Noise: The Political Economy of Music (Theory and History of Literature) (英語) ペーパーバック – 1985/6
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Noise is a model of cultural historiography. . . . In its general theoretical argument on the relations of culture to economy, but also in its specialized concentration, Noise has much that is of importance to critical theory today. SubStance For Attali, music is not simply a reflection of culture, but a harbinger of change, an anticipatory abstraction of the shape of things to come. The book s title refers specifically to the reception of musics that sonically rival normative social orders. Noise is Attali s metaphor for a broad, historical vanguardism, for the radical soundscapes of the western continuum that express structurally the course of social development. EthnomusicologyJacques Attali is the author of numerous books, including Millennium: Winners and Losers in the Coming World Order and Labyrinth in Culture and Society."
Brian Massumi is Professor in the Department of Communication Sciences at the University of Montreal. He is the author of "Parables for the Virtual: Movement, Affect, Sensation" and "A User's Guide to Capitalism and Schizophrenia: Deviations from Deleuze and Guattari "(MIT Press).
Susan McClary is Professor of Musicology at the University of California, Los Angeles, and author of "Feminine Endings: Music, Gender, and Sexuality" (1991) and "Georges Bizet: Carmen" (1992).
Fredric Jameson is Distinguished Professor of Comparative Literature at Duke University. The author of numerous books, he has over the last three decades developed a richly nuanced vision of Western culture's relation to political economy. He was a recipient of the 2008 Holberg International Memorial Prize. He is the author of many books, including Postmodernism, Or, The Cultural Logic of Late Capitalism, The Cultural Turn, A Singular Modernity, The Modernist Papers, Archaeologies of the Future, Brecht and Method, Ideologies of Theory, Valences of the Dialectic, The Hegel Variations and Representing Capital.
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the subconsciousness of society, validating and testing new social and political realities.
Among the powerful analogies he draws is that of how modern people stockpile musical recordings, in some instances more than can possibly ever listen too, much in the same way nations stockpile weapons. In describing the
evolution of the orchestra he compares the conductor to the king conducting his flanks
of violins and horns with the same dictorial
presence of command as one would dispatch foot
soldiers and calvaries.
Attali clearly has a passion for music drawing
examples from Bach to improvisational jazz. In the end this is an optimistic book, illuminating indications of both social and musical evolution
during the 20th century.
D.L. Jonsson <Reviewer>
Anyway, this book provides valuable insight into the relationship of fringe art/music, and the future of society. Attali postulates that society is founded upon the idea that bad noise must be subverted. Therefore, all forces effecting social change, at some time, have been subverted. Given time though, they find their way into society by way of, here, music, and begin to cause change.
This is a very interesting and well conceived book. A great read for philosophy student and musician alike. It puts a new spin on the effect of music on culture, and the reciprocal relationship between art and society. Good stuff.
In closing, and in response to the previous reviewer, "college isn't taken as seriously as it once was" simply because the hallowed halls are clogged with students who readily dismiss works of sound thought because they don't like having to look up words or work for their own enlightenment.ENDs
If you don't like to read books that use complex sentences and multi-syllabic words, you should not be in higher education in the first place. Attali makes arguments that may seem outlandish, but with more thought and consideration, prove to be intelligent, fresh, and seemingly common sense.
There is a lot of coverage of European classical music in terms of "Who is paying whom" as well as the current recording industry. He also gets some things wrong, such as his coverage of Free Jazz (Carly Bley is black?), to which he nevertheless is sympathetic towards.
Therefore, I don't know how much you can trust his conclusions, but at the same time it gets the reader's mind to consider all sorts of new facets, and that is why this book is great.
It is too bad, because there is a lot of value in this text, but its language is holding it back from reaching a wider audience, which is sort of ironic since Attali urges renewed study and composition of music by non-specialists. Many advanced topics (which this text does not really contain) can be explained to almost anyone if they truly understand a topic. If a new edition is printed, please revise the translation!!