By Elliott Schwartz, Barney Childs, Jim Fox
"This anthology of essays, interviews, and autobiographical items offers a useful assessment of the evolution of latest music—from chromaticism, serialism, and indeterminacy to jazz, vernac"
Elliott Schwartz has been a featured visitor composer through the U.S. and Europe, and has held prolonged residencies on the collage of California, Ohio country college, and Cambridge college. he's the writer of tune on the grounds that 1945: matters, fabrics, and Literature (with Daniel Godfrey) and is the Robert okay. Beckwith Professor of song at Bowdoin university.
Barney Childs is the cofounder of enhance Recordings, former poetry editor of Genesis West, and a contributor to views of latest song and different journals. His tune has been played on the as soon as pageant and Tanglewood. he's Professor Emeritus at Johnston university, college of Redlands.
Jim Fox is a Los Angeles-based composer and co-publisher of Silman-James Press.
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Additional info for Contemporary Composers on Contemporary Music
Sometimes you could convince someone else, like the local radio station, or a record store clerk who had an open copy, or your friend who prided himself on owning everything first, to play it for you. But usually you had to buy the thing • 22 • GINA ARNOLD yourself, or go to see the band live. There was no other way to actually hear the music. The result of this system was that the people who recommended things—label owners, college radio DJs, and fanzine writers—had to be relied on. The hapless consumer was dependent on them in order to hear new music.
Phair’s album was lauded and criticized for its frankness about sexuality: songs that used swear words for female genitalia and told men just what positions she enjoyed having sex in were, not surprisingly, written about at length. But those songs were really only a small part of a larger work, just as having sex is usually just a small part of a person’s life. At the time, I was surprised at what a fuss people made about the swear words, and even more surprised at many of the even more sexist ways that Liz Phair was portrayed in the media, and even by people who knew her.
Most famously, Chicago-area record producer Steve Albini called it “a fucking chore to listen 22 Ibid. ”23 To its credit, the larger rock critic world outside of Chicago embraced Liz Phair’s album almost instantly. But Phair’s reception was dimmed by what Chicago Reader pop critic Bill Wyman once called the “almost psychopathic rejection” by local rock fans in Chicago—a group obsessed by some notion of credibility and authenticity that seemed to be colored entirely by high school-type “in crowd” machinations of popularity and friendship.