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More About This Textbook
Overview
The groundbreaking Audio Culture: Readings in Modern Music (Continuum; September 2004; paperback original) maps the aural and discursive terrain of vanguard music today. Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture.
Via writings by philosophers, cultural theorists, and composers, Audio Culture explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, Ambient music, HipHop, and Techno. Instead of focusing on the putative "crossover" between "high art" and "popular culture," Audio Culture takes all of these musics as experimental practices on par with, and linked to, one another. While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical.
Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Glenn Gould, Umberto Eco, Ornette Coleman, Jacques Attali, Simon Reynolds, Pauline Oliveros, Paul D. Miller, David Toop, John Zorn, Karlheinz Stockhausen, and many others. The book is divided into nine thematically-organized sections, each with its own introduction. Section headings include topics such as "Modes of Listening," "Minimalisms," and "DJ Culture." In addition, each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts. The book concludes with a glossary, a timeline, and an extensive discography.
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.Product Details
Related Subjects
Meet the Author
Christoph Cox is Associate Professor of Philosophy at Hampshire College, in Massachusetts. He writes regularly on contemporary art and music for Artforum, The Wire, Cabinet, and other magazines.
Daniel Warner is a Professor of Music at Hampshire College, MA, where he teaches electronic and computer music
Table of Contents
Acknowledgments
viii
Sources and Permissions
ix
Introduction: Music and the New Audio Culture
xiii
Part One: THEORIES
I. Music and Its Others: Noise, Sound, Silence
Introduction 5
1. Jacques Attali,
‘‘
Noise and Politics
''
7
2. Luigi Russolo,
‘‘
The Art of Noises: Futurist Manifesto
''
10
3. Morton Feldman,
‘‘
Sound, Noise, Varèse, Boulez
''
15
4. Edgard Varèse,
‘‘
The Liberation of Sound
''
17
5. Henry Cowell,
‘‘
The Joys of Noise
''
22
6. John Cage,
‘‘
The Future of Music: Credo
''
25
7. R. Murray Schafer,
‘‘
The Music of the Environment
''
29
8. Mark Slouka,
‘‘
Listening for Silence: Notes on the Aural Life
''
40
9. Mary Russo and Daniel Warner,
‘‘
Rough Music, Futurism, and
Postpunk Industrial Noise Bands
''
47
10. Simon Reynolds,
‘‘
Noise
''
55
11.
‘‘
The Beauty of Noise: An Interview with Masami Akita of Merzbow
''
59
II. Modes of Listening
Introduction 65
12. Marshall McLuhan,
‘‘
Visual and Acoustic Space
''
67
13. Hanns Eisler & Theodor Adorno,
‘‘
The Politics of Hearing
''
73
14. Pierre Schaeffer, &
‘‘
Acousmatics
''
76
15. Francisco Lo
´
pez,
‘‘
Profound Listening and Environmental Sound
Matter
''
82
16. Ola SStockfelt,
‘‘
Adequate Modes of Listening
'' &