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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Page 1 of 1 Start over Page 1 of 1. A musicology professor of mine recommended I use this book in a presentation I gave on aesthetics. Buy the selected items together This item: Dec 09, Jim rated it it was amazing Shelves: Takes some serious commitment to read, but every lover of music should do just that!
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Noise: The Political Economy of Music – Jacques Attali – Google Books
Mar 06, e. This was to collect money for the composers for their works which were being published in song books and used in mechanical playback machines, but for which the original composers were not being paid.
Is there any music here, Attali wonders, or is there only silence? An economist writes about music history, and how the art form is predictive of socio-economic movements throughout human history. Economically, the new technology creates a supply of a product, but it must also create a demand for an object that outlasts its use. As barter is replaced by money, money replaces exchange-time. Its styles and economic organization are ahead of the rest of society because it explores, much faster than material reality can, the entire range of possibilities in a given code.
Noise is a model of cultural historiography. No trivia or quizzes yet. In April he became the first President of the London-based European Bank for Reconstruction and Development, the financial institution established by western governments to assist the countries of eastern and central Europe and the former Soviet Union in their transition to democratic market economies.
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.
Classical Net Review – Attali – Noise: The Political Economy of Music
How is music connected with this process? His answer is rather abstract and future oriented based on previous models that repeated during the history, and finally showed him clearly correlation between music and society: Attali thinks that he can make predictions about capitalism based on some recent that is, s! Attali believes that music has gone through four distinct cultural stages in its history: To control this threat, society was forced to designate scapegoats, which were actually or symbolically sacrificed to channel this potential violence.
If you are a seller for this product, would you like to suggest updates through seller support? For this reason musicians, even when officially recognized, are dangerous, disturbing, and subversive; for this reason it is impossible to separate their history from that of repression and surveillance.
Within organized society before exchange that is, prior to capitalismmusic was a ritual murder. Nor is Attali addressing the specific way that a nation is politically nokse, such as the way that the British political system differs from the American system.
There must be a scapegoat a sacrificial victim toward whom we channel the violence that we sacrifice. In short, “representation leads to exchange and harmony. Want to Read Currently Reading Read. His discussion of poiltical th century music, both popular especially in France and “classical,” is especially illuminating.
Pages with related products. A really good economic twist on music history. Its challenge nojse calcified critical thinking is undeniable.
The birth of publishing rights. Mar 22, Jim rated it it was amazing Shelves: Want to Read saving….
Jacques Attali. Noise: The Political Economy of Music.
Underneath, of course, the “sacrificial” aspect of music also jjacques on: He claims listening to music is listening to all noise, which makes one believe that its appropriation and control is a reflection of power, that it is essentially political. So relations are enacted through music that will eventually come to inform other areas of society, including economics and government.
Asks more questions than it answers, but hey, you’ll gain new persepective. Deviations arise illegal broadcasting, illegal copyingsuggesting a radical subversion of the system of stockpiling.
During this era, Attali characterizes music as being a spectacle that is contrasted to silence—think of the hushed anticipation that greets the professional performer in the concert hall. Jul 06, Jess rated it it was amazing Recommends it for: Lent is the right zone.
Specifically, music is said by Attali to have been first created as a way to commit symbolic violence against the other, to preempt the need for ritual murder which in “ancient” societies was the act that identified a scapegoat, an other, thereby giving everyone else a sense of tr In sum, the history of music should be rewritten as a political effort to channel violence through noise, which by its nature is unwieldy and acts as a safety valve, to put it too simply.
In Brueghel’s painting, repeating is symbolized by the four figures playing catch with the pottery. The use-value of spectacle involves parallel developments of music.
At the same time, though the book fails, it does fail in interesting ways. For the classical repertory, it means the danger… of imposing all of the aesthetic criteria of repetition—made of rigor and cold calculation—upon representation.
Mar 20, Benjamin Klein rated it it was amazing Recommends it for: As a consequence, we end up with the second factor undermining the book, a series of unsubstantiated generalizations such as music is ritualized human sacrifice. 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. In other words, Attali predicts a future in which people will write and enjoy their own music, the way people in some communities are already growing and harvesting their own food.