Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience
This vivid ethnography of the musical lives of heavy metal, rock, and jazz musicians in Cleveland and Akron, Ohio shows how musicians engage with the world of sound to forge meaningful experiences of music. Unlike most popular music studies, which only provide a scholar's view, this book is based on intensive fieldwork and hundreds of hours of in-depth interviews. Rich descriptions of the musical life of metal bars and jazz clubs get readers close to the people who make and listen to the music.
Of special interest are Harris M. Berger's interviews with Timmy "The Ripper" Owens, now famous as lead singer for the pioneering heavy metal band, Judas Priest. Owens and other performers share their own experiences of the music, thereby challenging traditional notions of harmony and musical structure. Using ideas from practice theory and phenomenology, Berger shows that musical perception is a kind of practice, both creatively achieved by the listener and profoundly informed by social context.
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Metal, rock, and jazz: perception and the phenomenology of musical experienceUser Review - Not Available - Book Verdict
Berger, revising his doctoral dissertation, tries to place the early 1990s death metal, hard rock, and jazz of Cleveland and Akron, within a social context. He introduces his study with an academic ... Read full review
The Ethnography of Musical Practice
The Organization of Musical Experience and
The Scope of Ethnomusicology
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affective African American Akron audience aware background band band’s bass Bill C-sharp changes Chapter chorus Chris Chris’s Cleveland commercial hard rock constitute critical crowd culture Dann’s death metal deﬁning Dia Pason Dick Dick’s difﬁcult discussion drummer drums emerge ence Eric ethnographic ethnomusicology European American explained explore ﬁeldwork ﬁfth ﬁlls ﬁnd ﬁrst ﬂat ﬂoor ﬂow focus folklore foreground goal grasped groove guitar hardcore hardcore punk harmonic harmonic rhythm hear ideas improvisation inﬂuence interaction interviews Jack Jack’s jazz musicians jazz scene Larry Larry’s listeners living present meanings metalheads moshing musical experience musical sound noema notes organization of attention partial sharing participant’s perception performance phenomena phenomenology phrase play players popular music post-bop power chord power metal practices protention punk reﬂection research participants rhythm Rizzi’s rock music Saladin Sin-Eater situated social context solo song speciﬁc stage structure style tempo Timmy tion tonality tune underground verse vocal