The role of popular music is widely recognized in giving voice to
radical political views, the plight of the oppressed, and the desire for
social change. Avant-garde music, by contrast, is often thought to
prioritize the pursuit of new technical or conceptual territory over
issues of human and social concern. Yet throughout the activist 1960s,
many avant-garde musicians were convinced that aesthetic experiment and
social progressiveness made natural bedfellows. Intensely involved in
the era's social and political upheavals, they often sought to reflect
this engagement in their music. Yet how could avant-garde musicians make
a meaningful contribution to social change if their music remained the
preserve of a tiny, initiated clique? In answer, Sound Commitments,
examines the encounter of avant-garde music and "the Sixties" across a
range of genres, aesthetic positions and geographical locations. Through
music for the concert hall, tape and electronic music, jazz and
improvisation,
participatory "events," performance art, and
experimental popular music, the essays in this volume explore
developments in the United States, France, West Germany, Italy, the
Netherlands, the Soviet Union, Japan and parts of the "Third World,"
delving into the deep richness of avant-garde musicians' response to the
decade's defining cultural shifts.
Featuring new archival research and/or interviews with significant figures of the period in each chapter, Sound Commitments
will appeal to researchers and advanced students in the fields of
post-war music, cultures of the 1960s, and the avant-garde, as well as
to an informed general readership.
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