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1 Hawthorne Music- History and Criticism

Audio Culture: Readings in Modern Music

by

Audio Culture: Readings in Modern Music Cover

 

Synopses & Reviews

Publisher Comments:

The groundbreaking Audio Culture: Readings in Modern Music (Continuum; September 2004; paperback original) maps the aural and discursive terrain of vanguard music today. Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture.Via writings by philosophers, cultural theorists, and composers, Audio Culture explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, Ambient music, HipHop, and Techno. Instead of focusing on the putative "crossover" between "high art" and "popular culture," Audio Culture takes all of these musics as experimental practices on par with, and linked to, one another. While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical.Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Glenn Gould, Umberto Eco, Ornette Coleman, Jacques Attali, Simon Reynolds, Pauline Oliveros, Paul D. Miller, David Toop, John Zorn, Karlheinz Stockhausen, and many others. The book is divided into nine thematically-organized sections, each with its own introduction. Section headings include topics such as "Modes of Listening," "Minimalisms," and "DJ Culture." In addition, each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts. The book concludes with a glossary, a timeline, and an extensive discography.

Synopsis:

The groundbreaking Audio Culture: Readings in Modern Music (Continuum; September 2004; paperback original) maps the aural and discursive terrain of vanguard music today. Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture.

Via writings by philosophers, cultural theorists, and composers, Audio Culture explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, Ambient music, HipHop, and Techno. Instead of focusing on the putative "crossover" between "high art" and "popular culture," Audio Culture takes all of these musics as experimental practices on par with, and linked to, one another. While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical.

Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Glenn Gould, Umberto Eco, Ornette Coleman, Jacques Attali, Simon Reynolds, Pauline Oliveros, Paul D. Miller, David Toop, John Zorn, Karlheinz Stockhausen, and many others. The book is divided into nine thematically-organized sections, each with its own introduction. Section headings include topics such as "Modes of Listening," "Minimalisms," and "DJ Culture." In addition, each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts. The book concludes with a glossary, a timeline, and an extensive discography.

Synopsis:

Rather than offering a history of contemporary music, this book traces the genealogy of contemporary musical practices and theoretical concerns, connecting recent musical practices and earlier moments of experimentation.

Table of Contents

<i><font face=Helvetica-Oblique size=1><br/><p align=left>Acknowledgments </i></font><font face=Helvetica size=1>viii</p></font><i><font face=Helvetica-Oblique size=1><br/><p align=left>Sources and Permissions </i></font><font face=Helvetica size=1>ix</p></font><i><font face=Helvetica-Oblique size=1><br/><p align=left>Introduction: Music and the New Audio Culture </i></font><font face=Helvetica size=1>xiii</p></font><b><font face=Helvetica-Bold color=#9a9a9a><br/><p align=left>Part One: THEORIES</p></font><font face=Helvetica-Bold size=1><br/><p align=left>I. Music and Its Others: Noise, Sound, Silence</p></b></font><font face=Helvetica size=1><br/><p align=left>Introduction 5</p><br/><p align=left>1. Jacques Attali, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>Noise and Politics</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>7</p><br/><p align=left>2. Luigi Russolo, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>The Art of Noises: Futurist Manifesto</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>10</p><br/><p align=left>3. Morton Feldman, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>Sound, Noise, Vare`se, Boulez</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>15</p><br/><p align=left>4. Edgard Vare`se, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>The Liberation of Sound</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>17</p><br/><p align=left>5. Henry Cowell, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>The Joys of Noise</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>22</p><br/><p align=left>6. John Cage, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>The Future of Music: Credo</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>25</p><br/><p align=left>7. R. Murray Schafer, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>The Music of the Environment</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>29</p><br/><p align=left>8. Mark Slouka, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>Listening for Silence: Notes on the Aural Life</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>40</p><br/><p align=left>9. Mary Russo and Daniel Warner, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>Rough Music, Futurism, and</p><br/><p align=left>Postpunk Industrial Noise Bands</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>47</p><br/><p align=left>10. Simon Reynolds, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>Noise</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>55</p><br/><p align=left>11. </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>The Beauty of Noise: An Interview with Masami Akita of Merzbow</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>59</p></font><b><font face=Helvetica-Bold size=1><br/><p align=left>II. Modes of Listening</p></b></font><font face=Helvetica size=1><br/><p align=left>Introduction 65</p><br/><p align=left>12. Marshall McLuhan, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>Visual and Acoustic Space</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>67</p><br/><p align=left>13. Hanns Eisler & Theodor Adorno, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>The Politics of Hearing</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>73</p><br/><p align=left>14. Pierre Schaeffer, &</font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>Acousmatics</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>76</p><br/><p align=left>15. Francisco Lo</font><font face=Helvetica size=1>´</font><font face=Helvetica size=1>pez, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>Profound Listening and Environmental Sound</p><br/><p align=left>Matter</font><font face=Helvetica size=1> </font><font face=Helvetica size=1>82</p><br/><p align=left>16. Ola SStockfelt, </font><font face=Helvetica size=1>‘‘</font><font face=Helvetica size=1>Adequate Modes of Listening</font><font face=Helvetica size=1> &

Product Details

ISBN:
9780826416155
Author:
COX, CHRISTOPHER (ED
Editor:
Warner, Daniel
Editor:
Cox, Christoph
Editor:
Warner, Daniel
Author:
Cox, Christoph
Author:
Warner, Daniel
Publisher:
Bloomsbury Academic
Location:
N
Subject:
History & Criticism - General
Subject:
Instruction & Study - Theory
Subject:
Music -- History and criticism.
Subject:
Popular Culture
Copyright:
Edition Description:
Trade paper
Publication Date:
August 2004
Binding:
TRADE PAPER
Language:
English
Pages:
472
Dimensions:
234 X 156 in.

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Related Subjects

Arts and Entertainment » Music » General
Arts and Entertainment » Music » General History
Arts and Entertainment » Music » History and Criticism
Arts and Entertainment » Music » Instruction and Study » Music Appreciation
Arts and Entertainment » Music » Instruction and Study » Theory
Health and Self-Help » Self-Help » General

Audio Culture: Readings in Modern Music Used Trade Paper
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Product details 472 pages Continuum International Publishing Group - English 9780826416155 Reviews:
"Synopsis" by ,
The groundbreaking Audio Culture: Readings in Modern Music (Continuum; September 2004; paperback original) maps the aural and discursive terrain of vanguard music today. Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture.

Via writings by philosophers, cultural theorists, and composers, Audio Culture explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, Ambient music, HipHop, and Techno. Instead of focusing on the putative "crossover" between "high art" and "popular culture," Audio Culture takes all of these musics as experimental practices on par with, and linked to, one another. While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical.

Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Glenn Gould, Umberto Eco, Ornette Coleman, Jacques Attali, Simon Reynolds, Pauline Oliveros, Paul D. Miller, David Toop, John Zorn, Karlheinz Stockhausen, and many others. The book is divided into nine thematically-organized sections, each with its own introduction. Section headings include topics such as "Modes of Listening," "Minimalisms," and "DJ Culture." In addition, each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts. The book concludes with a glossary, a timeline, and an extensive discography.

"Synopsis" by , Rather than offering a history of contemporary music, this book traces the genealogy of contemporary musical practices and theoretical concerns, connecting recent musical practices and earlier moments of experimentation.

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