Records Ruin the Landscape

Grubbs David Grubbs

Description

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.

Informations

• Publié par: Duke University Press
• Date de parution: 03 mars 2014
• Nombre de lectures: 1
• EAN13: 9780822377108
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Réçôŝ Rû é àŝçàé

DavID Grubbs

recorDs ruIn THe LanDscape

Jô Càgé, é Sîxîéŝ, à Sôû Réçôîg

Duke unIversITy press DurHam anD LonDon  • •

© 2 0 1 4 D U K E U N I V E R S I T Y P R E S S

A L L R I G H T S R E S E R V E D

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O N A C I D - F R E E PA P E R ♾

D E S I G N E D B Y A M Y R U T H B U C H A N A N

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T S E N G I N F O R M AT I O N S Y S T E M S , I N C .

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R E C O R D S R U I N T H E L A N D S C A P E : J O H N C A G E , T H E S I X T I E S , A N D S O U N D

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( M U S I C ) — H I S TO R Y A N D C R I T I C I S M . 3 . A V A N T- G A R D E ( M U S I C ) —

H I S TO R Y A N D C R I T I C I S M . 4 . S O U N D R E C O R D I N G S . I . T I T L E .

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The rejected chapters have taken over. For a long

time it was as though only the most patient scholar

or the recording angel himself would ever inter-

est himself in them. Now it seems as though that

angel had begun to dominate the whole story: he

who was supposed only to copy it all down has

joined forces with the misshapen, misfit pieces that were never meant to go into it but at best to stay on the sidelines so as to point up how everything else

belonged together, and the resulting mountain of

data threatens us.

—JOHN ASHBERY, “The System” (1972)

conTenTs

() preace () acknowLeDGmenTs

() ïôûçô 1 () é  ô é A 2 () àŝçàé  Càé 3 () Jô Càé, Réçô Aŝ 4 () hé Aûéŝ àé éé Iôîŝàîô à Réçô Cûûé 5 () Réôé é Réçôŝ ô éàŝ Oîé Réŝôûçéŝ à Iéàé Açîéŝ

() noTes () seLecTeD DIscoGrapHy () bIbLIoGrapHy () InDex

Péàçé

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