Audio Culture

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The new audio culture identified here includes musicians, composers, sound artists, scholars, and listeners attentive to sonic substance; the act of listening; and the creative possibilities of sound recording, playback, and transmission. The 57 readings compiled trace the genealogies of contemporary musical practices and theoretical concerns, highlighting links between recent musical forms and earlier moments of audio experimentation. By composers, improvisers, producers, theorists, and critics, they cover music...
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0826416144 Has moderate shelf wear, highlighting, underlining and/or writing. Great used condition. We are a tested and proven company with over 900,000 satisfied customers since ... 1997. Choose expedited shipping (if available) for much faster delivery. Delivery confirmation on all US orders. Read more Show Less

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Overview

The new audio culture identified here includes musicians, composers, sound artists, scholars, and listeners attentive to sonic substance; the act of listening; and the creative possibilities of sound recording, playback, and transmission. The 57 readings compiled trace the genealogies of contemporary musical practices and theoretical concerns, highlighting links between recent musical forms and earlier moments of audio experimentation. By composers, improvisers, producers, theorists, and critics, they cover music and its others, modes of listening, music in the age of electronic reproduction, the open work, experimental musics, improvised musics, minimalisms, disk-jockey culture, and electronic music and electronica. Annotation ©2004 Book News, Inc., Portland, OR
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Editorial Reviews

Library Journal
A philosophy and a music professor, respectively, Cox and Warner (both Hampshire Coll.) oversee this collection of 57 brief essays on contemporary music and aesthetics. The contributors include composers from the worlds of avant-garde classical music, pop, and jazz e.g., John Cage, Karlheinz Stockhausen, and Pauline Oliveros as well as cultural historians like Marshall MacLuhan and Jacques Barzun and literary experimentalists such as William S. Burroughs. The quality of the essays varies considerably: some are thoughtful and contain illuminating ideas, while others tend toward didacticism and dense, jargon-laden prose. Students of contemporary music will find this compendium useful. Recommended for academic libraries to complement books like Mark Prendergast's The Ambient Century. Larry Lipkis, Moravian Coll., Bethlehem, PA Copyright 2004 Reed Business Information.
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Product Details

  • ISBN-13: 9780826416148
  • Publisher: Continuum International Publishing Group
  • Publication date: 8/28/2004
  • Pages: 472
  • Product dimensions: 6.38 (w) x 9.22 (h) x 1.34 (d)

Table of Contents

Acknowledgments viii
Sources and Permissions ix
Introduction: Music and the New Audio Culture xiii
Part 1 Theories
I Music and Its Others: Noise, Sound, Silence
Introduction 5
1 "Noise and Politics" 7
2 "The Art of Noises: Futurist Manifesto" 10
3 "Sound, Noise, Varese, Boulez" 15
4 "The Liberation of Sound" 17
5 "The Joys of Noise" 22
6 "The Future of Music: Credo" 25
7 "The Music of the Environment" 29
8 "Listening for Silence: Notes on the Aural Life" 40
9 "Rough Music, Futurism, and Postpunk Industrial Noise Bands" 47
10 "Noise" 55
11 "The Beauty of Noise: An Interview with Masami Akita of Merzbow" 59
II Modes of Listening
Introduction 65
12 "Visual and Acoustic Space" 67
13 "The Politics of Hearing" 73
14 "Acousmatics" 76
15 "Profound Listening and Environmental Sound Matter" 82
16 "Adequate Modes of Listening" 88
17 "Ambient Music" 94
18 "The Aural Walk" 98
19 "Some Sound Observations" 102
20 "Compose Yourself" 107
III Music in the Age of Electronic (Re)production
Introduction 113
21 "The Prospects of Recording" 115
22 "The Studio as Compositional Tool" 127
23 "Bettered by the Borrower: The Ethics of Musical Debt" 131
24 "Plunderphonia" 138
25 "Operating System for the Redesign of Sonic Reality" 157
Part 2 Practices
IV The Open Work
Introduction 165
26 "The Poetics of the Open Work" 167
27 "Composition as Process: Indeterminacy" 176
28 "Visual Sounds: On Graphic Scores" 187
29 "Transformations and Developments of a Radical Aesthetic" 189
30 "The Game Pieces" 196
31 "Introduction to Catalog of Works" 201
V Experimental Musics
Introduction 207
32 "Towards (a Definition of) Experimental Music" 209
33 "Introduction to Themes & Variations" 221
34 "Generating and Organizing Variety in the Arts" 226
35 "A Scratch Orchestra: Draft Constitution" 234
36 "The Generation Game: Experimental Music and Digital Culture" 239
VI Improvised Musics
Introduction 251
37 "Change of the Century" 253
38 "Free Improvisation" 255
39 "Little Bangs: A Nihilist Theory of Improvisation" 266
40 "Improvised Music After 1950: Afrological and Eurological Perspectives" 272
VII Minimalisms
Introduction 287
41 "Rap, Minimalism, and Structures of Time in Late Twentieth-Century Culture" 289
42 "Thankless Attempts at a Definition of Minimalism" 299
43 "Music as a Gradual Process" 304
44 "Basic Concepts of Minimal Music" 307
45 "LYssophobia: On Four Violins" 313
46 "Digital Discipline: Minimalism in House and Techno" 319
VIII DJ Culture
Introduction 329
47 "Production-Reproduction: Potentialities of the Phonograph" 331
48 "The Invisible Generation" 334
49 "Record, CD, Analog, Digital" 341
50 "Algorithms: Erasures and the Art of Memory" 348
51 "Replicant: On Dub" 355
52 "Post-Rock" 358
IX Electronic Music and Electronica
Introduction 365
53 "Introductory Remarks to a Program of Works Produced at the Columbia-Princeton Electronic Music Center" 367
54 "Electronic and Instrumental Music" 370
55 "Stockhausen vs. the 'Technocrats'" 381
56 "Breakthrough Beats: Rhythm and the Aesthetics of Contemporary Electronic Music" 386
57 "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music" 392
Chronology 399
Glossary 409
Selected Discography 419
Selected Bibliography 427
Notes for Quotations 445
Index 448
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