Tools

LEADER 02987cam 22003854a 4500

001 ocm58451755;

003 OCoLC;

005 20141211183344.0;

008 050307s2005 caua b s001 0 eng ;

010 a| 2005006616;

020 a| 0520240367 (cloth : alk. paper);

020 a| 0520245504 (pbk. : alk. paper);

035 a| (Sirsi) o58451755;

035 a| (OCoLC)58451755;

042 a| pcc;

049 a| EREM;

050 00 a| ML197b| .F54 2005;

082 00 a| 781.32| 22;

100 1 a| Fink, Robert Wallace,d| 1961-=| ^A606740;

245 10 a| Repeating ourselves :b| American minimal music as cultural practice /c| Robert Fink.;

300 a| xvi, 280 pages :b| illustrations ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references and index.;

505 00 g| Introduction.t| The culture of repetition --g| Part one.t| The culture of Eros: repetition as desire creation.t| Do it ('til you're satisfied): repetitive musics and recombinant desires --t| "A colofrul installment in the twentieth-century drama of consumer subjectivity": minimalism and the phenomenology of consumer desire --t| The media sublime: minimalism, advertising, and television --g| Part two.t| The culture of Thanatos: repetition as mood regulation.t| "A pox on Manfredini": the long-playing record, the Baroque revival, and the birth of ambient music --t| "I did this exercise 100,000 times": Zen, minimalism and the Suzuki method.;

520 a| The author looks at minimalist music as part of a much larger trend in American culture which encompasses modern art, television, commercial advertising, pedagogy, club culture, religion, and much more. Where did musical minimalism come from--and what does it mean? In this significant revisionist account of minimalist music, the author connects repetitive music to the postwar evolution of an American mass consumer society. Abandoning the ingrained formalism of minimalist aesthetics, this book 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.;

650 0 a| Minimal musicx| History and criticism.=| ^A306924;

650 0 a| Musicx| Social aspects.=| ^A537957;

994 a| C0b| ERE;

596 a| 3;

998 a| 1011252;

999 a| ML197 .F54 2005w| LCc| 1i| 30372013441537d| 1/8/2015e| 12/8/2013f| 2/25/2024g| 5l| MSTm| JMUSICn| 7p| $23.70q| 1r| Ys| Yt| MGESBKu| 9/28/2005x| BOOKz| MCIRCo| .STAFF. 0;

Repeating ourselves American minimal music as cultural practice / Robert Fink.

Author/creator	Fink, Robert Wallace, 1961-
Format	Book
Publication Info	Berkeley : University of California Press, ©2005.
Description	xvi, 280 pages : illustrations ; 24 cm
Subjects	Minimal music--History and criticism. Music--Social aspects.

Contents	Introduction. The culture of repetition -- Part one. The culture of Eros: repetition as desire creation. Do it ('til you're satisfied): repetitive musics and recombinant desires -- "A colofrul installment in the twentieth-century drama of consumer subjectivity": minimalism and the phenomenology of consumer desire -- The media sublime: minimalism, advertising, and television -- Part two. The culture of Thanatos: repetition as mood regulation. "A pox on Manfredini": the long-playing record, the Baroque revival, and the birth of ambient music -- "I did this exercise 100,000 times": Zen, minimalism and the Suzuki method.
Abstract	The author looks at minimalist music as part of a much larger trend in American culture which encompasses modern art, television, commercial advertising, pedagogy, club culture, religion, and much more. Where did musical minimalism come from--and what does it mean? In this significant revisionist account of minimalist music, the author connects repetitive music to the postwar evolution of an American mass consumer society. Abandoning the ingrained formalism of minimalist aesthetics, this book 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.
Bibliography note	Includes bibliographical references and index.
LCCN	2005006616
ISBN	0520240367 (cloth : alk. paper)
ISBN	0520245504 (pbk. : alk. paper)

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Music	Music Stacks	ML197 .F54 2005	✔ Available	Place Hold

Repeating ourselves American minimal music as cultural practice / Robert Fink.

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