Arcana II: Musicians on Music

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Short Description:

In his preface to the first Arcana: Musicians on Music (2000), avant-garde composer and saxophone player John Zorn wrote: This book exists to correct an unfortunate injustice, the incredible lack of insightful critical writing about a significant generation of the best and most important work of the past two decades. That the injustice was repaired by that collection was h In his preface to the first Arcana: Musicians on Music (2000), avant-garde composer and saxophone player John Zorn wrote: This book exists to correct an unfortunate injustice, the incredible lack of insightful critical writing about a significant generation of the best and most important work of the past two decades. That the injustice was repaired by that collection was happily affirmed by its subsequent success. The range of writing--from the technical to the aphoristic/diaristic--demonstrated that sometimes critical writing on music can inspire as much as it can explicate. As Zorn acknowledged, though, Arcana was also a first step. Now Arcana II, also edited by Zorn, extends the scope of its predecessor, compiling further essential writing by luminaries of contemporary improvisation and composition such as Butch Morris, Evan Parker, Marina Rosenfeld, Ned Rothenberg, Sylvie Courvoisier, Steve Coleman, Dave Douglas, Annie Gosfield, Jim O'Rourke, Milford Graves, Zeena Parkins, Bill Laswell and Uri Caine. ...more

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Comments

Devin

Through these Arcana volumes John Zorn is addressing a much needed resource for documenting the thinking and writings of people passionately involved in making music within an underground culture. By necessity, these essays are uneven. The open inclusiveness of these writings brings with it the good and the bad. What is striking is the presence of academic writings of frustrating opacity along side less formal (and often undisciplined) writings of striking clarity. There are also densely academi Through these Arcana volumes John Zorn is addressing a much needed resource for documenting the thinking and writings of people passionately involved in making music within an underground culture. By necessity, these essays are uneven. The open inclusiveness of these writings brings with it the good and the bad. What is striking is the presence of academic writings of frustrating opacity along side less formal (and often undisciplined) writings of striking clarity. There are also densely academic writings written with almost lyrical appeal along side less disciplined writings with all the frustrating opacity of any peer-review journal submission. What emerges is the sometimes messy and inspired collection of ideas that animate composers. An invaluable insight into what makes the "downtown" scene tick.


Onsetsu Evan Cordes

Plenty of great info in here about composing, playing, theater, etc.


Lauri Hyvärinen

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