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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.
- Sales Rank: #1443990 in Books
- Published on: 1999-07-30
- Original language: English
- Number of items: 1
- Dimensions: 8.94" h x 1.09" w x 6.01" l, 1.10 pounds
- Binding: Paperback
- 350 pages
From Library Journal
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 discussion of an ethnomusicology based on the theory of philosophers like Edmund Husserl. He then details the hard rock and African American jazz scenes in Cleveland and Akron's Caucasian jazz and heavy metal cultures, explaining the fashions and even the layout of the clubs. Berger next offers a comparison of the onstage experiences of the musicians. He moves on to a careful analysis of a hard rock and a death metal song, trying to link the songwriters' experience to their sound and lyrics. In the last part of the book, Berger places death metal in the numbing, dead-end social context of Akron. Though basing his research on interviews with local musicians, Berger seldom captures the passion of the various music scenes he considers. He observes his surroundings like an overintellectualized voyeur, adding little to the wealth of existing material. Not recommended.ADavid P. Szatmary, Univ. of Washington, Seattle
Copyright 1999 Reed Business Information, Inc.
Review
"This fascinating and evocative book is far superior to conventional rock criticism. Berger's upbeat writing offers both a vivid sense of being there that is richly satisfying, as well as a solid ethnography of the Cleveland musical scene." -- Veit Erlmann, University of Texas
Review
"This fascinating and evocative book is far superior to conventional rock criticism. Berger's upbeat writing offers both a vivid sense of being there that is richly satisfying, as well as a solid ethnography of the Cleveland musical scene." (Veit Erlmann, University of Texas)
“Berger’s comprehensive fieldwork reaches fruition in fascinating and insightful descriptions of a wide variety of musicians, fans and venues. He is sensitive to the perspectives of each of the actors in a musical scene and definitely shows their nuances interrelationships." (Deena Weinstein, DePaul University)
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