Download Noise: The Political Economy of Music (Theory and History by Jacques Attali PDF

By Jacques Attali

“Noise is a version of cultural historiography. . . . In its normal theoretical argument at the kinfolk of tradition to economic system, but additionally in its really good focus, Noise has a lot that's of value to serious idea today.” SubStance“For Attali, track isn't easily a mirrored image of tradition, yet a harbinger of swap, an anticipatory abstraction of the form of items to return. The book’s identify refers particularly to the reception of musics that sonically rival normative social orders. Noise is Attali’s metaphor for a large, historic vanguardism, for the unconventional soundscapes of the western continuum that categorical structurally the process social development.” EthnomusicologyJacques Attali is the writer of diverse books, together with Millennium: Winners and Losers within the Coming global Order and Labyrinth in tradition and Society.

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Extra info for Noise: The Political Economy of Music (Theory and History of Literature)

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39 After the process of identical repetition has extended to the whole of production, the end of differences unbridles violence and shatters all codes. Composition can then emerge. Composition, nourished on the death of codes. Thus, there exist in the nature of codes mechanisms that entail their rupture and the emergence of new networks. But this destruction of codes is reinforced by the dynamic of the link between music and money. Each code or network entertains specific relations with money.

Unless the penitents are accompanied by the Lamentations, or there is a hidden musician giving rhythm to the round dance. This configuration of music, simultaneously visible and hidden, makes legible a cartography of the four essential forms of its political economy. While it visibly accompanies Festival, a simulacrum of the pagan sacrifice, and the Carnival parade of Masks, it is barely perceivable in the procession of the Penitents and the Round Dance. Festival, Masks, Penitents, Round Dance.

At what stage in the production of a musical work is money produced? Does that stage vary according to the network and can the rupture of networks be explained by it? This economic problem is a complex one, because a musical work is an abstract form produced in several steps, which are structured differently depending on the the network within which the work is inscribed: First, the composer produces a program, a mold, an abstract algorithm. The score he writes is an order described for an operator-interpreter.

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