About the Author

ROBERT WALSER is Professor and Chairman of Musicology at UCLA. He is editor of Keeping Time: Readings in Jazz History (Oxford University Press, 1999) and of the journal American Music.

Reviews

Rolling Stone"

SF Weekly"

The Nation"

Washington Post"

"Making surprising connections to classical forms and debunking stereotypes of metal's musical crudity, Walser delves enthusiastically into guitar conventions and rituals."--Washington Post

"Running with the Devil takes musicology where it has never gone before; I once saw the chapter on metal guitarists and the classical tradition performed live in a lecture hall, but even on paper it smokes."--SF Weekly

"Walser belongs to a small but influential group of academics trying to reconcile 'high theory' with a streetwise sense of culture . . . an excellent book." --Rolling Stone

"Walser is truly gifted at doing what few critics before him have done: analyzing the music . . . In virtuoso readings of metal music that forge persuasive links between metal and particular classical music traditions, Walser reveals the ways that musical structures themselves are social texts." --The Nation

Rolling Stone"
SF Weekly"
The Nation"
Washington Post"
"Making surprising connections to classical forms and debunking stereotypes of metal's musical crudity, Walser delves enthusiastically into guitar conventions and rituals."--Washington Post
"Running with the Devil takes musicology where it has never gone before; I once saw the chapter on metal guitarists and the classical tradition performed live in a lecture hall, but even on paper it smokes."--SF Weekly
"Walser belongs to a small but influential group of academics trying to reconcile 'high theory' with a streetwise sense of culture . . . an excellent book." --Rolling Stone
"Walser is truly gifted at doing what few critics before him have done: analyzing the music . . . In virtuoso readings of metal music that forge persuasive links between metal and particular classical music traditions, Walser reveals the ways that musical structures themselves are social texts." --The Nation