INTRODUCTION. A PRELUDE
In most cases, Asian names are listed with the family name ﬁrst. A few art-
ists (such as Yoko Ono) rose to international attention using the Western
order of their names. In those cases, Western order will be used.
1. S. Craig Werner, A Change Is Gonna Come: Music, Race, and the Soul of
America, revised ed. (Ann Arbor: University of Michigan Press, 2006); Marc
Anthony Neal, What the Music Said: Black Popular Music and Black Public
Culture (New York: Routledge, 1999); Robert Cantwell, When We Were Good:
The Folk Revival (Cambridge, MA: Harvard University Press, 1996).
2. Theodor Adorno, “Late Style in Beethoven” and “Alienated Masterpiece:
The Missa Solemnis,” in Theodor Adorno, Essays on Music, ed. Richard Lep-
pert and trans. Susan H. Gillespie (Berkeley: University of California Press,
3. Dave Hickey, The Invisible Dragon: Essays on Beauty, revised and expanded
ed. (Chicago: University of Chicago Press, 2009), 71. The ellipses take the
place of the qualiﬁer American in the original. I do not ﬁnd a national limit
to this sentiment.
4. Jacques Rancière, The Politics of Aesthetics, trans. Gabriel Rockhill (New
York: Continuum Books, 2004); see esp. 12–19.
5. “Tonally moving forms” is the phrase that Eduard Hanslick used to de-
scribe music’s eﬀects in the absence of any referential content. Eduard
Hanslick, On the Musically Beautiful: A Contribution towards the Revision of
the Aesthetics of Music, trans. Geoﬀrey Payzant (New York: Hackett, 1986).
6. For a critique of the concept of structural listening, see Theodore Gracyk,
Listening to Popular Music; Or, How I Learned to Stop Worrying and Love Led
Zeppelin (Ann Arbor: University of Michigan Press, 2007).
7. Lauren Berlant, The Female Complaint: The Unﬁnished Business of Sentimen-
tality in American Culture (Durham, NC: Duke University Press, 2008), viii;
see esp. vii–x and 5–13.