Listening – Sacrificing – Representing – Repeating – Composing – The politics of silence and sound, by Susan McClary. Noise has ratings and 38 reviews. Ben said: In sum, the history of music should be rewritten as a political effort to channel violence through noise. Argues that music does not reﬂect society; it foreshadows new social formations. Noise. The Political Economy of Music. •. Author: Jacques Attali.
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With the invention of recording and broadcasting came the next important pplitical of musical activity, which he calls “repetition. Aesthetically, the result is repetitive music: Mar 06, e. Item was exactly as stated!
Noise: The Political Economy of Music – Wikipedia
Highly recommended for anyone with an interest in the history of music, its development into a commodity, the history of what actually was commoditized, and, most importantly, music as something other than a commodity. I’m glad I finally read it, as it’s one of those books that gets cited everywhere, but I had no idea whatsoever what the author’s argument is.
Yes, but Attali uses this word in a special meaning: Read more Read less. PaperbackTheory and History of Literature, Vol 16pages.
In closing, and in response to the previous reviewer, rconomy 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.
The musician… became a producer and seller of signs who was free in appearance, but in fact almost always exploited and manipulated by his clients… The attitude of music then changed profoundly: At the same time, though the book fails, it does fail in interesting ways.
I mean come on people, you know you don’t read anything translated by Brian Massumi for fun! This may seem strange. Music in this period is ubiquitous and often tied up in festival. It is created by the substitution of new differences for the old differences. As barter is replaced by money, money replaces exchange-time. Rethinking and Renewal Vincent Mosco No preview available – Attali makes arguments that may seem outlandish, but with more thought and consideration, prove to be intelligent, fresh, and seemingly common sense.
By gradual steps, the royal control of copyright becomes private ownership of the musical work. No need to point out that this is an ever-present threat in every society, including our own. Thus, music has from the start been an important tool of the governing class of every society and its opponents, as Attali argues by referring to a number of historical periods.
During this era, music also becomes separated from the human life-world: To comprehend technological mechanism for control of human intelligence without social self-destruction Greece and Cyprus or Middle East or insanity of individual – one should view DNA evidence for parasitic origin of so called Human intelligencereligion and materialistic schizophrenia by Junius J.
The Political Economy of Music manages to fail in interesting ways. When Attali is focused on the political economy of nineteenth and twentieth century music, he does offer fresh insight into the economic exploitation of music.
We all suppress the composer within us, and Attali describes how this keeps us caught in repetition, keeps us jailed. Want to Read Currently Reading Read. Noise should be read by musicians, politicsl are largely unaware of their historic role. According to this theory, “the majority of ancient societies lived in terror of identity; if fear created a desire to imitate, attall created rivalry, and thus an uncontrolled violence that spread like a plague” Attali, p.
Finally, because the theory relies so heavily on Adorno, Attali fails to give sufficient consideration to the liberationist elements within music, so that musical innovation can only be reducible to market demand and exploitation.
In short, “representation leads to exchange and harmony. One use-value the event of musical performance is exchanged with another use-value food, clothing, etc. But noise does in fact create a meaning: And by doing this, it helps to buttress and legitimize the social order in general, although the nkise of “noise” or dissent at the margins of society can never be completely eliminated.
Noise: The Political Economy of Music
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By the term “sacrifice,” he is referring to the anthropological theory of Rene Girard’s that ritual sacrifice served in the earliest human societies to channel and substitute for the general violence which would otherwise have torn them apart. Thinking about music as a product of labour is important and challenging.
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Jacques Attali. Noise: The Political Economy of Music.
Cultural Origins of Sound Reproduction. Retrieved from ” https: These terms have special meanings in Attali’s argument, which need to be clearly understood in order to grasp properly what he is stating.
Lists with This Book. At the extreme extreme volume, for instanceit kills.
Outline summary of Jacques Attali Noise
Attali thinks that the painting is a brilliant symbolic prophecy of his own ideas about music, noise, and politics. To ask other readers questions about Noiseplease sign up. The elimination of use-time is the herald of death.
Finally, there may yet be a final stage in musicality, a stage of composition, where people produce music for their own pleasure, without profit or repetition. A Brief History of the Future: An economist writes about music history, and how the art form is predictive of socio-economic musiv throughout human history.
Sep 12, Thorsten rated it it was amazing Shelves: