494 PART 4 | SINCE WORLD WAR II
- What is jazz-rock fusion? How does it resemble jazz? How does it resemble
rock? - How does musical theater fit into the larger picture of American music in the
1970s? - Who are some of the principal figures in microtonal music, and what seem
to be their aesthetic goals and means of achieving those goals?
FURTHER READING
Banfi eld, Stephen. Sondheim’s Broadway Musicals. Ann Arbor: University of Michigan
Press, 2003.
Echols, Alice. Hot Stuff: Disco and the Remaking of American Culture. New York: W.W. Norton,
2010.
Gann, Kyle. American Music in the Twentieth Century. New York: Schirmer Books, 1997.
Holt, Fabian. Genre in Popular Music. Chicago: University of Chicago Press, 2007.
Kronengold, Charles. “Exchange Theories in Disco, New Wave, and Album Oriented
Rock.” Criticism 50, no. 1 (winter 2008): 43–82.
Lawrence, Tim. Love Saves the Day: A History of American Dance Culture, 1970–1979. Durham,
NC: Duke University Press, 2004.
Stimeling, Travis D. Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin’s
Progressive Country Music Scene. New York: Oxford University Press, 2011.CD 4.5 Listening Guide 19.6 String Quartet no. 4, “Amazing Grace” BEN JOHNSTONListen & Refl ect
- Try listening to the variations in two different ways: (1) focusing on specifi c pitches to see
if you can hear the characteristics of the various scales, and (2) listening to the musical
texture as a whole to detect an overall sound and mood for each variation. Then examine
your responses to see if there is any connection between the two ways of listening. How
do the shifts in tuning correspond to the shifts in mood?
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