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Experimentalism Otherwise: The New York Avant-Garde and Its Limits by Benjamin Piekut (review)

Experimentalism Otherwise: The New York Avant-Garde and Its Limits by Benjamin Piekut (review) 110 American Music, Spring 2014 values” and obscured the “constant renegotiation” of identities that took place in Austin’s clubs and dancehalls (131). Cosmic Cowboys and New Hicks is a sophisticated and eloquent argument for the power music exerts in constructing affectively meaningful identities, and Stimeling sensitively combines musical analysis with cultural studies throughout. At times, however, the inquiry is nevertheless limited by the terms of debate laid out in the compositions and performances he examines. When he assesses the wider cultural context, Stimeling forthrightly calls out the limitations of the scene’s progressivism, asserting that its authenticity “was located in . . . Texas nationalist ideals” of “masculinity, colonization and ownership of indigenous peoples, and a rhetoric of Texan exceptionalism” (26). but the musical examples he selects so thoroughly confine their attention to conflicts of class and genera- tion that other stakeholders in the struggle over Texan identity, such as women, African Americans, and latinos, become effectively invisible. The women of Freda and the Firedogs and Greezy Wheels are nearly as absent from the study as they are from the l fi m that canonized and commodie fi d Willie Nelson’s Fourth of July Picnics, and the same is true http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Experimentalism Otherwise: The New York Avant-Garde and Its Limits by Benjamin Piekut (review)

American Music , Volume 32 (1) – Sep 5, 2014

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

110 American Music, Spring 2014 values” and obscured the “constant renegotiation” of identities that took place in Austin’s clubs and dancehalls (131). Cosmic Cowboys and New Hicks is a sophisticated and eloquent argument for the power music exerts in constructing affectively meaningful identities, and Stimeling sensitively combines musical analysis with cultural studies throughout. At times, however, the inquiry is nevertheless limited by the terms of debate laid out in the compositions and performances he examines. When he assesses the wider cultural context, Stimeling forthrightly calls out the limitations of the scene’s progressivism, asserting that its authenticity “was located in . . . Texas nationalist ideals” of “masculinity, colonization and ownership of indigenous peoples, and a rhetoric of Texan exceptionalism” (26). but the musical examples he selects so thoroughly confine their attention to conflicts of class and genera- tion that other stakeholders in the struggle over Texan identity, such as women, African Americans, and latinos, become effectively invisible. The women of Freda and the Firedogs and Greezy Wheels are nearly as absent from the study as they are from the l fi m that canonized and commodie fi d Willie Nelson’s Fourth of July Picnics, and the same is true

Journal

American MusicUniversity of Illinois Press

Published: Sep 5, 2014

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