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Musikalische Migration und kaiserliches New York: Szenen des frühen Kalten Krieges, Hardcover von...-
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eBay-Artikelnr.:385888992172
Artikelmerkmale
- Artikelzustand
- Book Title
- Musical Migration and Imperial New York : Early Cold War Scenes
- ISBN
- 9780226818016
- Subject Area
- Music, History
- Publication Name
- Musical Migration and Imperial New York : Early Cold War Scenes
- Publisher
- University of Chicago Press
- Item Length
- 9 in
- Subject
- History & Criticism, United States / 20th Century, Social History
- Publication Year
- 2022
- Series
- New Material Histories of Music Ser.
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 1.2 in
- Item Weight
- 24.1 Oz
- Item Width
- 6 in
- Number of Pages
- 376 Pages
Über dieses Produkt
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
0226818012
ISBN-13
9780226818016
eBay Product ID (ePID)
8050430382
Product Key Features
Number of Pages
376 Pages
Language
English
Publication Name
Musical Migration and Imperial New York : Early Cold War Scenes
Subject
History & Criticism, United States / 20th Century, Social History
Publication Year
2022
Type
Textbook
Subject Area
Music, History
Series
New Material Histories of Music Ser.
Format
Hardcover
Dimensions
Item Height
1.2 in
Item Weight
24.1 Oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2021-042869
Dewey Edition
23
Reviews
In Musical Migration and Imperial New York , we witness a scholar working at the height of her powers. Through this expansive and novel history, we watch fascinating yet understudied actors play out their imperialist and technological fantasies on an urban landscape marked by racial and gendered differences. After reckoning with Cohen's reenvisioning, scholars of twentieth-century music, art, and urban life will have to rethink the New York City they thought they knew., This is a field-changing book. Cohen calls to account many legends about experimental music in New York and strips away the heroic storytelling of the past to reveal uncomfortable truths about the racial and imperial underpinnings of modern music in the United States. In Cohen's study, hard-to-find and fragmentary sources are brought to light in ways that change what we know. The readings of music and sound are deeply illuminating, sometimes breathtaking, in their revelations and in their surprising connections with biographical detail., Cohen masterfully marshals alternative sources including rare tapes, interviews and interpretations of official recordings. The result is a work of scholarship that not only pays long overdue attention to artists like Toyama and El-Dabh but changes the terms by which we encounter major figures like Mingus and Ono., Conventional approaches to experimental music tend to overemphasize the idea of 'musical genius' and often lead to problematic exceptionalist narratives. In Musical Migration and Imperial New York , Cohen sidesteps this problem by focusing on the ways in which experimental artists as aesthetically and ideologically varied as Charles Mingus, Vladimir Ussachevsky, or Yoko Ono mediated conversations about belonging at the intersection of external geopolitical power plays and internal assimilation. Cohen's acutely tuned ear and brilliant prose guide us through the rich and thrilling experience of listening to the physiognomic overtones of citizenship, migration, and empire building as they shaped the development of experimental art and music scenes in Cold War New York City., In Musical Migration and Imperial New York , Cohen demonstrates the ways in which musical actors have negotiated their entanglements with power--power of the political elite, to be sure, but also the soft power of those working behind the scenes to finance, create, preserve, and subvert artistic movements in the shadow of the United States' rapidly expanding empire. . . I believe this text will be embraced by scholars of contemporary/experimental/avant-garde music and will also be of great interest to anyone curious about migration, imperialism, Cold War politics, totalitarianism, performance art, postwar technology, or citizenship. In short, this densely woven and comprehensively researched book is a welcome addition to our field and to those of our cross-disciplinary collaborators., In Musical Migration , Cohen. . . points to a welcome path forward for postwar music scholarship--perhaps the only sustainable path forward, in which scholars embrace the uncharted, harness the imagination, and bask in music's potential to both imagine and perhaps create new worlds., Conventional approaches to experimental music tend to overemphasize the idea of 'musical genius' and often lead to problematic exceptionalist narratives. In Musical Migration and Imperial New York , Cohen sidesteps this problem by focusing on the ways in which experimental artists as aesthetically and ideologically varied as Charles Mingus, Vladimir Ussachevsky, or Yoko Ono mediated conversations about belonging at the intersection of external geopolitical power plays and internal assimilation. Cohen's acutely tuned ear and brilliant prose guide us through the rich and thrilling experience of listening to the physiognomic overtones of citizenship, migration, and empire-building as they shaped the development of experimental art and music scenes in Cold War New York City., Cohen, a professor in NYU's Department of Music, illuminates the contributions of these artists--many of them underappreciated--through the venues where their creations were displayed, performed, and composed. Some of these sites have similar purposes today, while others offer only architectural whispers of the history made there more than a half century ago., Chance encounters, indeterminacy, dissonance, electronic sounds and non-western tunings: any and all of these are distinctive sonic markers of the twentieth-century American experimental musical tradition. However, as Brigid Cohen persuasively argues in her new book, baked into this so-called 'new music' were traces of a Cold War politics of empire distinct to the United States and, even more specifically, to New York City. . . . The effect is revelatory, placing the book in dialogue not just with new studies of ethnicity and experimental music but with histories of the mind sciences and the wartime development of area studies as well.
Illustrated
Yes
Dewey Decimal
780.97471
Table Of Content
List of Figures Introduction: A Recent History of Music, Citizenship, and American Empire 1. Third Space, Scene of Subjection: Mingus and Varèse at Greenwich House 2. Cold War Acropolis I: Ussachevsky, the Rockefeller Foundation, and the CPEMC 3. Cold War Acropolis II: Toyama and El-Dabh at the CPEMC 4. A Counter-Discourse of Orientalism: Ono in Opera 5. The Haunting of Empires: Maciunas, Fluxus, and the Bloodlands 6. Concluding Thoughts Acknowledgments Notes Archival Sources Bibliography Index
Synopsis
Through archival work and storytelling, Musical Migration and Imperial New York revises many inherited narratives about experimental music and art in postwar New York. From the urban street level of music clubs and arts institutions to the world-making routes of global migration and exchange, this book redraws the map of experimental art to reveal the imperial dynamics and citizenship struggles that continue to shape music in the United States. Beginning with the material conditions of power that structured the cityscape of New York in the early Cold War years, Brigid Cohen looks at a wide range of artistic practices (concert music, electronic music, jazz, performance art) and actors (Edgard Varèse, Charles Mingus, Yoko Ono, and Fluxus founder George Maciunas) as they experimented with new modes of creativity. Cohen links them with other migrant creators vital to the city's postwar culture boom, creators whose stories have seldom been told (Halim El-Dabh, Michiko Toyama, Vladimir Ussachevsky). She also gives sustained and serious treatment to the work of Yoko Ono, something long overdue in music scholarship. Musical Migration and Imperial New York is indispensable reading, offering a new understanding of global avant-gardes and American experimental music as well as the contrasting feelings of belonging and exclusion on which they were built.
LC Classification Number
ML200.8.N4C65 2022
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