From Publishers Weekly
Just as anything evolves when its setting changes, 20th-century music mutated as it moved beyond the confines of concert halls and into listeners' everyday environs. Thanks to car stereos, headphones, even computers, people now move within their own soundtracks. In this chronology of compositional innovations, Prendergast, an internationally published music writer, details the widening of sonic possibilities with advancements in recording, amplification and electronic instruments, and with the creative talents of hundreds of bold, brilliant composers. He credits Mahler with first evoking the hypnotic "ambient experience of landscape and emotion," kicking off the century of "repetitive conceptual music." Prendergast describes how, after a four-day fast, the sound of a single piano tone proved revelatory for Karlheinz Stockhausen; how sitarist Ravi Shankar influenced everyone from minimalist Philip Glass to the Beatles; how Donna Summer "merged Germanicity with black music's long history"; and how scores of house and techno artists have "moved the focus of the music away from its creators towards the listener." Organized by artist, the book provides suggested "Listenings" for each one, as well as a list of the "Essential 100 Recordings," which recommends ambient guru John Cage's "In a Landscape," megastar Bowie's absorbing "Low" and Goldie's "Timeless," a debut that brought ambient jungle/drum and bass into the mainstream. Talking Heads' producer Brian Eno, a maverick whose own music heavily influenced New Age and ambient house music, gives the book his stamp of approval in his foreword. B&w photos. Agent, Simon Trewin of Drury House, London.
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
Here, Irish music critic Prendergast makes an admirable and largely successful attempt to build bridges between the worlds of contemporary classical and rock music. But as the author never clearly defines or describes the term ambient, the reader is left to infer the connections among composers and genres. Prendergast divides his subject into four large sections: "The Electronic Landscape," "Minimalism, Brian Eno, and the New Simplicity," "Ambience in the Rock Era," and "House, Techno, and Twenty-First Century Ambience." The first is the most problematic section, as many of the observations here are simplistic and the listening lists too quirky and subjective to be useful. Prendergast is on much surer footing in the three subsequent sections, however. The text is packed with a wealth of detailed information and cogent observations on minimalist composers, rock personalities, technological innovations, and movers and shakers in the various worlds of contemporary music. Prendergast has an astonishing grasp of the global scene in popular music and writes with authority and conviction. Despite its flaws, this is an important addition to libraries with holdings in cultural and popular studies.DLarry Lipkis, Moravian Coll. Bethlehem, PA
Copyright 2001 Reed Business Information, Inc.
Copyright 2001 Reed Business Information, Inc.
