Repeating ourselves: American minimal music as cultural practice

Repeating Ourselves: American Minimal Music as Cultural Practice

Volumn , Issue , 2005, Pages

  Fink, Robert ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

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References (337)

1. See Strickland, Minimalism, p. 2.
2. Robert Morris, Box with the Sound of Its Own Making, 1961. See Meyer, Minimalism, p. 53.
3. Strickland, Minimalism, pp. 136-37, 141-45.
4. Milton Babbitt, "Who Cares if You Listen?" High Fidelity 8, no. 2 (February 1958): 38-40, 126-27. The composer's chosen title was less inflammatory but no less uncompromising: "The Composer as Specialist." 6. See Richard Crawford's magisterial America's Musical Life: A History New York: W.W. Norton, 2001).
5. Strickland, Minimalism, p. 3.
6. "Mr. Hankey the Christmas Poo," South Park, Episode 110, first aired on 17 December 1997, my transcription.
7. Dick Higgins, "Boredom and Danger," The Something Else Newsletter 1, no. 9 (December 1968): 1-4, 6.
8. David Schwarz, "Postmodernism, the Subject, and the Real in John Adams's Nixon in China," Indiana Theory Review 13, no. 2 (fall 1992): 134;
9. Naomi Cumming, "The Horrors of Identification: Reich's Different Trains," Perspectives of New Music 35, no. 1 (winter 1997): 129-52.
10. See Mertens, American Minimal Music, pp. 87-92.
11. Attali, Noise, p. 128.
12. Attali, Noise, p. 126, emphasis in original.
13. Attali, Noise, pp. 114-15.
14. Attali, Noise, pp. 141 156-58.
15. "Use-time and exchange-time destroy one another. This explains the valorization of very short works, the only ones it is possible to use, and of complete sets, the only ones worth the effort of stockpiling." Attali, Noise, p. 101.
16. Lawrence Kramer, Music as Cultural Practice, 1800-1900 (Berkeley: University of California Press, 1990), p. 10.
17. Thomas Frank, The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism (Chicago: University of Chicago Press, 1997), p. 29.
18. See Vance Packard, The Hidden Persuaders (New York: McKay, 1957; reprinted with new introduction and epilogue, New York: Penguin Books, 1981), pp. 23-24.
19. See, for instance, Tom Johnson, "Music for Planet Earth," The Village Voice, 4 January 1973;
20. Kyle Gann, American Music in the Twentieth Century (New York: G. Schirmer, 1997), p. 353.
21. Shunryu Suzuki, Zen Mind, Beginner's Mind (New York: Weatherhill, 1970), p. 25.
22. Susan Sontag, "Against Interpretation" (1965), in Against Interpretation and Other Essays (New York: Farrar, Straus and Giroux, 1966), p. 7. A previous essay of the present author's devoted quite a bit of space to Sontag as guide to some related meta music-theoretical issues; see Robert Fink, "Elvis Everywhere:Musicology and Popular Music Studies at the Twilight of the Canon," American Music 16, no. 2 (summer 1998): 159-67.
23. Sontag, "Against Interpretation," p. 11, ellipsis in original.
24. Reich, Writings on Music, p. 82.
25. Joan La Barbara, "Three by Reich," High Fidelity/Musical America 29, no. 6 (June 1980): MA 12.
26. Sontag, "Against Interpretation," pp. 12-13.
27. See Paul Epstein, "Pattern and Process in Steve Reich's Piano Phase," Musical Quarterly 72, no. 4 (1986): 494-502;
28. Richard Cohn, "Transpositional Combination of Beat-Class Sets in Steve Reich's Phase-Shifting Music," Perspectives of New Music 30, no. 2 (1992): 146-77. The corresponding analytical discussions in Keith Potter's Four Musical Minimalists (Cambridge: Cambridge University Press, 2000), it must be said, represent a significant advance on these tentative, if pioneering, investigations.
29. See Jonathan Bernard, "The Minimalist Aesthetic in the Plastic Arts and in Music," Perspectives of New Music 31, no. 1 (1993): 86-132;
30. "Theory, Analysis, and the 'Problem' of Minimal Music," in Elisabeth Marvin and Richard Hermann, eds., Concert Music, Rock and Jazz since 1945 (Rochester, N.Y.: University of Rochester Press, 1996), pp. 259-84.
31. See Edward Strickland, Minimalism: Origins (Bloomington: Indiana University Press, 1993), pp. 241-53, for a cogent overview of how musical minimalism got its name.
32. See Strickland, Minimalism, p. 10;
33. Tom Johnson, 'The Original Minimalists,' The Village Voice, 27 July 1982.
34. Small, Musicking, p. 183.
35. All chart information from Joel Whitburn, Joel Whitburn Presents Billboard Top 10 Charts 1958-1997 (Menomenee Falls, Wis.: Record Research, 1998).
36. "He seems to be regarded as the main representative of the new wave of classical American music. . . . Many other avant-garde genres are equally good, and it seems too bad that these are often over-shadowed by Reich's sleek, wellmarketed product." Tom Johnson, "Steve Reich and 18 Other Musicians," The Village Voice, 10 May 1976.
37. Philip Glass, North Star, Virgin 91013-2 (1977); Mike Oldfield, Platinum, Caroline Records CAROL 1856-2 (1979). Both recordings have been rereleased on CD.
38. Steven Grant and Ira Robbins, "Polyrock" reference article on Trouser Press Web site (www.trouserpress.com).
39. Tom Lee, liner notes to Arthur Russell, Another Thought, Point Music CD 438 891-2 (1994). "Is It All over My Face" and the Francis Kervorkian remix of"Go Bang" can be heard on Jumpin': Original Full Length Hits from the Disco Underground, Harmless Records, HURTCDL002 (1997).
40. Richard Sennett, "Twilight of the Tenured Composer," Harper's 269 (December 1984): 67.
41. Kristine McKenna, "Philip Glass: The Future Is Now," Rolling Stone, 8 March 1979: 19.
42. Robert Coe, "Philip Glass Breaks Through," New York Times Magazine, 25 October 1981: 69-70.
43. Michael Walsh, "The Heart Is Back in the Game," Time, 20 September 1982: 61.
44. Arlene Croce, "Slowly Then the History of Them Comes Out," The New Yorker, 30 June 1980: 92-95.
45. I have discussed at length the general implications of this leveling for both musicology and popular music studies; see "Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of the Canon," American Music 16, no. 2 (summer 1998): 135-79. It is worth noting here that the leveling of hierarchies is not something for which musicology can take either credit or blame. My own work simply assumes it as a fact of postmodern mass cultural life-a fact that often makes the job of a cultural critic harder, not easier.
46. Barbara Rose, "A B C Art," Art in America (October-November 1965), as reprinted in Gregory Battcock, ed., Minimal Art: A Critical Anthology (New York: Dutton, 1968), pp. 296-97.
47. Andrea True Connection, "More, More, More (Pt. 1)," Buddah LP 515 (1976). This paean to sexual and musical repetition reached no. 4 on the Billboard 100 during the week of 17 July 1976.
48. The above epigraph is from La Monte Young, ed., An Anthology, 2nd ed. (New York: H. Friedrich, ca. 1970), unpaginated.
49. Arthur Schopenhauer, The World as Will and Representation (New York: Dover, 1966), vol. 1, pp. 257-60;
50. Charles Rosen, The Classical Style (New York: W.W. Norton, 1972), p. 120.
51. Schenker wrote, "The fundamental line (Urlinie) signifies motion, striving towards a goal, and ultimately the completion of this course. In this sense we perceive our own life-impulse in the motion of the fundamental line, a full analogy to our inner life." Heinrich Schenker, Free Composition (Der freie Satz): Volume III of New Musical Theories and Fantasies, trans. and ed. Ernst Oster (New York: Longman, 1979), pp. 4-6.
52. Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991), pp. 112-13.
53. Leonard Meyer, Music, the Arts, and Ideas (Chicago: University of Chicago Press, 1967), p. 72.
54. Meyer, Music, the Arts, and Ideas, p. 83.
55. He later admitted, "Information was scanty, and I was aware of the feeling of breaking dangerous new ground in describing their work in the context of the 'Cage tradition.'" See Wim Mertens, American Minimal Music, trans. J. Hautekiet (New York: Broude, 1983), p. 7.
56. Michael Nyman, Experimental Music: Cage and Beyond, 2nd ed. (Cambridge: Cambridge University Press, 1999), pp. 4, 30.
57. Nyman, Experimental Music, pp. 4, 30.
58. Philip Glass, Mertens, American Minimal Music, p. 79.
59. Mertens, American Minimal Music, p. 124.
60. See Sontag, "Against Interpretation" (1965), in Against Interpretation and Other Essays (New York: Farrar, Straus and Giroux, 1966), pp. 3-14, and the extended discussion of its implications for popular music studies in Fink, "Elvis Everywhere," pp. 159-67.
61. John Rockwell, "Steve Reich and Philip Glass Find a New Way," Rolling Stone, 19 April 1979: 95.
62. Much sensationalized tripe has been written about this subject; for a good scholarly contextualization, see John Blofeld, The Tantric Mysticism of Tibet (New York: Dutton, 1970), pp. 226-28.
63. Dyer, "In Defense of Disco," pp. 414-15.
64. McClary, Feminine Endings, p. 127.
65. Stephen Holden, "Disco: The Medium Is the Message," High Fidelity 28, no. 8 (August 1979): 105.
66. Stephen Holden, "Donna Summer's Sexy Cinderella [review]," Rolling Stone, 12 January 1978: 54-56.
67. Mertens, American Minimal Music, p. 124.
68. See Renata Salecl, (Per)versions of Love and Hate (London: Verso, 1998) for a useful survey of the post-Lacanian territory.
69. A foundational text is Hélène Cixous, Là (Paris: Gallimard, 1976). An interesting overview appears in Kelly Ives, Cixous, Irigaray, Kristeva: The Jouissance of French Feminism (Kidderminster: Crescent Moon, 1996).
70. Slavoj Zizek, Looking Awry: An Introduction to Jacques Lacan through Popular Culture (Cambridge, Mass.: MIT Press, 1991), p. 5; Salecl, (Per)versions of Love and Hate, p. 63.
71. Roland Barthes, The Pleasure of the Text, trans. Richard Miller (New York: Farrar, Straus and Giroux, 1975), p. 14. (Note that jouissance is translated in this edition as "bliss.")
72. Carolyn Krasnow, "Fear and Loathing in the 70s: Race, Sexuality, and Disco," Stanford Humanities Review 3, no. 2 (autumn 1993): 41, emphasis added.
73. Brian Chin, "A Tom Moulton Mix," liner notes for The Disco Box, Rhino CD 75595-4 (1999).
74. Chin, "A Tom Moulton Mix."
75. Brian Chin, "DJ Roundtable," liner notes for The Disco Box. The firstspeaker is Boston-based DJ Danae Jacovidis; the second is San Francisco DJ Bob Viteritti.
76. Quoted in Mertens, American Minimal Music, p. 79.
77. Michael Nyman, Musical Times 112, no. 4 (May 1971): 63-64.
78. Alan Rich, "Down to Essentials," New York Magazine, 6 November 1978: 97.
79. Pieter C. van den Toorn, Music, Politics, and The Academy (Berkeley:University of California Press, 1993), p. 43.
80. Quoted in Joseph Roddy, "Listening to Glass" (1981), in Kostelanetz, Writings on Glass, p. 172.
81. Holden, "Disco: The Medium Is the Message," 105;
82. Tom Johnson, "Philip Glass in Twelve Parts," The Village Voice, 13 June 1974;
83. Holden, "Donna Summer's Sexy Cinderella," p. 54.
84. Theodor W. Adorno, "The Radio Symphony. An Experiment in Theory," trans. Susan Gillespie, in Richard Leppert, ed., Theodor W. Adorno: Essays on Music (Berkeley: University of California, Los Angeles, 2002), pp. 251-70.
85. See Robert Fink, "Going Flat: Towards a Post-hierarchical Music Theory," in Rethinking Music, ed. Nicholas Cook and Mark Everist (New York: Oxford University Press, 1999), pp. 113-20.
86. This pattern of static plateaus followed by kinetic linear ascents is a basic theoretical model in Robert Fink, "Arrows of Desire: Long Range Linear Struc-ture and the Transformation of Musical Energy" (Ph.D. diss., University of California, Berkeley, 1994), where it is used to discuss the teleology of music from Rossini and Beethoven to Reich, Glass, and Adams. For a shorter introduction to some of these ideas, see Fink, "Going Flat," pp. 113-21.
87. McClary, Feminine Endings, p. 123.
88. Wired Magazine Presents Music Futurists, WEA/Atlantic/Rhino B00000HZEK (1999).
89. Interview in William Duckworth, Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers (New York: G. Schirmer, 1995), pp. 310-11.
90. See the analyses in Yara Sellin, "DJ: Performer, Cyborg, Dominatrix" (Ph.D. diss., University of California, Los Angeles, 2004).
91. Reich, Writings about Music (Halifax and New York: Nova Scotia College of Art and Design and New York University Press, 1974); reprinted in Writings on Music, p. 81.
92. Interview in Michael Walsh, "The Heart Is Back in the Game," Time, 20 September 1982: 60; interview in High Fidelity 23, no. 8 (August 1973): MA4.
93. Richard W. Pollay, "The Distorted Mirror: Reflections on the Unintended Consequences of Advertising," Journal of Marketing 50 (April 1986). Reprinted in Roxanne Hovland and Gary B. Wilcox, eds., Advertising in Society: Classic and Contemporary Readings on Advertising's Role in Society (Lincolnwood, Ill.: NTC Publishing Group, 1989), pp. 437-46. The chart in question appears on pp. 444-45.
94. Frans van Rossum and Sytze Smit, "Louis Andriessen: 'After Chopin and Mendelssohn We Landed in a Mudbath,'" Keynotes 28, no. 1 (March 1994): 12.
95. Charles Merrell Berg, "Philip Glass on Composing for Film and Other Forms: The Case of Koyaanisqatsi" (1990), in Richard Kostelanetz, ed., Writings on Glass (New York: G. Schirmer, 1997), p. 141.
96. Edward Strickland, Minimalism: Origins (Bloomington: Indiana University Press, 1993), pp. 1-2.
97. Susan McClary, "Rap, Minimalism, and Structures of Time in Late Twentieth-Century Music," The 1998 Norman and Jane Geske Lecture in the History of the Arts (Lincoln: University of Nebraska-Lincoln College of Fine and Performing Arts, 1998), p. 24.
98. Thomas Frank, The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism (Chicago: University of Chicago Press, 1997), p. 6.
99. Glass interviewed in William Duckworth, Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers (New York: G. Schirmer, 1995), p. 337.
100. This is Glass's own rueful recollection. See Kostelanetz, Writings on Glass, pp. 20-28.
101. Frank, Conquest of Cool, pp. 26-29.
102. Frank, Conquest of Cool, p. 29.
103. Strickland writes, "To date Minimal art from the 1960s is rather like dating British Romantic poetry from Tennyson." He sets the high-water mark of "real" minimal music as early as 1964, the year of Terry Riley's In C and La Monte Young's Well-Tuned Piano. See Strickland, Minimalism, pp. 4-10.
104. The epigraph above is from Suzi Gablik in John Russell and Suzi Gablik, Pop Art Redefined (New York: Praeger, 1969), p. 9.
105. Barbara Rose, "A B C Art," Art in America (October-November 1965), as reprinted in Gregory Battcock, ed., Minimal Art: A Critical Anthology (New York: Dutton, 1968), pp. 296-97.
106. John Russell in John Russell and Suzi Gablik, eds., Pop Art Redefined (New York: Praeger, 1969), p. 27.
107. Suzi Gablik in Russell and Gablik, Pop Art Redefined, pp. 18-20.
108. Gablik in Russell and Gablik, Pop Art Redefined, p. 20.
109. Michael Schudson, "Advertising as Capitalist Realism," in Advertising, The Uneasy Persuasion: Its Dubious Impact on American Society (New York:Basic Books, 1984), reprinted in Hovland and Wilcox, Advertising in Society, pp. 74-77, emphasis added.
110. Tom Johnson, "Soundings from the West Coast," The Village Voice, 30 August 1973. Reprinted in Johnson, The Voice of New Music (New York City 1972-82) (Eindhoven: Apollohuis, 1989), p. 98. On La Monte Young's drug connections, see Legs McNeil and Gillian McClain, Please Kill Me: The Uncensored Oral History of Punk (New York: Grove Press, 1996), pp. 4-5. Thanks to Kate Bartel for bringing the latter to my attention.
111. Reich, during an interview with Jonathan Cott in the liner notes to Nonesuch 79101-2 (1985).
112. Samuel Lipman, "From Avant-Garde to Pop" [Commentary, 1979], in The House of Music (Boston: Godine, 1984), p. 41.
113. Vance Packard, The Hidden Persuaders (New York: McKay, 1957; reprinted with new introduction and epilogue, New York: Penguin Books, 1981), p. 93.
114. Pollay, "The Distorted Mirror," p. 452.
115. Herbert E. Krugman, "Electroencephalographic Aspects of Low Involvement: Implications for the McLuhan Hypothesis" (Cambridge, Mass.: Marketing Science Institute, 1970), p. 6.
116. Krugman, "Low Involvement," p. 15, emphasis in original.
117. Krugman, "Low Involvement," p. 16.
118. Michael Nyman, Experimental Music: Cage and Beyond, 2nd ed. (Cambridge: Cambridge University Press, 1999), pp. 4-8.
119. Stephen Holden, "Donna Summer's Hot-to-Trot Bad Girls," Rolling Stone, 12 July 1979: 72.
120. Lucid overviews of these distinctions are found in Slavoj Zizek, The Plague of Fantasies (London: Verso, 1997), pp. 30-39; and Renata Salecl, (Per)versions of Love and Hate (London: Verso, 1998), pp. 48-51.
121. Zizek, Plague of Fantasies, p. 32.
122. Lasch, The Minimal Self, pp. 195-96, 164.
123. Herbert Marcuse, One-Dimensional Man (Boston: Beacon Press, 1964), pp. 73-74.
124. Marcuse, One-Dimensional Man, p. 57.
125. David Riesman, The Lonely Crowd: A Study of the Changing American Character, abridged ed. (New Haven: Yale University Press, 1969), pp. 24-25.
126. See Ingrid Monson, Saying Something: Jazz Improvisation and Interaction (Chicago: University of Chicago Press, 1996), for a detailed analysis of the complex negotiations that go into this consensus.
127. Riesman, The Lonely Crowd, p. 25. See also Keith Potter, Four Musical Minimalists (Cambridge: Cambridge University Press, 2000), p. 112, where the same point about the performance practice of In C is made without my idiosyncratic cultural spin.
128. See Sun, "Minimalism's Myths of Origin: Terry Riley's In C."
129. Douglas McGregor, The Human Side of Enterprise (New York: McGraw-Hill, 1960), pp. 33-49.
130. Frank, Conquest of Cool, pp. 22-23.
131. Jean Baudrillard, La Société de consommation, ses mythes, ses structures (Paris: Denoel, 1970); in Mark Poster, ed., Jean Baudrillard: Selected Writings (Stanford: Stanford University Press, 1988), p. 35.
132. John Maynard Keynes, "Economic Possibilities for Our Grandchildren," in The Nation and Athenaeum (11 and 18 October 1930), reprinted in Essays in Persuasion (London: Macmillan, 1931), p. 365.
133. John Kenneth Galbraith, The Affluent Society (Boston: Houghton Mifflin, 1958), p. 131.
134. Galbraith, The Affluent Society, p. 127.
135. Packard, The Hidden Persuaders, pp. 23-24.
136. Packard, The Hidden Persuaders, p. 37.
137. Baudrillard, Selected Writings, p. 42.
138. Baudrillard, The System of Objects, p. 189.
139. McClary, Feminine Endings, p. 53.
140. Jean Baudrillard, "La genèse idéologique des besoins" (1969), in Pour une critique de l'économie politique du signe (Paris: Gallimard, 1972). Translated by Charles Levin "The Ideological Genesis of Needs" as For a Critique of the Political Economy of the Sign (St. Louis: Telos Press, 1981); the passage in question appears on page 75 of this edition.
141. Baudrillard, Selected Writings, p. 43.
142. Baudrillard, The System of Objects, p. 204.
143. Baudrillard, Selected Writings, p. 46.
144. Baudrillard, Selected Writings, p. 13.
145. Mark Poster, in his translator's introduction to Baudrillard, Selected Writings, p. 8.
146. Perec, Things, p. 9.
147. Perec, Things, p. 21. For Baudrillard's commentary, see The System of Objects, pp. 201-5.
148. Perec, Things, pp. 118-19.
149. Perec, Things, pp. 59-60, emphasis added.
150. Perec, Things, pp. 92-93, emphasis added. The entire passage spans pp. 88-95.
151. See Immanuel Kant, Critique of Judgment, SS. 28, "Nature as Might."
152. Perec, Things, p. 95.
153. Jean-François Lyotard, The Postmodern Condition, trans. Geoff Bennington and Brian Massumi (Minneapolis: University of Minnesota Press, 1992), p. 148.
154. See The Wire, January 1998, and the liner notes for Nonesuch 79101-2 (Reich, The Desert Music, 1985), 79144-2 (Adams, The Chairman Dances, 1987), and 79219-2 (Adams, Chamber Symphony, 1994).
155. Brian Eno, quoted on Philip Glass's music in Annalyn Swan, "What's in a Melody," Time, 19 June 1978: 62;
156. Joan La Barbara, "Three by Reich," High Fidelity/Musical America 29, no. 6 (June 1980): MA13;
157. A. Allenson, "Adaptive, Generative and Interactive Processes in Musical Systems" (1999), www.romandson .com;
158. Alan Rich, "Over and Over and Over and . . ." New York Magazine, 25 May 1970: 54.
159. Liner notes for Nonesuch 79101-2 (Reich, The Desert Music, 1985).
160. A useful overview of developments in Reich's career can be found in K. Robert Schwarz's two-part article, "Steve Reich: Music as a Gradual Process," Perspectives of New Music 19 (19801981): 373-92, and 20 (1981-82): 225-86.
161. Holograph score of Steve Reich, Piano Phase (1967) (London: Universal Edition, 1980).
162. Reich, Writings on Music, p. 21.
163. The holograph score is reproduced in Reich, Writings on Music, p. 28.
164. Reich first applied digital slow-motion sound to the anguished 1937 radio news commentary ("Oh, the humanity . . .") broadcast during the airship Hindenburg's final moments; see act 1, "Hindenburg," of his Three Tales (1998- 2002).
165. Steve Reich, "An End to Electronics-Pulse Music, the Phase Shifting Pulse Gate, and Four Organs, 1968-70" (1972), in Writings on Music, p. 44.
166. Schwarz ("Steve Reich," pt. 2, p. 241) reports that Music for Mallet Instruments has been seen by many critics as a "breakthrough" piece.
167. Reich, Writings on Music, p. 76.
168. Jacques Attali, Noise: The Political Economy of Music, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1985), p. 112.
169. Reich, Writings on Music, p. 76.
170. Baudrillard, The System of Objects, p. 202.
171. Edward Strickland, American Composers: Dialogues on Contemporary Music (Bloomington: Indiana University Press, 1991), p. 46.
172. See Walter Dill Scott, The Psychology of Advertising (Boston: Small, Maynard, 1908); quoted in Wood, Advertising and the Soul's Belly, pp. 35-36.
173. Edward K. Strong, Jr., The Psychology of Advertising and Selling (New York: McGraw-Hill, 1925), p. 340.
174. See the subchapter on Rosser Reeves in Stephen Fox, The Mirror Makers: A History of American Advertising (New York: William Morrow, 1984), pp. 187-94.
175. Thomas Frank, The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism (Chicago: University of Chicago Press, 1997), p. 105.
176. The epigraph above is from Richard Sennett, "Twilight of the Tenured Composer," Harper's 269 (December 1984): 71.
177. Fox, The Mirror Makers, p. 211; quoted in Boddy, Fifties Television, p. 156.
178. Antin, "Video," pp. 65-66.
179. Antin, "Video," p. 64.
180. Antin, "Video," pp. 67-64.
181. Raymond Williams, Television: Technology and Cultural Form (New York: Schocken, 1975), pp. 86- 93.
182. Characteristic are Michael Arlen, "Prufrock before the Television Set,"
183. Todd Gitlin, "Prime Time Ideology: The Hegemonic Process in Television Entertainment," both in Horace Newcomb, ed., Television: The Critical View, 3rd ed. (New York: Oxford University Press, 1982), pp. 367-72, 426-54.
184. See Jerry Mander, Four Arguments for the Elimination of Television (San Francisco: Quill Press, 1978), pp. 194-169, emphasis added.
185. Michael Novak, "Television Shapes the Soul" in Leonard L. Sellars and Wilbur C. Rivers, eds., Mass Media Issues (New York: Prentice Hall, 1977). Reprinted in Newcomb, Television: The Critical View, pp. 336-338.
186. Sennett, "Twilight of the Tenured Composer," p. 71.
187. Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991), p. 123.
188. Sennett, "Twilight of the Tenured Composer," p. 72.
189. Jim Callaway, executive vice president of Lois Holland Callaway, as quoted in Media-Scope (October 1969): 88.
190. Definitions taken from Arnold Barban, Steven Cristol, and Frank Kopec, Essentials of Media Planning, 3rd ed. (Lincolnwood, Ill.: NTC Business Books, 1993); and Jack Sissors and Lincoln Bumba, Advertising Media Planning (Lincolnwood, Ill.: NTC Business Books, 1996). "M" is, in the manner of Roman numerals, advertising shorthand for 1,000.
191. Bogart, Strategy in Advertising, p. 183.
192. See Dominique M. Hanssens, Leonard J. Parsons, and Randall L. Schultz, Market Response Models: Econometric and Time Series Analysis, International Series in Quantitative Marketing 2 (Boston: Kluwer, 1989), pp. 178-83.
193. Don Peppers and Martha Rogers, The One to One Future: Building Relationships One Customer at a Time (New York: Doubleday, 1993).
194. Barbara Rose, "A B C Art," Art in America (October-November 1965),as reprinted in Gregory Battcock, ed., Minimal Art: A Critical Anthology (New York: Dutton, 1968), p. 296. Marshall McLuhan, Understanding Media: The Extensions of Man (New York: McGraw-Hill, 1964), pp. 64-66.
195. McLuhan, Understanding Media, p. 65.
196. This terminological discussion follows Bogart, Strategy in Advertising, pp. 176-78.
197. Roger Barton, Media in Advertising (New York: McGraw-Hill, 1964), p. 423.
198. These plans are reproduced and discussed in Barban, Cristal, and Kopec, Essentials of Media Planning, pp. 138-39.
199. Reich makes this claim in William Duckworth, Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers (New York: G. Schirmer, 1995), p. 296.
200. Steve Reich, Writings on Music 1965-2000 (London: Oxford University Press, 2002), p. 98.
201. See the discussion of the 1946 Symphony in Robert Fink, "Going Flat: Towards a Post-hierarchical Music Theory," in Rethinking Music, ed. Nicholas Cook and Mark Everist (New York: Oxford University Press, 1999), pp. 113-20.
202. See Jonathan Cross, Stravinsky's Legacy (Oxford: Oxford University Press, 1996), pp. 172-74, 179-89. Andriessen's debt was always out in the open, as the composer's own monograph on Stravinsky makes abundantly clear. See Louis Andriessen and Elmer Schoenberger, The Apollonian Clockwork on Stravinsky, trans. Jeff Hamburg (Oxford: Oxford University Press, 1989).
203. Herbert E. Krugman, "The Impact of Television Advertising: Learning without Involvement," Public Opinion Quarterly 29, no. 3 (fall 1965): 349-56.
204. Krugman, "Impact of Television Advertising," p. 354.
205. Quoted in Michael Walsh, "The Heart Is Back in the Game," Time, 20 September 1982: 60.
206. Krugman, "Impact of Television Advertising," p. 355.
207. Jean Baudrillard, The System of Objects, trans. and ed. James Benedict (London: Verso, 1996), pp. 186-89.
208. See Robert Fink, "Going Flat," pp. 108-13, 113-20;
209. "Beethoven Antihero: Sex, Violence, and the Aesthetics of Failure, or Listening to the Ninth Symphony as Postmodern Sublime," in Andrew Dell'Antonio, ed., Beyond Structural Listening? Postmodern Modes of Hearing (Berkeley: University of California Press, 2004), pp. 109-53.
210. The epigraph above is from George W. S. Trow, Within the Context of No Context (New York: Atlantic Monthly Press, 1997), p. 43.
211. "Four years ago, for example, we thought Koyaanisqatsi was a very political film. Now, it doesn't look that way to me at all." Glass interviewed (1987) in Richard Kostelanetz, ed., Writings on Glass (New York: G. Schirmer, 1997), p. 142.
212. Quoted in review of Koyaanisqatsi by Merrill Shindler, Los Angeles Magazine, April 1983: 96.
213. Charles Sopkin, Seven Glorious Days, Seven Fun-Filled Nights: One Man's Struggle to Survive a Week Watching Commercial Television in America (New York: Simon and Schuster, 1968).
214. Jack Lechner, Can't Take My Eyes Off of You: One Man, Seven Days, Twelve Televisions (New York: Crown Books, 2000).
215. Bill McKibben, The Age of Missing Information (New York: Random House, 1992), pp. 9-10.
216. McKibben, The Age of Missing Information, pp. 14- 21.
217. Kostelanetz, Writings on Glass, p. 142.
218. Reich, Writings on Music, pp. 9-10.
219. Tom Johnson, "Philip Glass's New Parts," Village Voice, 6 April 1972: 42;
220. Allen Shawn, "Music: Contemporary American Composers," The Atlantic 274, no. 4 (April 1981): 117.
221. Joseph McClellan, "Pachelbel's Simple Success," The Washington Post, 2 December 1984.
222. The concerts, which counterpoised music of Arvo Pärt, Steve Reich, Philip Glass, and John Adams with that of Bach and Handel, took place on 20-22 January 1997; Perceptible Processes: Minimalism and the Baroque, edited by Claudia Swan, was published in New York by Eos, that year. Scheffer's quote is on p. iv.
223. Scheffer, Foreword to Perceptible Processes, p. iv.
224. Ben Yarmolinsky, "Minimalism and the Baroque," in Perceptible Processes, pp. 61-72.
225. David Paul, "Steve Reich," Seconds 47 (1998).
226. Peter G. Davis, "Minorities, Minimalism, and Melodrama," New York Magazine, 11 October 1982: 90.
227. Harold C. Schonberg, "Plumbing the Shallows of Minimalism," New York Times, 21 February 1985.
228. Joshua Kosman, "Philharmonia's Latest Discovery: Ingenious Work Stands Out at Concert," San Francisco Chronicle, 16 October 2000.
229. The first epigraph is from Lipman, "From Avant-Garde to Pop," in The House of Music: Art in an Era of Institutions (Boston: Godine, 1984), pp. 45-46. The second is advertising copy from a generic Columbia record sleeve of the late 1960s.
230. Edward Wallerstein, "Creating the LP Record," High Fidelity 26, no. 4 (April 1976): 56-61.
231. Morton, Off the Record, p. 38.
232. Craig Pittman, "Technology's Orphans Series: Discovery," St. Petersburg Times, 16 March 1993.
233. Roland Gelatt, "Pangs of Progress," High Fidelity 8, no. 1 (January 1958): 40.
234. Joseph Lanza, Elevator Music: A Surreal History of Muzak, Easy- Listening, and Other Moodsong (New York: Picador, 1994).
235. Ferris Benda, Liner notes for The Melachrino Strings, Music for Relaxation (Moods in Music), a "New Orthophonic" High-Fidelity Recording, RCAVictor LPM-1001 (1958), emphasis added.
236. Joseph Braunstein, liner notes for Hoffman, Giuliani Mandolin Quartets, Turnabout Stereo TV 34016S.
237. Jacques Barzun, "The Art, and Pleasure, of Listening," notes to The Story of Great Music: The Baroque Era, Time-Life Records TL-1/144-TL4/144.
238. John Cage, Silence (Cambridge, Mass.: MIT Press, 1966), p. 93.
239. See Roland Gelatt, The Fabulous Phonograph (Philadelphia: Lippincott, 1954), pp. 179-84, 200-201. Incidentally, this makes most arguments about tempos speeding up to "fit" works onto four-minute 78 rpm sides suspect before about 1925.
240. David Hamilton, "Some Thoughts on Listening to Records," in H. Wiley Hitchcock, ed., The Phonograph and Our Musical Life: Proceedings of a Centennial Conference, I.S.A.M. Monographs 14 (New York: Institute for Studies in American Music, ca. 1980), pp. 66-67.
241. See Richard Taruskin, "The Pastness of the Present and the Presence of the Past," in Nicholas Kenyon, ed., Authenticity and Early Music (Oxford: Oxford University Press, 1988), pp. 137-210.
242. These comments are taken from Canby's annotations of Nonesuch H71017, H71042, and H71079.
243. Nathan Broder, "Music for the Age of Calorie Counters," High Fidelity 10, no. 8 (August 1960): 29.
244. Abraham Veinus, notes to L'estro harmonico, Vanguard SRV 143.
245. R. D. Darrell, notes to Nonesuch H71066; Canby, notes to Nonesuch H71017, emphasis added.
246. Darrell, notes to Nonesuch H71066.
247. Canby, notes to Nonesuch H71017; Darrell, notes to Nonesuch H71066.
248. Jacques Barzun, God's Country and Mine: A Declaration of Love Spiced with a Few Harsh Words (Boston: Little, Brown, 1954), quoted in Roland Gelatt, The Fabulous Phonograph: From Tin Foil to High Fidelity (Philadelphia: Lippincott, 1955), pp. 301-2.
249. C. G. Burke, "Repertory Unlimited," High Fidelity 1, no. 1 (summer 1951): 25-28.
250. Gelatt, "The Pangs of Progress," pp. 39-41.
251. H. C. Robbins Landon, "A Pox on Manfredini," High Fidelity 11, no. 6 (June 1961): 38-39, 86-87;
252. Paul Henry Lang, "A Second Look at Manfredini," High Fidelity 12, no. 5 (April 1963): 57-59;
253. Milton Babbitt, "Who Cares if You Listen?" High Fidelity 8, no. 2 (February 1958): 38-40, 126.
254. Robbins Landon, "A Pox on Manfredini," pp. 38-39.
255. Samuel Lipman, "Einstein's Long March to Brooklyn" [The New Criterion, February 1985], in Arguing for Music, Arguing for Culture (Boston: Godine, 1990), pp. 178-80.
256. "A Pox on Manfredini," passim.
257. Heinrich Schenker, Free Composition (Der freie Satz): Volume III of New Musical Theories and Fantasies, trans. and ed. Ernst Oster (New York: Longman, 1979), p. 3.
258. See Robert Fink, "Going Flat: Towards a Post-hierarchical Music Theory," in Rethinking Music, ed. Nicholas Cook and Mark Everist (New York: Oxford University Press, 1999), pp. 132-37.
259. Gelatt, The Fabulous Phonograph, p. 301.
260. Burke, "Repertory Unlimited," p. 25.
261. Gelatt, "Pangs of Progress," p. 40.
262. Lang, "Another Look at Manfredini," pp. 58, 59.
263. Igor Kipnis, "Baroque at Flood Tide," HiFi-Stereo Review 15 (December 1965): 110-11.
264. Lawrence Shames, "Listen to John Adams," Esquire 102 (December 1984): 160.
265. Swan, "The Spell of Philip Glass," pp. 28, 31.
266. Walsh, "The Heart Is Back in the Game," p. 62.
267. Tim Page, "Framing the River: A Minimalist Primer," High Fidelity/Musical America 31, no. 11 (November 1981): 65.
268. Reich, "Music as a Gradual Process," in Writings about Music (Halifax and New York: Nova Scotia College of Art and Design and New York University Press, 1974); reprinted in Writings on Music 1965-2000 (London: Oxford University Press, 2002), p. 34.
269. Robbins Landon, "A Pox on Manfredini," p. 87.
270. The epigraph above is from Richard Sennett, "The Twilight of the Tenured Composer," Harper's 269 (December 1984): 72.
271. Hitchcock, The Phonograph and Our Musical Life, p. 16.
272. Schonberg, "Plumbing the Shallows of Minimalism"; Bayan Northcott, "Radio Roundup," The Independent, 11 August 1995; Lipman, "Avant-garde to Pop"; Robbins Landon, "A Pox on Manfredini."
273. Robbins Landon, "A Pox on Manfredini," p. 38.
274. Jacques Attali, Noise: The Political Economy of Music, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1985), pp. 111-12. Attali's four models of music in society-sacrificing, representing, repeating, and composing- are laid out concisely on pp. 4-5.
275. Robbins Landon, "A Pox on Manfredini," p. 39.
276. Andrew Porter, "Many-Colored Glass," The New Yorker (13 December 1976): 166.
277. Brian Eno, liner notes to Music for Airports: Ambient 1, AMB 001 (1978).
278. Brian Eno, liner notes to Discreet Music, EEG CD 23 (1975).
279. Mackenzie, My Record of Music, pp. 106-7.
280. Mackenzie, My Record of Music, p. 34.
281. Tia DeNora, Music in Everyday Life (Cambridge: Cambridge University Press, 2000), p. 59.
282. DeNora, Music in Everyday Life, p. 59.
283. DeNora, Music in Everyday Life, p. 41.
284. Johnson, "Philip Glass's New Parts."
285. Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991), p. 118-19.
286. Porter, "Many-Colored Glass," p. 166.
287. Elisabeth LeGuin, "Uneasy Listening," repercussions 3, no. 1 (spring 1994): 6. 152.
288. Annahid Kassabian, "UBISUB: Ubiquitous Listening and Networked Subjectivity," ECHO 3, no. 2 (fall 2001), www.humnet.ucla.edu/echo DeNora,Music in Everyday Life,pp.149-50.
289. DeNora, Music in Everyday Life, p. 148.
290. Steve Reich, "Music as a Gradual Process," in Writings (1974); reprinted in Writings on Music, p. 36.
291. Theodor W. Adorno, Sound Figures (Stanford: Stanford University Press, 1999), p. 14; quoted in DeNora, Everyday Life, p. 149.
292. Lanza, Elevator Music, p. 5.
293. oland Gelatt, The Fabulous Phonograph (Philadelphia: Lippincott, 1954), p. 301.
294. Timothy E. Day, A Century of Recorded Music: Listening to Musical History, (New Haven: Yale University Press, 2000), p. 97.
295. quoted in Roland Gelatt, "Pangs of Progress," High Fidelity 8, no. 1 (January 1958): 41.
296. Gelatt, "Pangs of Progress," p. 40.
297. See Frederic Dorian, The History of Music in Performance (New York: W.W. Norton, 1942), pp. 336-43.
298. Day, Recorded Music, p. 28.
299. See Richard Taruskin, "The Pastness of the Present and the Presence of the Past," in Nicholas Kenyon, ed., Authenticity and Early Music (Oxford: Oxford University Press, 1988), pp. 137-210.
300. The epigraph above is as quoted in Eric Madsen, "The Genesis of Suzuki: An Investigation into the Roots of Talent Education" (M.A. thesis, McGill University, 1990), pp. 116-17.
301. Suzuki, Nurtured by Love, pp. 78-79.
302. From Suzuki's 1963 address to the International Society for Music Education; in Hermann, Shinichi Suzuki, p. 136.
303. Madsen, "Genesis of Suzuki," p. 97.
304. Suzuki, Nurtured by Love, p. 107.
305. Rohlen and LeTendre, Teaching and Learning in Japan, p. 373.
306. Cook, Suzuki Education, pp. 42-43.
307. Cook, Suzuki Education, p. 75.
308. Madsen, "Genesis of Suzuki," pp. 84-85.
309. Tony Conrad, liner notes to Early Minimalism, Volume One, "Table of the Elements 33" (1997), pp. 16-21; Philip Glass, Music by Philip Glass (New York: Harper & Row, 1987), p. 43.
310. The term is analogous to other, more traditional "ways" of Japanese culture: kyu-do (archery), cha-do (tea ceremony), ken-do (swordsmanship). See Madsen, "The Genesis of Suzuki," p. 135.
311. "Invasion from the Orient," Time 90, no. 18 (3 November 1967): 32. To be fair, this quote seems a paraphrase of rationalizations attributed to the expatriate Japanese Talent Educator Suzuko Hillyer by Clifford Cook (Suzuki Education, pp. 91-92).
312. D. Chapman, "Every Child a Prodigy," Look, 28 November 1967: M26-28.
313. "Fiddling Legions," Newsweek, 23 March 1964: 73.
314. Peak, "The Suzuki Method," p. 352. Japanese Suzuki teachers often refer to the process without embarrassment as "indoctrination."
315. Richard Coff, "Suzuki Violin versus Traditional Violin: A Suzuki Teacher's View," www.suzuki-violin.com/suzuki_violin_vstraditionalviolin.htm;
316. Madsen, "The Genesis of Suzuki," p. 62.
317. Peak, "The Suzuki Method," pp. 358-62.
318. Klaus Theweleit, Male Fantasies, trans. Erica Carter and Chris Turner (Minneapolis: University of Minnesota Press, 1987), vol. 1, p. 211.
319. Steve Reich, Writings on Music 1965-2000 (London: Oxford University Press, 2002), pp. 22-24, emphasis added.
320. Starr, The Suzuki Violinist, p. 108.
321. Hermann, Shinichi Suzuki, pp. 101-2.
322. Cook, Suzuki Education, p. 73. He goes on: "In working to jack up the tempo, [Hiroko] often said the children play fast in Japan. (I have noticed that a Japanese child frequently tends to go faster in a hard spot, instead of slacking off in such a place.)" (p. 81).
323. The epigraph above is from Suzuki, Zen Mind, Beginner's Mind, p. 35.
324. Cook, Suzuki Education, p. 73.
325. Quoted in Cook, Suzuki Education, p. 76.
326. A useful overview of Buddhist transmission in twentieth-century America is found in Rick Fields, How the Swans Came to the Lake: A Narrative History of Buddhism in America (Boston: Shambhala, 1992).
327. D. T. Suzuki, Living by Zen (London: Rider, 1950), p. 165.
328. D. T. Suzuki, Zen and Japanese Culture (first published as Zen Buddhism and Its Influence on Japanese Culture, 1938), 2nd ed. (New York: Pantheon, 1959; reprinted, Princeton: Princeton University Press, 1970).
329. Suzuki, Zen Mind, Beginner's Mind.
330. Shinichi Suzuki, "Ability Is Not Inborn," Talent Education Journal 27 (winter 1987): 42.
331. Madsen, "The Genesis of Suzuki," p. 105.
332. Shinichi Suzuki, "Ability Development in Music," Talent Education Journal 34 (summer 1989): 41.
333. This performance is referenced and contextualized in an excellent overview by David W. Bernstein, "John Cage and the 'Project of Modernity': A Transformation of the Twentieth-Century Avant-Garde," in the online journal Corner 3 (fall 1999-spring 2000), www.cornermag.org/corner03/index.htm.
334. The epigraph above is from Suzuki, Nurtured by Love, p. 93.
335. Susan McClary, Conventional Wisdom: The Content of Musical Form (Berkeley: University of California Press, 2000), pp. 81-82.
336. Christopher Small, Musicking: The Meanings of Performing and Listening (Hanover, N.H.: University Press of New England, 1998), p. 220.
337. Suzuki, Nurtured by Love, pp. 92-96. These and the Suzuki quotations that follow can be found on these pages.