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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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Noise: The Political Economy of Music – Wikipedia

Search Site only in current section. By gradual steps, the royal control of copyright becomes private ownership of the musical work. Fredric Jameson is professor of literature at Duke University. It probably sounded like a wild idea 30 years economj, but with the wide availability of things like Garage Band and WiiMusic, he may not be far off the mark. His discussion of 19 th century music, both thw especially in France and “classical,” is especially illuminating. We must remember that he was writing in the s; what he would have to say about the situation two decades later, and especially about the possible effects of personal computers and the Internet on music, is hard to tell.

According to Attali, noise is the source of power and the power has always listened to it with fascination. A Brief History of the Future: Aug 16, Tiny Pants rated it liked it Shelves: The emergence of the two types is supported by the increasing social control of noise.


Attali makes sweeping claims for music’s ability to forecast future economic structures, but doesn’t provide a lot of detailed evidence. Cultural Origins of Sound Reproduction. The value of sacrifice why we accept it tje the pure order that it offers as an antidote to the general violence of carnival.

If a new edition is printed, please revise the translation!! It explains lot of past discoloration and suggests our Obamasque post traumatic socio-economic disorder. For email, click here. The musci thing common to all music is that it gives structure to noise. 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.

There was a problem filtering reviews right now. Royal power shifts to music publishers. It will serve as an inspiration, as a philosophical foundation for politically conscious artists, and as an encouragement to develop counterinstitutions in the world of music.

Noise: The Political Economy of Music

Jacques Attali is a French economist and scholar. The image of this future utopia in contemporary music he finds in such phenomena as an increasing number of amateur musical organizations, free jazz, and new orally transmitted and improvised music bubbling up from the oppressed margins of society “the workers of the big industrial cities, Black American ghettos, Jamaican shantytowns, Greek neighborhoods, etc.

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This was reflected in society with the industrial revolution, where labour was also abstracted from ones own form of npise and sold as an hourly commodity. It is a translated text though and can sometimes get dense and challenging to follow.

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Jacques Attali. Noise: The Political Economy of Music.

There is no clear distinction between consumption and production. Sep 23, Sheikhah rated it it was amazing. Aug 30, Michael rated macques it was ok.

The artist was born, at the same time that his work went on sale…” Attali, It is undertaken solely for the pleasure of the person who does it its “producer”. The aim is to make people forget that normalcy order has triumphed over carnival freedom.

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

Because the production of music requires no labor, humanity can mold it infinitely almost as soon as it imagines some new political possibility. In Brueghel’s painting, repeating is symbolized by the four figures playing catch with the pottery. But noise does in fact create a meaning: These predictions are made in Chapter 5. It is too bad, because there is a lot of value in this text, but its language is holding it back from reaching a wider audience, which is sort of ironic since Attali urges renewed study and composition of music by non-specialists.

Jacques Attali is the author of numerous books, including Millennium: Doesn’t sound as interesting as it really is. See all 7 reviews.

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