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Benjamin Piekut, Experimentalism Otherwise: the New York Avant-Garde and Its Limits (Berkeley: University of California Press, 2011), ISBN 978-0-520-26850-0 (hb), 978-0-520-26851-7 (pb)
Published online by Cambridge University Press: 12 August 2013
Abstract
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References
1 Nyman, Michael, Experimental Music: Cage and Beyond, 2nd edn (Cambridge: Cambridge University Press, 1999)Google Scholar and Beal, Amy C., New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification (Berkeley: University of California Press, 2006)CrossRefGoogle Scholar.
2 Piekut's first chapter contains a brief historiography of the conflicting definitions and discourses around American experimentalism from Henry Cowell's 1933 American Composers on American Music through to Nyman's Experimental Music (11–12). In his introduction, Piekut emphasizes the conflict already present in the way that musicians struggle to define their own art and music. He further contextualizes the way in which free jazz, performance art, and protest art contain many of the same sonic and social traces but are not often included in scholarship on experimentalism.
3 Foucault, Michel, Language, Counter-Memory, Practice: Selected Essays and Interviews (Ithaca, NY: Cornell University Press, 1977)Google Scholar; Latour, Bruno, ‘On Recalling ANT’, in Actor Network Theory and After, ed. Law, John and Hassard, John (Malden, MA: Blackwell/Sociological Review, 1999), 15–26Google Scholar.
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6 de Certeau, The Practice of Everyday Life. Texts that could have strengthened Piekut's argument include: Lefebvre, Henri, The Production of Space (Oxford and Cambridge, MA: Blackwell, 1991)Google Scholar; Krims, Adam, Music and Urban Geography (New York and London: Routledge, 2007)Google Scholar; Von Glahn, The Sounds of Place; and Bourdieu, Pierre, Distinction: a Social Critique of the Judgement of Taste, trans. Nice, Richard (London: Routledge & Kegan Paul, 1984)Google Scholar.
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