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Repeating Ourselves: American Minimal Music as Cultural Practice Paperback - 2005

Name: Repeating Ourselves: American Minimal Music as Cultural Practice
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Author: Robert Fink
ISBN: 9780520245501

by Robert Fink

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From the publisher

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.

First line

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.

From the rear cover

"The most important, and clearly the 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."--Richard Leppert, editor of T. W. Adorno, Essays On Music

"A model of interdisciplinary scholarship at its best. Repeating Ourselves is now the central study on both minimalism and on repetition. This is an excellent book, and very important indeed."--Anahid Kassabian, author of Hearing Film

Details

Title Repeating Ourselves: American Minimal Music as Cultural Practice
Author Robert Fink
Binding Paperback
Edition First Edition, T
Pages 296
Volumes 1
Language ENG
Publisher University of California Press, U.S.A.
Date 2005-09-13
ISBN 9780520245501 / 0520245504
Weight 0.92 lbs (0.42 kg)
Dimensions 9.12 x 6.1 x 0.7 in (23.16 x 15.49 x 1.78 cm)
Library of Congress subjects Music - Social aspects, Minimal music - United States - History and
Library of Congress Catalog Number 2005006616
Dewey Decimal Code 781.3

About the author

Robert Fink is Associate Professor of Musicology at the University of California, Los Angeles.

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Repeating Ourselves: American Minimal Music as Cultural Practice

by Robert Fink

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Softcover volume, measuring approximately 6" x 9", displays light shelfwear. Binding is sound. Interior is clean and bright. xvi/280 pages."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."

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$25.00

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Repeating Ourselves: American Minimal Music as Cultural Practice

by Robert Fink

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ISBN 10 / ISBN 13

9780520245501 / 0520245504

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Paperback / softback. New. 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.