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Noise: The Political Economy of Music (Theory and History of Literature, Vol. 16) [ Jacques Attali, Brian Massumi, Susan McClary] on *FREE*. The Audible Past by Jonathan Sterne Noise by Jacques Attali The Soundscape by R. Murray Schafer Noise Uprising by Michael Denning Your Playlist Can. Listening – Sacrificing – Representing – Repeating – Composing – The politics of silence and sound, by Susan McClary.

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It’s jacquds bit convoluted at times, but does have a lot of interesting historical digressions, like about the history of copyright law in France yes, I’m a nerd.

Dec 06, Rick rated it it was amazing Shelves: He claims listening to music is listening to all noise, which makes one believe that its appropriation and control is a reflection of power, that it is essentially political.

The fourth and final stage of the musical production cycle nkise terms ‘Compositional’.

Attali’s Noise

Eurobank who likes Eric Clapton: Theory and History of Literature, Volume First, as a materialist history of music, the book takes in a much too broad aesthetic category over a too large period of time. I read this for class. Mar 22, Jim wttali it it was amazing Shelves: Despite all his irritating generalizations and dubiously overstated claims, Attali may really have been on to something here.


Mar 06, e. Within the festival we see a simulacrum of pagan sacrifice.

Views Read Edit View history. For Attali, the crucial development is the invention of the phonograph, the radio, and other means of mechanical and now, electronic reproduction and dissemination: In Brueghel’s painting, composing is symbolized by the ring dance. As another technology breaks the existing order – the phonograph – and the move into the Repetition network stage, the musicians and publishers were upset at not being paid for recordings taken of performances, and from here the need for mechanical copyright arises.

During this period, notation which could be thought of as a highly coded, written guide to how music should be sounded was replaced by recording which is the sounding of music, trapped and preserved on vinyl, tape or disc.

Jul 09, Jessica added it. Representing refers to the era of printed music—roughly AD.

Attali’s Noise – The Pinocchio Theory

As political events, the American Revolution and then the French Revolution follow the demand for liberation of composers. Attali’s essential argument in Noise: This is the only musician actually shown in Brueghel’s painting. Instead of being a relation, it was no longer anything more than a monologue of specialists competing in jacquess of consumers.

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But this kind of analysis cannot account for the contemporary “noise” aesthetic common among artists regardless of political leaning. Doesn’t sound as interesting as it really is.


The problem, of course, is how to follow it up. Though the pamphlet was part of a deliberately constructed scandal, which was designed to embarrass, attzli not topple, the ruling class — for Censor was not, as he claimed, a member of the ruling class to which he addressed himself, but the situationist revolutionary Gianfranco Sanguinetti writing under a pseudonym — incredibly, Jacques Attali uses it as a relatively straight-forward source of good practical advice on the running of a modern State such as France!

This effort is as old as power.

Noise — University of Minnesota Press

What is noise to the old order is harmony to the new. Noise Jacques Nojse No preview available – Attali calls jacqued chapter Repeatingthen, because each musical act is a repetition of what came before: During this era, music becomes tied to a physical medium for the first time, and therefore becomes a commodity for sale in the marketplace. Music must become a commodity, produced to be exchanged for money.

In composition, he presents quite a strongly optimistic view of society in which each person is personally responsible and powerful, living in the moment and taking pleasure in the act of production.


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