Notice bibliographique
- Notice
Type(s) de contenu et mode(s) de consultation : Texte noté. Image fixe : sans médiation
Auteur(s) : Ford, Phil (1969-....)
Titre(s) : Dig [Texte imprimé] : sound and music in hip culture / Phil Ford
Publication : New York : Oxford University Press, 2013
Description matérielle : xii, 306 pages : illustrations, music ; 25 cm
Comprend : Dig (an introduction) ; Koan (what is hip?) ; What is hip? ; The Suzuki rhythm
boys ; The devil's staircase ; The black spot ; Somewhere/nowhere ; Precambrian
; Game ideology ; Smart goes crazy ; Irony ; Miles and Monk ; Somewhere/nowhere
; Sound become holy (the Beats) ; Sound become holy ; The sadness of it all ; Digging
what they dig ; Astounding and prophetic ; Stenciled off the real ; Hip sensibility
in an age of mass counterculture ; Right on, Mr. Horowitz ; The square ; Asymmetrical
consciousness ; Elitism ; Mass culture critique ; The decline of midcentury modernism
and the birth of postmodernism ; Sound museum ; Mailer's sound ; "The sound is
the thing, man" ; Abstraction ; Whiteness ; Mailer's sound ; Enantiodromia ;
"Let's say that we're new, every minute" (John Benson Brooks) ; Off-minor ; Music
of the isms ; Djology ; Cipher ; Magical hermeneutics ; Technologies of experience
; Practice.
Note(s) : Includes bibliographical references (pages 277-287) and index
"Hipness has been an indelible part of America's intellectual and cultural landscape
since the 1940s. But the question 'What is hip?' remains a kind of cultural koan,
equally intriguing and elusive. In Dig, Phil Ford argues that while hipsters have
always used clothing, hairstyle, gesture, and slang to mark their distance from consensus
culture, music has consistently been the primary means of resistance, the royal road
to hip. Hipness suggests a particular kind of alienation from society--alienation
due not to any specific political wrong but to something more radical, a clash of
perception and consciousness. From the vantage of hipness, the dominant culture constitutes
a system bent on excluding creativity, self-awareness, and self-expression. The hipster's
project is thus to define himself against this system, to resist being stamped in
its uniform square mold. Ford explores radio shows, films, novels, poems, essays,
jokes, and political manifestos, but argues that music more than any other form of
expression has shaped the alienated hipster's identity. After World War II, hip intellectuals
began to conceive of sound itself as a way of challenging meaning with experience--that
which is cognitive and abstract, timeless and placeless, against that which is embodied,
concrete and anchored in place and time. Through Charlie Parker's 'Ornithology,' Ken
Nordine's 'Sound Museum,' Bob Dylan's 'Ballad of a Thin Man,' and a range of other
illuminating examples, Ford shows why and how music came to be at the center of hipness."--Book
jacket
Autre(s) forme(s) du titre :
- Autre forme du titre : Sound and music in hip culture
- Autre forme du titre : Sound
Sujet(s) : Contre-culture
Musique et société
Musique populaire
Indice(s) Dewey :
306.484 23 (23e éd.) = Musique populaire (sociologie)
Identifiants, prix et caractéristiques : ISBN 0199939918 (hardback) (alk. paper). - ISBN 9780199939916 (hardback) (alk. paper)
Identifiant de la notice : ark:/12148/cb43787490b
Notice n° :
FRBNF43787490
(notice reprise d'un réservoir extérieur)
