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Gods and Guitars : Seeking the Sacred in Post-1960s Popular Music, couverture rigide...
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Numéro de l'objet eBay :386219969133
Dernière mise à jour le 30 juil. 2024 09:53:46 CEST. Afficher toutes les modificationsAfficher toutes les modifications
Caractéristiques de l'objet
- État
- Book Title
- Gods and Guitars : Seeking the Sacred in Post-1960s Popular Music
- ISBN
- 9781481314831
- Subject Area
- Music, Religion
- Publication Name
- Gods and Guitars : Seeking the Sacred in Post-1960s Popular Music
- Publisher
- Baylor University Press
- Item Length
- 9 in
- Subject
- General, Genres & Styles / Rock, Genres & Styles / Pop Vocal
- Publication Year
- 2020
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 0.6 in
- Item Weight
- 17.5 Oz
- Item Width
- 6 in
- Number of Pages
- 216 Pages
À propos de ce produit
Product Identifiers
Publisher
Baylor University Press
ISBN-10
1481314831
ISBN-13
9781481314831
eBay Product ID (ePID)
20050094243
Product Key Features
Number of Pages
216 Pages
Language
English
Publication Name
Gods and Guitars : Seeking the Sacred in Post-1960s Popular Music
Subject
General, Genres & Styles / Rock, Genres & Styles / Pop Vocal
Publication Year
2020
Type
Textbook
Subject Area
Music, Religion
Format
Hardcover
Dimensions
Item Height
0.6 in
Item Weight
17.5 Oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Scholarly & Professional
Dewey Edition
22
Reviews
What do Salman Rushdie and literary criticism have to do with rock music? For Gilmour (Call Me the Seeker: Listening to Religion in Popular Music), these things are very much related. The author believes that song lyrics can sometimes stand on their own apart from music, and moreover, they can reveal something about an artist's religious and spiritual views. This may not appear at first to be an enlightened perspective, but the author's artful use of Rushdie's fiction clearly shows how it is possible. The usual suspects in the religion and rock conversation (U2, Springsteen) are not as prominent, leaving room for more obscure but equally vital musicians like Daniel Lanois and Burton Cummings. Especially constructive is the chapter Outrageous Religion, about the influence of sexuality and the occult on some styles of rock music, such as heavy metal. The author also ventures into Hindu and Muslim influences on rock music, a foray that few scholars have attempted. His treatment enriches the dialogue between religion and rock well beyond the usual Judeo-Christian interpretations. Tune in, read on and enjoy. -- "Publishers Weekly", What do Salman Rushdie and literary criticism have to do with rock music? For Gilmour (Call Me the Seeker: Listening to Religion in Popular Music), these things are very much related. The author believes that song lyrics can sometimes stand on their own apart from music, and moreover, they can reveal something about an artist?s religious and spiritual views. This may not appear at first to be an enlightened perspective, but the author?s artful use of Rushdie?s fiction clearly shows how it is possible. The usual suspects in the religion and rock conversation (U2, Springsteen) are not as prominent, leaving room for more obscure but equally vital musicians like Daniel Lanois and Burton Cummings. Especially constructive is the chapter "Outrageous Religion," about the influence of sexuality and the occult on some styles of rock music, such as heavy metal. The author also ventures into Hindu and Muslim influences on rock music, a foray that few scholars have attempted. His treatment enriches the dialogue between religion and rock well beyond the usual Judeo-Christian interpretations. Tune in, read on and enjoy.
Dewey Decimal
781.64/112
Table Of Content
Introduction: Spirituality in Post-1960s Lyrics Track 1: Religion on Record: Popular Music's Anxiety of Influence Track 2: Church in a Guitar Case: Comfort and Compassion in Popular Music Track 3: Outrageous Religion: Sex, Defiance, and Obsession with the Sacred Track 4: Looking Beyond the Steeple and Menorah Track 5: Fade Out: Stealing from the Sacred and Rewriting Religion
Synopsis
Probing the lyrical canons of seminal artists including Cat Stevens, the Rolling Stones, Bob Dylan, Eric Clapton, Joni Mitchell, Neil Young, U2, Ozzy Osbourne, Pearl Jam, Madonna, and Kanye West, Gilmour considers the ways?and reasons why?pop music's secular poets and prophets adopted religious phrases, motifs, and sacred texts., Though American attitudes toward religion changed dramatically during the 1960s, interest in spirituality itself never diminished. If we listen closely, Michael Gilmour contends, we can hear an extensive religious vocabulary in the popular music of the decades that followed--articulating each generation's spiritual quest, a yearning for social justice, and the emotional highs of love and sex. Probing the lyrical canons of seminal artists including Cat Stevens, the Rolling Stones, Bob Dylan, Eric Clapton, Joni Mitchell, Neil Young, U2, Ozzy Osbourne, Pearl Jam, Madonna, and Kanye West, Gilmour considers the ways--and reasons why--pop music's secular poets and prophets adopted religious phrases, motifs, and sacred texts.
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