By John Leland
Hip: The History is the tale of the way American popular culture has developed through the 20th century to its present place as global cultural touchstone. How did hip develop into such an obsession? From intercourse and track to style and trade, John Leland tracks the arc of rules as they circulation from subterranean Bohemia to Madison street and again back. Hip: The History examines how hip has contributed to shaping -- and maintains to steer -- America's view of itself, and gives an incisive account of hip's quest for authenticity.
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Additional info for Hip: The History
But even in works permissive of considerable improvisation, there are boundaries beyond which performers may not go if their rendition is to count as a performance and not an "arrangement" of a particular work. Rules serve to articulate or specify these boundaries. They indicate, as it were, the "essentialities" of musical compositions. 54. " 55. " 56. An interesting and instructive account of how this change in sounding style occurred can be found in Leppard, Authenticity in Music. 57. " 58. Tureck, An Introduction to the Performance of Bach.
Succeeds in 24 Virtue or Virtuosity? making this instrument capable of expression. . " Preface to Pieces de Clavecin. 66. Other aspects of performance — the posture, muscle tone, gestures and facial expressions of the performer — also serve to indicate to the listener the expressive character of the music. But while tonal inflection is considered a prerequisite in excellent performance, these others are much more controversial and are frequently derided as distracting and superfluous, the mark of the charlatan rather than the true interpretive artist.
36. Kivy, The Corded Shell, pp. 71-83. 37. , p. 82. 38. , p. 77. 39. " 40. Langer, Feeling and Form, pp. 27, 52. 41. , p. 32. 42. Meyer, Emotion and Meaning in Music. 43. Cone, The Composers Voice, p. 165. 44. Kivy, The Corded Shell, p. 149. 45. Faltin, "Musikalishe Bedeutung," cited in Newcomb, "Sound and Feeling," p. 636. 46. That emotionally couched descriptions are not always rejected as self-indulgent, purely subjective meanderings, but rather are accepted (at least in certain circumstances) as conventional, intersubjective depictions, is demonstrated in program notes designed to help listeners follow the progress of musical works.