| Series |
Music/culture
Music/culture. ^A390481
|
| Contents |
An introduction to central issues in ethnomusicology and folklore: phenomenology and practice theory -- I. The ethnography of musical practice. Commercial 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 ethnomusicology. |
| Abstract |
This book explores musical meaning in Ohio's Jazz, metal, and hard rock scene. 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 the 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, the author shows that musical perception is a kind of practice, both creatively achieved by the listener and profoundly informed by social context. |
| General note | "Wesleyan University Press." |
| Bibliography note | Includes bibliographical references (pages 315-323) and index. |
| LCCN | 98043706 |
| ISBN | 0819563714 (cl : alk. paper) |
| ISBN | 0819563765 (pa : alk. paper) |
