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Titel och upphov Audio culture : readings in modern music
Utgivning, distribution etc. Continuum , New York : 2004
Utgivningsår
SAB klassifikationskod
Fysisk beskrivning
Anmärkning: Bibliografi etc. Includes discography, bibliographical references, and index.
Anmärkning: Innehållsbeskrivning, sammanfattning Over the past few decades, a new audio culture has emerged, a culture of making and thinking about music and sound that disregards conventional categories and oppositions still operative in the academy and the mainstream music industry alike. Via writings by key philosophers, cultural theorists and composers, this book explores the interconnections among such forms as Minimalism, Indeterminacy, musique concrete, Improvised music, the Classical avant garde, Experimental music, Avant-Rock, Dub reggae, Ambient music, Hip hop, and Techno. They demonstrate the way these musics constantly cross-pollinate each other, transgressing generic boundaries, and how contemporary composers, producers, and musicians now work within complex networks of association and influence
Term
ISBN 0-8264-1614-4 (inb.) 0-8264-1614-4 0-8264-1615-2 (hft.) 0-8264-1615-2
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*520 $aOver the past few decades, a new audio culture has emerged, a culture of making and thinking about music and sound that disregards conventional categories and oppositions still operative in the academy and the mainstream music industry alike. Via writings by key philosophers, cultural theorists and composers, this book explores the interconnections among such forms as Minimalism, Indeterminacy, musique concrete, Improvised music, the Classical avant garde, Experimental music, Avant-Rock, Dub reggae, Ambient music, Hip hop, and Techno. They demonstrate the way these musics constantly cross-pollinate each other, transgressing generic boundaries, and how contemporary composers, producers, and musicians now work within complex networks of association and influence
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Audio Culture: Readings in Modern Music attempts to map the aural and discursive terrain of vanguard musical culture today. Over the past few decades, a new audio culture has emerged, a culture of making and thinking about music and sound that disregards conventional categories and oppositions still operative in the academy and the mainstream music industry alike. Via writings by key philosophers, cultural theorists and composers, this book explores the interconnections among such forms as Minimalism, Indeterminacy, musique concrete, Improvised Music, the Classical Avant Garde, Experimental Music, Avant-Rock, Dub Reggae, Ambient Music, Hip Hop, and Techno. T transgressing generic boundaries, and how contemporary composers, producers, and musicians now work within complex networks of association and influence: New York art rockers Sonic Youth release a CD of works by John Cage and other avant-garde experimentalists; Bjork interviews Karlheinz Stockhausen for a music magazine and Derek Bailey, the septuagenarian founder of Free Improvisation, collaborates with Drum 'n' Bass producers. Each chapter opens with an introduction that situates and interconnects the writings to follow and concludes with an extensive bibliography and discography. The book also includes a comprehensive glossary of terms and phrases such as 'Ambient, ' 'Dub, ' 'just intonation, ' and 'modal improvisatio
Acknowledgments p. viii Sources and Permissions p. ix Introduction: Music and the New Audio Culture p. xiii Theories Music and Its Others: Noise, Sound, Silence Introduction p. 5 "Noise and Politics" p. 7 "The Art of Noises: Futurist Manifesto" p. 10 "Sound, Noise, Varese, Boulez" p. 15 "The Liberation of Sound" p. 17 "The Joys of Noise" p. 22 "The Future of Music: Credo" p. 25 "The Music of the Environment" p. 29 "Listening for Silence: Notes on the Aural Life" p. 40 "Rough Music, Futurism, and Postpunk Industrial Noise Bands" p. 47 "Noise" p. 55 "The Beauty of Noise: An Interview with Masami Akita of Merzbow" p. 59 Modes of Listening Introduction p. 65 "Visual and Acoustic Space" p. 67 "The Politics of Hearing" p. 73 "Acousmatics" p. 76 "Profound Listening and Environmental Sound Matter" p. 82 "Adequate Modes of Listening" p. 88 "Ambient Music" p. 94 "The Aural Walk" p. 98 "Some Sound Observations" p. 102 "Compose Yourself" p. 107 Music in the Age of Electronic (Re)production Introduction p. 113 "The Prospects of Recording" p. 115 "The Studio as Compositional Tool" p. 127 "Bettered by the Borrower: The Ethics of Musical Debt" p. 131 "Plunderphonia" p. 138 "Operating System for the Redesign of Sonic Reality" p. 157 Practices The Open Work Introduction p. 165 "The Poetics of the Open Work" p. 167 "Composition as Process: Indeterminacy" p. 176 "Visual Sounds: On Graphic Scores" p. 187 "Transformations and Developments of a Radical Aesthetic" p. 189 "The Game Pieces" p. 196 "Introduction to Catalog of Works" p. 201 Experimental Musics Introduction p. 207 "Towards (a Definition of) Experimental Music" p. 209 "Introduction to Themes & Variations" p. 221 "Generating and Organizing Variety in the Arts" p. 226 "A Scratch Orchestra: Draft Constitution" p. 234 "The Generation Game: Experimental Music and Digital Culture" p. 239 Improvised Musics Introduction p. 251 "Change of the Century" p. 253 "Free Improvisation" p. 255 "Little Bangs: A Nihilist Theory of Improvisation" p. 266 "Improvised Music After 1950: Afrological and Eurological Perspectives" p. 272 Minimalisms Introduction p. 287 "Rap, Minimalism, and Structures of Time in Late Twentieth-Century Culture" p. 289 "Thankless Attempts at a Definition of Minimalism" p. 299 "Music as a Gradual Process" p. 304 "Basic Concepts of Minimal Music" p. 307 "LYssophobia: On Four Violins" p. 313 "Digital Discipline: Minimalism in House and Techno" p. 319 DJ Culture Introduction p. 329 "Production-Reproduction: Potentialities of the Phonograph" p. 331 "The Invisible Generation" p. 334 "Record, CD, Analog, Digital" p. 341 "Algorithms: Erasures and the Art of Memory" p. 348 "Replicant: On Dub" p. 355 "Post-Rock" p. 358 Electronic Music and Electronica Introduction p. 365 "Introductory Remarks to a Program of Works Produced at the Columbia-Princeton Electronic Music Center" p. 367 "Electronic and Instrumental Music" p. 370 "Stockhausen vs. the 'Technocrats'" p. 381 "Breakthrough Beats: Rhythm and the Aesthetics of Contemporary Electronic Music" p. 386 "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music" p. 392 Chronology p. 399 Glossary p. 409 Selected Discography p. 419 Selected Bibliography p. 427 Notes for Quotations p. 445 Index p. 448