| Dissonant Identities: The Rock 'n' Roll Scene in Austin, Texas Contributor(s): Shank, Barry (Author) |
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ISBN: 0819562769 ISBN-13: 9780819562760 Publisher: Wesleyan University Press OUR PRICE: $25.60 Product Type: Paperback - Other Formats Published: May 1994 Annotation: Music of the bars and clubs of Austin, Texas has long been recognized as defining one of a dozen or more musical "scenes" across the country. In Dissonant Identities, Barry Shank, himself a musician who played and lived in the Texas capital, studies the history of its popular music, its cultural and economic context, and also the broader ramifications of that music as a signifying practice capable of transforming identities. While his focus is primarily on progressive country and rock, Shank also writes about traditional country, blues, rock, disco, ethnic, and folk musics. Using empirical detail and an expansive theoretical framework, he shows how Austin became the site for "a productive contestation between two forces: the fierce desire to remake oneself through musical practice, and the equally powerful struggle to affirm the value of that practice in the complexly structured late-capitalist marketplace." |
| Additional Information |
| BISAC Categories: - Music | Genres & Styles - Rock |
| Dewey: 781.660 |
| LCCN: 93041385 |
| Series: Music / Culture |
| Physical Information: 0.94" H x 6.07" W x 9.01" (1.13 lbs) 312 pages |
| Themes: - Cultural Region - Southwest U.S. - Geographic Orientation - Texas |
| Descriptions, Reviews, Etc. |
| Publisher Description: A fascinating analysis of the music scene in Austin, Texas. Music of the bars and clubs of Austin, Texas has long been recognized as defining one of a dozen or more musical "scenes" across the country. In Dissonant Identities, Barry Shank, himself a musician who played and lived in the Texas capital, studies the history of its popular music, its cultural and economic context, and also the broader ramifications of that music as a signifying practice capable of transforming identities. While his focus is primarily on progressive country and rock, Shank also writes about traditional country, blues, rock, disco, ethnic, and folk musics. Using empirical detail and an expansive theoretical framework, he shows how Austin became the site for "a productive contestation between two forces: the fierce desire to remake oneself through musical practice, and the equally powerful struggle to affirm the value of that practice in the complexly structured late-capitalist marketplace." |