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Listening Through the Noise: The Aesthetics of Experimental Electronic Music

by

Listening Through the Noise: The Aesthetics of Experimental Electronic Music Cover

 

Synopses & Reviews

Publisher Comments:

Electronic music since 1980 has splintered into a dizzying assortment of genres and subgenres, communities and subcultures. Given the ideological differences among academic, popular, and avant-garde electronic musicians, is it possible to derive an aesthetic theory that accounts for this variety? And is there even a place for aesthetics in twenty-first-century culture? This book explores genres ranging from techno to electroacoustic music, from glitch to drone music, and from dub to drones, and maintains that culturally and historically informed aesthetic theory is not only possible but indispensable for understanding electronic music.

The abilities of electronic music to use preexisting sounds and to create new sounds are widely known. This book proceeds from this starting point to consider how electronic music changes the way we listen not only to music, but to sound itself. The common trait in recent experimental electronic music is a concern with whether sound, in itself, bears meaning. The use of previously undesirable materials like noise, field recordings, and extremely quiet sounds has contributed to electronic music's destruction of the "musical frame", the conventions that used to set apart music from the outside world. In the void created by the disappearance of the musical frame, different philosophies for listening have emerged. Some electronic music genres insist upon the inscrutability and abstraction of sound. Others maintain that sound functions as a sign pointing to concepts or places beyond the work. But all share an approach towards listening that departs fundamentally from the expectations that have governed music listening in the West for the previous five centuries.

About the Author

Joanna Demers writes on aesthetics, technology, and intellectual property in post-1945 music. She is Associate Professor of Musicology at the University of Southern California.

Table of Contents

Acknowledgements

Introduction

Part One: Sign

Chapter One: Listening to Signs in Post-Schaefferian Electroacoustic music

Chapter Two: Material As Sign In Electronica

Part Two: Object

Chapter Three: Minimal Objects In Microsound

Chapter Four: Maximal Objects in Drone Music, Dub Techno, and Noise

Part Three: Situation

Chapter Five: Site in Ambient, Soundscape, and Field Recordings

Chapter Six: Genre, Experimentalism, and the Musical Frame

Conclusion

Notes

Glossary

Bibliography

Discography

Product Details

ISBN:
9780195387650
Author:
Demers, Joanna
Publisher:
Oxford University Press, USA
Author:
DeMers, Joanna Teresa
Author:
DeMers, Joanna
Author:
null, Joanna
Subject:
Electronic music -- History and criticism.
Subject:
Music -- Philosophy and aesthetics.
Subject:
Musical Instruments - Keyboard
Subject:
Genres & Styles - Electronic
Subject:
Instruction & Study - Appreciation
Subject:
Electronic & Computer
Subject:
Music | Music History, Western | Contemporary
Subject:
Music-Folk Instruments
Subject:
Music-MIDI and Electronic
Copyright:
Publication Date:
20100731
Binding:
HARDCOVER
Grade Level:
Professional and scholarly
Language:
English
Pages:
216
Dimensions:
6.100 x 9.100 in 0.706 lb

Related Subjects

Arts and Entertainment » Music » Genres and Styles » Electronic
Arts and Entertainment » Music » Instruction and Study » Music Appreciation
History and Social Science » Politics » General
Humanities » Philosophy » Aesthetics
Humanities » Philosophy » General

Listening Through the Noise: The Aesthetics of Experimental Electronic Music New Hardcover
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