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Lädt ... Extended Play: Sounding Off from John Cage to Dr. Funkensteinvon John Corbett
   Keine Keine aktuelle Diskussion zu diesem Buch. 1   bduguid | Aug 26, 2006 |  keine Rezensionen | Rezension hinzufügen
In Extended Play, one of the country's most innovative music writers conducts a wide-ranging tour through the outer limits of contemporary music. Over the course of more than twenty-five portraits, interviews, and essays, John Corbett engages artists from lands as distant as Sweden, Siberia, and Saturn. With a special emphasis on African American and European improvisers, the book explores the famous and the little known, from John Cage and George Clinton to Anthony Braxton and Sun Ra. Employing approaches as diverse as the music he celebrates, Corbett illuminates the sound and theory of funk and rap, blues and jazz, contemporary classical, free improvisation, rock, and reggae. Using cultural critique and textual theory, Corbett addresses a broad spectrum of issues, such as the status of recorded music in postmodern culture, the politics of self-censorship, experimentation, and alternativism in the music industry, and the use of metaphors of space and madness in the work of African American musicians. He follows these more theoretically oriented essays with a series of extensive profiles and in-depth interviews that offer contrasting and complementary perspectives on some of the world's most creative musicians and their work. Included here are more than twenty original photographs as well as a meticulously annotated discography. The result is one of the most thoughtful, and most entertaining, investigations of contemporary music available today. Keine Bibliotheksbeschreibungen gefunden. |
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 Google Books — Lädt ...GenresMelvil Decimal System (DDC)780.904The arts Music Music Biography And History By Period 20th CenturyKlassifikation der Library of Congress [LCC] (USA)BewertungDurchschnitt: (4.08)
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Subtitled "Sounding Off From John Cage to Dr Funkenstein", this is one work of criticism remarkable for its diversity of approach. It's a mix of theoretical essays, profiles of musicians, and more straightforward question-and-answer interviews. Corbett's willingness to allow his own arguments to be so jumbled is welcome.
Whether every reader will agree has to be open to dispute: someone buying this for the interviews with Cage, George Clinton, Han Bennink, Evan Parker, Sun Ra, Derek Bailey and others might not necessarily be entranced by the theoretical pieces, which operate in a post-Barthes, post-Baudrillard terrain of Battlin' Semioticians, with convoluted language to match. Corbett particularly acknowledges a debt to Jacques Attali's Noise: A Political Economy of Music, a book full of original insight into the history of music and noise.
Corbett is less focussed, but most of his theoretical pieces are articulate and provocative; "good entertainment value", in other words. Whether genuflecting at the altar of black science fiction (Sun Ra, George Clinton, Lee Perry), pretending that the London Musicians Collective represents a resurgence of the Fluxus ethic, erecting new critical webs around the fetishistic audiophilia that is central to modern musical history or casting a penetrating eye on background vox in pop music, Corbett remains sharp and his theories imaginative.
I was particularly amused by a piece on postmodern strategies in music which likens Psychic TV's album The Politics of Ecstasy to Baudrillard's book The Ecstasy of Communication, with only a faint hint of irony. Genesis P. Orridge is implicitly compared to Michel Foucault, an idea which raises a giggle.
The interviews are less wide-ranging than the theoretical pieces, the majority dealing with free improvisors like Jon Rose, Sainkho Namtchylak and Barry Guy, but the down-to-earth tone makes for an interesting contrast with the essays. (