Avant rock : experimental music from the Beatles to Björk /
Avant rock is produced by musicians who fight the commercial and political pressures to conform, because they have imagined what music could be if those pressures did not exist. In this fresh and challenging look at avant rock, Bill Martin outlines the entire phenomenon, from Yoko Ono, King Crimson,...
| Main Author: | |
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| Format: | Book |
| Language: | English |
| Published: |
Chicago :
Open Court,
2002
Chicago : [2002], ©2002 Chicago : c2002 Chicago, Ill. : c2002 Chicago : [2002] |
| Series: | Feedback ;
v. 3 Feedback (Chicago, Ill.) ; v. 3 Feedback ; v. 3 |
| Subjects: |
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| 100 | 1 | |a Martin, Bill, |d 1956- |0 http://viaf.org/viaf/90721414 | |
| 100 | 1 | |a Martin, Bill, |d 1956- |1 http://viaf.org/viaf/90721414 | |
| 100 | 1 | |a Martin, Bill, |d 1956- | |
| 245 | 1 | 0 | |a Avant rock : |b experimental music from the Beatles to Björk / |c Bill Martin ; with a foreword by Robert Fripp |
| 246 | 3 | 0 | |a Experimental music from the Beatles to Björk |
| 260 | |a Chicago : |b Open Court, |c 2002 | ||
| 260 | |a Chicago : |b Open Court, |c [2002], ©2002 | ||
| 260 | |a Chicago : |b Open Court, |c c2002 | ||
| 260 | |a Chicago, Ill. : |b Open Court, |c c2002 | ||
| 264 | 1 | |a Chicago : |b Open Court, |c [2002] | |
| 264 | 4 | |c ©2002 | |
| 300 | |a xvi, 269 p. ; |c 23 cm | ||
| 300 | |a xvi, 269 p. ; |c 24 cm | ||
| 300 | |a xvi, 269 pages ; |c 23 cm | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a unmediated |b n |2 rdamedia | ||
| 338 | |a volume |b nc |2 rdacarrier | ||
| 440 | 0 | |a Feedback ; |v v. 3 | |
| 490 | 1 | |a Feedback ; |v v. 3 | |
| 490 | 1 | |a Feedback | |
| 500 | |a This WorldCat-derived record is shareable under Open Data Commons ODC-BY, with attribution to OCLC |5 CTY | ||
| 504 | |a Includes bibliographical references (p. 251-257) and index | ||
| 504 | |a Includes bibliographical references (pages 251-257) and index | ||
| 505 | 0 | |a Practices, modalities -- Synthesis and new vocabularies -- When John met Yoko: the Beatles come apart -- Deconstruction of the European classical tradition: John Cage and Glenn Gould -- Blues into fragments: John Coltrane and Cecil Taylor -- Electric Miles -- Forests and trees -- Noisy New York: the Velvet Underground -- Psychedelic blues: Jimi Hendrix -- The passage through progressive -- Intimations of postmodern rock: Steely Dan -- The passage through punk -- Punk meets the Godmother: Patti Smith -- Funk beyond the Godfather: George Clinton and P-Funk -- Progressive times punk equals new wave -- Before and after Eno -- The transition to post-rock -- Symphonies of hellacious electric guitars: Glenn Branca -- Sonic truth -- The Laswell/Zorn nexus -- Avant-retro: Stereolab -- Mom, can I take turntable lessons? or, Nobody here but me and my sampler -- King Crimson exists when there is King Crimson music to be played -- Land of the rising noise -- Bjork, Jim O'Rourke, and beyond -- Rock out -- Manifesto: Avant rock, the very idea -- Rock music in postmodern times | |
| 505 | 0 | 0 | |g Part 1 |t Practices, modalities |g 1 -- |t Synthesis and new vocabularies |g 3 -- |t When John met Yoko: the Beatles come apart |g 12 -- |t Deconstruction of the European classical tradition: John Cage and Glenn Gould |g 26 -- |t Blues into fragments: John Coltrane and Cecil Taylor |g 46 -- |t Electric Miles |g 55 -- |g Part 2 |t Forests and trees |g 61 -- |t Noisy New York: the Velvet Underground |g 63 -- |t Psychedelic blues: Jimi Hendrix |g 65 -- |t The passage through progressive |g 69 -- |t Intimations of postmodern rock: Steely Dan |g 84 -- |t The passage through punk |g 88 -- |t Punk meets the Godmother: Patti Smith |g 94 -- |t Funk beyond the Godfather: George Clinton and P-Funk |g 96 -- |t Progressive times punk equals new wave |g 98 -- |t Before and after Eno |g 102 -- |t The transition to post-rock |g 107 -- |t Symphonies of hellacious electric guitars: Glenn Branca |g 113 -- |t Sonic truth |g 118 -- |t The Laswell/Zorn nexus |g 124 -- |t Avant-retro: Stereolab |g 130 -- |t Mom, can I take turntable lessons? or, Nobody here but me and my sampler |g 134 -- |t King Crimson exists when there is King Crimson music to be played |g 144 -- |t Land of the rising noise |g 153 -- |t Bjork, Jim O'Rourke, and beyond |g 164 -- |g Part 3 |t Rock out |g 177 -- |g 1 |t Manifesto: Avant rock, the very idea |g 179 -- |g 2. |t Rock music in postmodern times |g 209. |
| 505 | 0 | 0 | |t Foreword / |r Robert Fripp -- |g Pt. 1 |t Practices, modalities -- |t Synthesis and new vocabularies -- |t When John met Yoko: the Beatles come apart -- |t Deconstruction of the European classical tradition: John Cage and Glenn Gould -- |t Blues into fragments: John Coltrane and Cecil Taylor -- |t Electric Miles -- |g Pt. 2. |t Forests and trees -- |t Noisy New York: the Velvet Underground -- |t Psychedelic blues: Jimi Hendrix -- |t The passage through progressive -- |t Intimations of postmodern rock: Steely Dan -- |t The passage through punk -- |t Punk meets the Godmother: Patti Smith -- |t Funk beyond the Godfather: George Clinton and P-Funk -- |t Progressive times punk equals new wave -- |t Before and after Eno -- |t The transition to post-rock -- |t Symphonies of hellacious electric guitars: Glenn Branca -- |t Sonic truth -- |t The Laswell/Zorn nexus -- |t Avant-retro: Stereolab -- |t Mom, can I take turntable lessons? or, Nobody here but me and my sampler -- |t King Crimson exists when there is King Crimson music to be played -- |t Land of the rising noise -- |t Bjork, Jim O'Rourke, and beyond -- |g Pt. 3. |t Rock out -- |g 1. |t Manifesto: Avant rock, the very idea -- |g 2. |t Rock music in postmodern times. |
| 505 | 0 | 0 | |t Foreword / |r Robert Fripp -- |g Pt. 1 |t Practices, modalities. |t Synthesis and new vocabularies. |t When John met Yoko: the Beatles come apart. |t Deconstruction of the European classical tradition: John Cage and Glenn Gould. |t Blues into fragments: John Coltrane and Cecil Taylor. |t Electric Miles -- |g Pt. 2. |t Forests and trees. |t Noisy New York: the Velvet Underground. |t Psychedelic blues: Jimi Hendrix. |t The passage through progressive. |t Intimations of postmodern rock: Steely Dan. |t The passage through punk. |t Punk meets the Godmother: Patti Smith. |t Funk beyond the Godfather: George Clinton and P-Funk. |t Progressive times punk equals new wave. |t Before and after Eno. |t The transition to post-rock. |t Symphonies of hellacious electric guitars: Glenn Branca. |t Sonic truth. |t The Laswell/Zorn nexus. |t Avant-retro: Stereolab. |t Mom, can I take turntable lessons? or, Nobody here but me and my sampler. |t King Crimson exists when there is King Crimson music to be played. |t Land of the rising noise. |t Bjork, Jim O'Rourke, and beyond -- |
| 505 | 8 | 0 | |g Pt. 3 |t Rock out. |g 1. |t Manifesto: Avant rock, the very idea. |g 2. |t Rock music in postmodern times. |
| 520 | |a Avant rock is produced by musicians who fight the commercial and political pressures to conform, because they have imagined what music could be if those pressures did not exist. In this fresh and challenging look at avant rock, Bill Martin outlines the entire phenomenon, from Yoko Ono, King Crimson, and Velvet Underground through the dynamic of progressive rock and punk in the 1970s and the watershed work of Brian Eno, to contemporary figures who continue to push the boundaries of rock: Sonic Youth, Stereolab, Merzbow, Bjork, Jim O'Rourke, and many others | ||
| 520 | |a Critiquing avant-garde rock bands from the 1960s to the present, Bill Martin examines how social upheaval gave rise to this new form of musical expression. He covers early experimentation by artists such as James Brown; initiation into the mainstream and the resulting adaptations by the Beatles and the Who; and continues into the present looking at how groups like Stereolab, Sonic Youth, Jim O'Rourke, and others continue to innovate. An annotated discography is included | ||
| 650 | 0 | |a Avant-garde (Music) | |
| 650 | 0 | |a Rock music |x History and criticism | |
| 650 | 7 | |a Avant-garde (Music) |2 fast | |
| 650 | 7 | |a Rock music |2 fast | |
| 655 | 7 | |a Criticism, interpretation, etc |2 fast |0 http://id.worldcat.org/fast/1411635 | |
| 655 | 7 | |a Criticism, interpretation, etc |2 fast | |
| 776 | 0 | 8 | |i Online version: |a Martin, Bill, 1956- |t Avant rock |d Chicago : Open Court, 2002 |w (OCoLC)605890903 |
| 776 | 0 | 8 | |i Online version: |a Martin, Bill, 1956- |t Avant rock |d Chicago : Open Court, 2002 |w (OCoLC)630341005 |
| 830 | 0 | |a Feedback (Chicago, Ill.) ; |v v. 3 | |
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