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Metal, Rock, and Jazz (Music/Culture)

by

Metal, Rock, and Jazz (Music/Culture) Cover

 

Synopses & Reviews

Publisher Comments:

A lively comparison of musical meaning in Ohio's Jazz, metal, and hard rock scene.

Synopsis:

This vivid ethnography of the musical lives of heavy metal, rock, and jazz musicians in Cleveland and Akron, Ohio shows how musicians engage with the world of sound to forge meaningful experiences of music. Unlike most popular music studies, which only provide a scholar's view, this book is based on intensive fieldwork and hundreds of hours of in-depth interviews. Rich descriptions of the musical life of metal bars and jazz clubs get readers close to the people who make and listen to the music.

Of special interest are Harris M. Berger's interviews with Timmy The Ripper Owens, now famous as lead singer for the pioneering heavy metal band, Judas Priest. Owens and other performers share their own experiences of the music, thereby challenging traditional notions of harmony and musical structure. Using ideas from practice theory and phenomenology, Berger shows that musical perception is a kind of practice, both creatively achieved by the listener and profoundly informed by social context.

Description:

Includes bibliographical references (p. 315-323) and index.

Table of Contents

An introduction ot central isues in ethnomusicology and folklore: phenomenology and practice theory — I. The ethnography of musical practice. Commerical hard rock in Cleveland, Ohio: Dia Pason and Max Panic. Heavy metal in Akron, Ohio: Winter's Bane and Sin-Eater. Two jazz scenes in Northeast Ohio — II. The organization of musical experience and the practice of perception. The organization of attention in two jazz scenes. The organization of attention in the rock and metal scenes. Tonality, temporality, and the intending subject (1): Chris Ozimek and "Turn for the Word". Tonality, temporality, and the perceptual subject (2): Dann Saladin and "The Final Silencing." Conclusions: perceptual practice and the social context — III. Music, experience, and society: Death metal and deindustrialization in an American city. Death metal perspectives: affect, purpose, and the social life of music. A critical dialogue on the politics of the Metal Underground: race, class, and consequences — Conclusion: the scope of thnomusicology.

Product Details

ISBN:
9780819563767
Author:
Berger, Harris M.
Publisher:
Wesleyan
Location:
Hanover, NH :
Subject:
History & Criticism *
Subject:
Rock music
Subject:
Music
Subject:
Jazz
Subject:
Theory
Subject:
Heavy Metal
Subject:
Musical perception
Subject:
History & Criticism - General
Subject:
Instruction & Study - Theory
Subject:
Genres & Styles - Heavy Metal
Subject:
Music -- Philosophy and aesthetics.
Subject:
Music -- Social aspects.
Subject:
Music -- History and criticism.
Series:
Music/Culture
Publication Date:
19990731
Binding:
TRADE PAPER
Language:
English
Illustrations:
Yes
Pages:
350
Dimensions:
8.94x6.01x1.09 in. 1.10 lbs.

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Related Subjects

Arts and Entertainment » Music » Genres and Styles » Heavy Metal
Arts and Entertainment » Music » Genres and Styles » Jazz
Arts and Entertainment » Music » Genres and Styles » Soul and Motown
Arts and Entertainment » Music » History and Criticism
Arts and Entertainment » Music » Instruction and Study » Theory
History and Social Science » World History » General
Reference » Science Reference » Technology
Science and Mathematics » Environmental Studies » General
Science and Mathematics » Mathematics » Applied

Metal, Rock, and Jazz (Music/Culture) New Trade Paper
0 stars - 0 reviews
$32.75 In Stock
Product details 350 pages Wesleyan University Press - English 9780819563767 Reviews:
"Synopsis" by , This vivid ethnography of the musical lives of heavy metal, rock, and jazz musicians in Cleveland and Akron, Ohio shows how musicians engage with the world of sound to forge meaningful experiences of music. Unlike most popular music studies, which only provide a scholar's view, this book is based on intensive fieldwork and hundreds of hours of in-depth interviews. Rich descriptions of the musical life of metal bars and jazz clubs get readers close to the people who make and listen to the music.

Of special interest are Harris M. Berger's interviews with Timmy The Ripper Owens, now famous as lead singer for the pioneering heavy metal band, Judas Priest. Owens and other performers share their own experiences of the music, thereby challenging traditional notions of harmony and musical structure. Using ideas from practice theory and phenomenology, Berger shows that musical perception is a kind of practice, both creatively achieved by the listener and profoundly informed by social context.

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