JACQUES ATTALI NOISE THE POLITICAL ECONOMY OF MUSIC PDF

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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The result is at times brilliant as it traces the economics of nineteenth and twen As an investigation into the fetishization of music and the regression of listening, Noise: Cultural Origins of Sound Reproduction. Share your thoughts with other customers. Search Site only in current section. We all hum its tunes, mouth its lyrics. Everyone interested in the fate of classical music in the 21 st century, especially, will find Attali’s book a good starting point for further investigation.

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. Listening Awry Music and Alterity in German Culture Highly original observations about the relationship between music and German culture.

Noise: The Political Economy of Music

A great read for philosophy student and musician alike. Amazon Music Stream millions of songs. The artist was born, at the same time that his work went on sale…” Attali, Attali argues that the earliest essential social role of music was to serve as a substitute or simulacrum of sacrifice and perform the same function.

One use-value the event of musical performance is exchanged with another use-value food, clothing, etc. Thinking about music as a product of labour is important and challenging. Deviations arise illegal broadcasting, illegal copyingsuggesting a radical subversion of the system of stockpiling. In a society made up of recording labels and radio stations, far more recordings are produced than an individual can listen to in a lifetime, and in an effort to spend more time in Use-Time than in Exchange-Time people begin to stockpile recordings of what they want to hear.

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Feb 08, Maggie rated it liked it Shelves: They create a demand for the pottery that is unrelated to its intended use.

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

Add both to Cart Add both to List. In other words, Attali predicts a future in which people will wr The idea that music is a manifestation of political politkcal is probably disgusting to most people. English Choose a language for shopping. While this over-arching thesis is compelling, Attali makes other arguments that are far more esoteric that noise is murder and that music is like ritual sacrifice?

That seemed a bit hard to sw absolutely genius book tracing the origin and development of music, but so much more – showing music as a reflection of, and a precedent for, the structure of production within society, by focussing on the relationship between music, power and money.

Jacques Attali. Noise: The Political Economy of Music.

He calls the chapter Sacrificing because in this era, music is a ritualized, structuralized sublimation of the violence of nature. As time went on, music became a representation, a mirror of its original purpose whose aim was to stand as spectacle. The use-value of spectacle involves parallel developments of music. Then, music is a “channelization of noise,” a way of controlling and vanquishing noise by creating a harmonious order in the realm of sound. And by doing this, it helps to buttress and legitimize the social order in general, although the presence of “noise” or dissent at the margins of society can never be completely eliminated.

Is there any music here, Attali wonders, or is there only silence? 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.

As political events, the American Revolution and then the French Revolution follow the demand for liberation of composers. Attali calls this chapter Repeatingthen, because each musical act is a repetition of what came before: Attali postulates that society is founded upon the idea that bad noise must be subverted. Write a customer review. At the extreme extreme volume, for instanceit kills.

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His discussion of 19 th century music, both popular especially in France and “classical,” is especially illuminating. He’s also French, and while Massumi’s translation is well-done and readable, it also captures how academic French tends to make everything sound really fascinating, but also really dull.

Classical Net Review – Attali – Noise: The Political Economy of Music

For example, he quotes the Chinese writer Ssu-ma Ch’ien: Lists with This Book. To achieve this, he draws on an approach heavily influenced by Theodor Adorno and Critical Theory.

Setting themselves apart from everyone else, the dancers make their own music for their own pleasurable activity. Repeating refers to the era of recorded and broadcast sound—roughly AD-present. It is undertaken solely for the pleasure of the person who does it its “producer”. Its challenge to calcified critical thinking is undeniable.

Apr 02, Andre Diehl rated it it was amazing Shelves: The Political Economy of Music. This was reflected in society with the industrial revolution, where labour was also abstracted from ones own form of production and sold as an hourly commodity.

East Dane Designer Men’s Fashion. I agree with the difficulty in the read, but I will blame it on a poor translation than Attali’s writing prowess not that I have compared with the French version.

This was made possible by the advance econmy capitalism and technology.

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