Acoustic, electric and virtual noise: The cultural identity of the guitar

Leonardo Music Journal

Volumn 16, Issue , 2006, Pages 35-39

  Carfoot, Gavin ^a  

^a GRIFFITH UNIVERSITY   (Australia)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 43249163165     PISSN: 09611215     EISSN: None     Source Type: Journal    
DOI: 10.1162/lmj.2006.16.35     Document Type: Article

References (14)

1. Andy Bennett and Kevin Dawe, eds., Guitar Cultures (Oxford and New York: Berg, 2001)
2. Victor Anand Coelho, ed., The Cambridge Companion to the Guitar (Cambridge, U.K.: Cambridge Univ. Press, 2002)
3. Steve Waksman, Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience (Cambridge, MA: Harvard Univ. Press, 1999)
4. Robert Walser, Running with the Devil: Power, Gender and Madness in Heavy Metal Music (Hanover, NH: Wesleyan Univ. Press, 1993)
5. Jacques Attali, Noise: The Political Economy of Music, Brian Massumi, trans. (Minneapolis, MN: Univ. of Minnesota Press, 1985)
6. Victor Anand Coelho, "Picking through Cultures: A Guitarist's Music History," in Coelho [1] p. 3
7. Deleuze and Guattari refer to this kind of web as a "rhizome," where by arborescent (hierarchical, tree-like) structures are contrasted with rhizomatic structures (those that operate through a proliferation of multiple connections, like a strawberry plant that throws out runners). See Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia (Minneapolis, MN: Univ. of Minnesota Press, 1987)
8. Frederic Grunfeld, The Art and Times of the Guitar (London, 1969)
9. Harvey Turnbull, The Guitar: From the Renaissance to the Present Day (New York: Scribner's, 1974) p. 126
10. John Ryan and Richard A. Peterson, "The Guitar as Artifact and Icon: Identity Formation in the Babyboom Generation," in Bennett and Dawe [1] p. 111. Despite acknowledging the broad array of interpretative strategies that Steve Waksman uses for understanding the electric guitar, Ryan and Peterson tend to reduce their reading of the vintage guitar market to the ascription of a generational nostalgia
11. Tom Evans and Mary Anne Evans, Guitars: Music, History, Construction and Players from the Renaissance to Rock (New York and London: Paddington Press, 1977) p. 409
12. Evans and Evans [13] p. 409 (emphasis added)
13. This is complicated somewhat by the originally "accidental" event that triggered Townshend's initial fetish for destroying musical equipment. Metzger is also known to have lectured at the same art school that Townshend attended. See his first manifesto on auto-destructive art in Gustav Metzger, Damaged Nature., Auto-Destructixte Art (London: Coracle Press, 1996)
14. Ross Birrell, Introduction to Gustav Metzger (1996). Available at , accessed 30 November 2005