Audio Culture: Readings in Modern MusicPaperback
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- Publisher: Continuum International Publishing Group Ltd.
- Format: Paperback | 416 pages
- Dimensions: 152mm x 226mm x 33mm | 726g
- Publication date: 7 October 2004
- Publication City/Country: London
- ISBN 10: 0826416152
- ISBN 13: 9780826416155
- Edition statement: New.
- Sales rank: 59,902
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. 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: 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 improvisation.'
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Christoph Cox is Associate Professor of Philosophy at Hampshire College, MA. He writes regularly on contemporary art and music for Artforum, The Wire and other magazines. Daniel Warner is Professor of Music at Hampshire College, MA, where he teaches electronic and computer music.
"indispensable .this is a book that should be read in its totality it's truly absorbing stuff." Stuart Nicholson, Jazzwire (UK), February 2005 issue--Sanford Lakoff
Table of contents
Part One: Theories; I. Music and its Others: Noise, Sound, Silence; Introduction / 1. Jacques Attali, Noise and Politics / 2. Luigi Russolo, The Art of Noises: Futurist Manifesto / 3. Morton Feldman, Sound, Noise, Varese, Boulez / 4. Edgard Varese, The Liberation of Sound / 5. Henry Cowell, The Joys of Noise / 6. John Cage, The Future of Music: Credo / 7. R. Murray Schafer, The Music of the Environment / 8. Mark Slouka, Listening for Silence: Notes on the Aural Life / 9. Mary Russo and Dan Wamer, Rough Music, Futurism, and Postpunk Industrial Noise Bands / 10. Simon Reynolds, Noise / 11. The Beauty of Noise: An Interview with Masami Akita of Merzbow; II. Modes of Listening; Introduction / 12. Marshall McLuhan, Visual and Acoustic Space / 13. Hanns Eisler & Theodor Adorno, The Politics of Hearing / 14. Pierre Schaeffer, Acousmatics [first English translation] / 15. Francisco Lopez, Profound Listening and Environmental Sound Matter / 16. Ola Stockfelt, Adequate Modes of Listening / 17. Brian Eno, Amblent Music / 18. Iain Chambers, The Aural Walk / 19. Pauline Oliveros, Some Sound Observations / 20. J.K. Randall, Compose Yourself; III. Music in the Age of Electronic Reproduction; Introduction / 21. Glenn Gould, The Prospects of Recording / 22. Brian Eno, The Studio as Compositional Tool / 23. John Oswaid, Bettered by the Borrower: The Ethics of Musical Debt / 24. Chris Cutler, Plunderphonia / 25. Kodwo Eshun, Operating System for the Redesign of Sonic Reality; Part Two: Practices; IV. The Open Work; Introduction / 26. Umberto Eco, Poetics of the Open Work / 27. John Cage, Composition as Process: Indeterminacy / 28. Christoph Cox, Visual Sounds: On Graphic Scores / 29. Earle Brown, Transformations and Developments of a Radical Aesthetic / 30. John Zorn, The Game Pieces / 31. Anthony Braxton, Introduction to Catalog of Works; V. Experimental Musics; Introduction / 32. Michael Nyman, Towards (a Definition of) Experimental Music / 33. John Cage, Introduction to Themes & Variations / 34. Brian Eno, Generating and Organizing Variety in the Arts / 35. Comelius Cardew, Scratch Music Draft Constitution / 36. David Toop, The Generation Game: Experimental Music and Digital Culture; VI. Improvized Musics; Introduction / 37. Ornette Coleman, Change of the Century / 38. Derek Bailey, Free Improvization / 39. Frederic Rzewski, Little Bangs: A Nihilist Theory of Improvization / 40. George E. Lewis, Improvised Music After 1950: Afrological and Eurological Perspectives; VII. Minimalisms; Introduction / 41. Susan McClary, Rap, Minimalism and Structures of Time in Late Twentieth-Century Culture / 42. Kyle Gann, Thankless Attempts at a Definition of Minimalism / 43. Steve Reich, Music as a Gradual Process / 44. Wim Mertens, Basic Concepts of Minimal Music / 45. Tony Conrad, LYssophobia: On Four Violins / 46. Philip Sherburne, Digital Discipline: Minimalism in House and Techno; VIII. DJ Culture; Introduction; 47. Laszio Moholy-Nagy, Production-Reproduction; Potentialitie