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Dioses y guitarras: Buscando lo sagrado en la música popular posterior a la década de 1960, tapa dura...-

Texto original
Gods and Guitars : Seeking the Sacred in Post-1960s Popular Music, Hardcover ...
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Como nuevo
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Aproximadamente55,90 EUR
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N.º de artículo de eBay:386219969133
Última actualización el 08 jun 2024 18:47:57 H.EspVer todas las actualizacionesVer todas las actualizaciones

Características del artículo

Estado
Como nuevo: Libro en perfecto estado y poco leído. La tapa no tiene desperfectos y si procede, con ...
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
Author
Michael J. Gilmour
Item Weight
17.5 Oz
Item Width
6 in
Number of Pages
216 Pages

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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
Publication Name
Gods and Guitars : Seeking the Sacred in Post-1960s Popular Music
Language
English
Publication Year
2020
Subject
General, Genres & Styles / Rock, Genres & Styles / Pop Vocal
Type
Textbook
Subject Area
Music, Religion
Author
Michael J. Gilmour
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
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 Edition
22
CLASSIFICATION_METADATA
{"IsNonfiction":["No"],"IsOther":["No"],"IsAdult":["No"],"MuzeFormatDesc":["Hardcover"],"IsChildren":["No"],"Genre":["RELIGION","MUSIC"],"Topic":["Genres & Styles / Rock","Genres & Styles / Pop Vocal","General"],"IsTextBook":["Yes"],"IsFiction":["No"]}
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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