No sound is innocent: AMM and the practice of self-invention, meta-musical narratives, essays
In this book, Eddie Prevost, drummer and a founder member, explores the reasons AMM came to be, the influences and refusals that have shaped its history, and the potential and the failings not only of the meta-music AMM is committed to, but all music everywhere: classical, jazz, folk, pop and the experimental avant garde. In a unique series of dissections and meditations, directly modelled on AMM's attitudes and practices in performances, Prevost examines the meanings of sound itself, giving them aesthetic, social and political dimension. These, together with an outline of the events of the group's three decades of existence, of alliances and conflicts within the collective, give voice to a radically contrarian but always thoughtful underground strand in present-day music-making, which has adherents all over the world, among players and listeners. It will fascinate and perhaps trouble anyone with an interest in modern music's deeper currents.
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DIMENSIONS OF PERFECTLY ORDINARY REALITY
Wouldnt Start From Here If I Was You Do Railway Lines Meet In The Distance?
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activity aesthetic priorities alienation AMM's AMMmusic AMMmusicians arise artistic aspirations aural become Cage Cardew Christian Wolff classical collective commodity composer composition concerns consciousness Cornelius Cardew course creative cultural Derek Bailey DIMENSIONS OF PERFECTLY dominant ensemble ethos Evan Parker example existence experience expression formulations free improvisation Free Jazz gamelan Gare heurism and dialogue human ideas ideology improvised music improvising musician improvisor individual industrial inner John Cage John Tilbury Keith Rowe kind Lawrence Sheaff listener Lou Gare Matchless Recordings material meaning medium meta meta-music meta-musician Mike Westbrook mind mode mono-culture Morton Feldman music-making negate nuance particular perceived perception performance perhaps players playing political possible potential practice Prevost production realisation REFLECTIONS relations relationship responses Rowe's self-invention sense social society sound is innocent TAKE ANY SOUND technical techniques technocratic Thereafter things tradition transcend transformed TUNE ultimately values western