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Cajun Breakdown: The Emergence of an American-Made Music (review)

Cajun Breakdown: The Emergence of an American-Made Music (review) book reviews 391 f ink, Repeating Ourselves: American Minimal Music as Cultural Practice (berkeley: u niversity of California Press, 2005), 89–91, 152–53; and Cecilia Sun’s dissertation chapter, “m ini- malism’s myth of origins: Terry riley’s In C,” in “experiments in musical Performance: Historiography, Politics, and the Post-Cagean a vant-Garde,” Ph.D. diss., u niversity of California–los angeles, 2004, 144–210. 2. Carl, who teaches composition at the Hartt School of music at the university of Hart- ford, is perhaps best known in minimalism studies for his article “The Politics of Den fi ition in New music,” College Music Symposium 29 (1989): 101–14. 3. aspects of this story are discussed in an interview with ramon Sender and William maginnis, conducted by David bernstein and maggi Payne, in The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde, ed. b ernstein (b erkeley: u niversity of California Press, 2008), 69–70, 79; and in Saul landau, “an essay on Censorship,” Canyon Cinema News, october–November 1964, reprinted in Canyon Cinema: The Life and Times of an Independent Film Distributor, ed. Scott m acDonald (berkeley: u niversity of California Press, 2008), 46–52. 4. for more on the SfTmC and its relationship to the counterculture, see http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Cajun Breakdown: The Emergence of an American-Made Music (review)

American Music , Volume 29 (3) – Nov 12, 2011

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

book reviews 391 f ink, Repeating Ourselves: American Minimal Music as Cultural Practice (berkeley: u niversity of California Press, 2005), 89–91, 152–53; and Cecilia Sun’s dissertation chapter, “m ini- malism’s myth of origins: Terry riley’s In C,” in “experiments in musical Performance: Historiography, Politics, and the Post-Cagean a vant-Garde,” Ph.D. diss., u niversity of California–los angeles, 2004, 144–210. 2. Carl, who teaches composition at the Hartt School of music at the university of Hart- ford, is perhaps best known in minimalism studies for his article “The Politics of Den fi ition in New music,” College Music Symposium 29 (1989): 101–14. 3. aspects of this story are discussed in an interview with ramon Sender and William maginnis, conducted by David bernstein and maggi Payne, in The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde, ed. b ernstein (b erkeley: u niversity of California Press, 2008), 69–70, 79; and in Saul landau, “an essay on Censorship,” Canyon Cinema News, october–November 1964, reprinted in Canyon Cinema: The Life and Times of an Independent Film Distributor, ed. Scott m acDonald (berkeley: u niversity of California Press, 2008), 46–52. 4. for more on the SfTmC and its relationship to the counterculture, see

Journal

American MusicUniversity of Illinois Press

Published: Nov 12, 2011

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