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Article: A response to Rhian Samuel.(Critical Essay)
- Article from:
- Perspectives of New Music
- Article date:
- June 22, 2002
- Author:
CopyrightCOPYRIGHT 2002 Perspectives of New Music. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan. All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)
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RHIAN SAMUEL'S REVIEW of Audible Traces: gender, identity, and music, edited by Lydia Hamessley and me, has many inaccuracies. (See Perspectives of New Music, Vol. 40, no. 1, pages 235-40.) Far more objectionable is Ms. Samuel's negligence: namely, or apparently, Ms. Samuel neither read the book attentively nor, as she has in fact indicated (238), did she listen with care to the CD (music / consciousness /gender by Benjamin Boretz). As early as the second sentence of the review, Ms. Samuel's non-reading became painfully evident: "An analogy is drawn between book and bedcover by editor (/photographer) Lydia Hamessley..." (235). But on page xx in Intro 2 of the book ...
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Article: EDWARD TONER CONE
Proceedings of the American Philosophical Society;
March 1, 2007 ;
700+ words
... ... during an interview in 2003, he simply called himself a musician. As editor and advocate of new music, Ed co-edited with Benjamin Boretz four important collections of essays on twentieth-century music and music theory. He also served as co-editor of the ...
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