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John Cage's disdain for records was legendary. He repeatedly spoke of the ways in which recorded music was antithetical to his work. In Records Ruin the Landscape, David Grubbs argues that, following Cage, new genres in experimental and avant-garde music in the 1960s were particularly ill suited to be represented in the form of a recording. These activities include indeterminate music, long-duration minimalism, text scores, happenings, live electronic music, free jazz, and free improvisation. How could these proudly evanescent performance practices have been adequately represented on an LP? In their day, few of these works circulated in recorded form. By contrast, contemporary listeners can encounter this music not only through a flood of LP and CD releases of archival recordings but also in even greater volume through Internet file sharing and online resources. Present-day listeners are coming to know that era's experimental music through the recorded artifacts of composers and musicians who largely disavowed recordings. In Records Ruin the Landscape, Grubbs surveys a musical landscape marked by altered listening practices.
John Cage's disdain for records was legendary. He repeatedly spoke of the ways in which recorded music was antithetical to his work. In Records Ruin the Landsca
Following his investigation into experimental music and sound recording in Records Ruin the Landscape, David Grubbs turns his attention to the live performance
With Good night the pleasure was ours, David Grubbs melts down and recasts three decades of playing music on tour into a book-length poem, bringing to a close t
The voice in the headphones says, “you’re rolling” . . . The Voice in the Headphones is an experiment in music writing in the form of a long poem centered
In the first book of its kind, John Corbett's A Listener's Guide to Free Improvisation provides a how-to manual for the most extreme example of spontaneous impr