-American social changes. Fink's scholarship is as impeccable as his readings of minimalist compositions are stunningly insightful. Not least, the book is beautifully written." --This text refers to the Hardcover edition.
Product Description
Where did musical minimalism come from--and what does it mean? In this significant revisionist account of minimalist music, Robert Fink connects repetitive music to the postwar evolution of an American mass consumer society. Abandoning the ingrained formalism of minimalist aesthetics, Repeating Ourselves considers the cultural significance of American repetitive music exemplified by composers such as Terry Riley, Steve Reich, and Philip Glass. Fink juxtaposes repetitive minimal music with 1970s disco; assesses it in relation to the selling structure of mass-media advertising campaigns; traces it back to the innovations in hi-fi technology that turned baroque concertos into ambient "easy listening"; and appraises its meditative kinship to the spiritual path of musical mastery offered by Japan's Suzuki Method of Talent Education.
See all Editorial Reviews
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Inside This Book
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First Sentence:
During the spring, summer, and fall of 1976, a radically new type of musical experience - strictly patterned, tonally static, beat-driven - insinuated its way into the mainstream of Western music culture. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
minimalist process music, higher disco, pitch plateaus, repetitive listening, minimal music, musical minimalism, repetitive music, minimalist repetition, hermeneutic window, repetitive society, classical teleology, mallet instruments, structural trope, musical desire, wallpaper music, minimalist music, record changer, linear ascent, musical erotics, advertising media planning, musical repetition, minimalist composers, experimental composers, spot advertising, basic groove Key Phrases - Capitalized Phrases (CAPs): (learn more)
Steve Reich, Robbins Landon, Talent Education, New York, Philip Glass, Shinichi Suzuki, Donna Summer, Pop Art, High Fidelity, Suzuki Method, Terry Riley, Piano Phase, Les Choses, Shunryu Suzuki, Soto Zen, Twelve Parts, Brian Eno, Thomas Smith, American Suzuki, Creative Revolution, Elliott Carter, John Cage, Madison Avenue, Rinzai Zen, The Hidden Persuaders New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Surprise Me!
During the spring, summer, and fall of 1976, a radically new type of musical experience - strictly patterned, tonally static, beat-driven - insinuated its way into the mainstream of Western music culture. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
minimalist process music, higher disco, pitch plateaus, repetitive listening, minimal music, musical minimalism, repetitive music, minimalist repetition, hermeneutic window, repetitive society, classical teleology, mallet instruments, structural trope, musical desire, wallpaper music, minimalist music, record changer, linear ascent, musical erotics, advertising media planning, musical repetition, minimalist composers, experimental composers, spot advertising, basic groove Key Phrases - Capitalized Phrases (CAPs): (learn more)
Steve Reich, Robbins Landon, Talent Education, New York, Philip Glass, Shinichi Suzuki, Donna Summer, Pop Art, High Fidelity, Suzuki Method, Terry Riley, Piano Phase, Les Choses, Shunryu Suzuki, Soto Zen, Twelve Parts, Brian Eno, Thomas Smith, American Suzuki, Creative Revolution, Elliott Carter, John Cage, Madison Avenue, Rinzai Zen, The Hidden Persuaders New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Surprise Me!
Citations (learn more)
This book cites 100
books:
See all 100 books this book cites
- The System of Objects (Radical Thinkers) by Jean Baudrillard on 9 pages
- Hidden Persuaders by Vance packard on 8 pages
- Nurtured by Love: The Classic Approach to Talent Education by Shinichi Suzuki on 7 pages
- The Affluent Society by John Kenneth Galbraith on 6 pages
- Minimalism:Origins by Edward Strickland on 5 pages
See all 100 books this book cites
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88% buy the item featured on this page: Repeating Ourselves: American Minimal Music as Cultural Practice $23.35 |
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