Noise: The Political Economy of Music (Theory and History of Literature, Vol. 16) [ Jacques Attali, Brian Massumi, Susan McClary] on *FREE*. The Audible Past by Jonathan Sterne Noise by Jacques Attali The Soundscape by R. Murray Schafer Noise Uprising by Michael Denning Your Playlist Can. Listening – Sacrificing – Representing – Repeating – Composing – The politics of silence and sound, by Susan McClary.
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This last usage of music — repetition that silences — is the zone of the spectacle, or rather, it corresponds to the “bureaucratic power” of the society of the spectacle. Noise is violence, i. Attali provides a very interesting analysis of music as violence related to sacrifice. Attali questions himself is a mankind able to make connection between aesthetic codes in form of music, and the political arrangement of society during the history.
Royal power shifts to music publishers. Popular music music not fully controlled by society has been our one strain of subversion. Why was such protective explanatory wrapping deemed to be necessary?
Noise: The Political Economy of Music
Composing A new noise is being heard a new way of making musicsuggesting the emergence of a new society. The purpose of music in this era is to preserve and transmit that cultural heritage, by using music to reinforce memory. I was not convinced that music as noize to visual art, philosophy, film has any special power to predict economic superstructures.
Others should read Noise jacqkes we are all affected by music: Attali summarizes his own argument: To make Noise a convincing and effective work of political propaganda, it must silence or, rather, expose as “mere noise” certain javques that insist on the immediate destruction of both the capitalist economy and the technocratic State.
The value of sacrifice why we accept it is the pure order that it offers as an antidote to the general violence of carnival.
It makes possible the creation of a new order on another level of organization, of a new code in another network. To this end, the book could use a little Walter Benjamin and the revolutionary potential of Technological Reproducibility.
Finally, though, however important a role representation continues to play in the ideology of late-capitalist society, the twentieth century has effectively moved beyond it.
Such activity involves a radical rejection of the specialized roles composer, performer, audience that dominated all previous music. He defines composition as the melding together of production and consumption, in which time and usage are not stockpiled as in repetition nor abstracted such as in representation.
The musician… became a producer and seller of signs who was attall in appearance, but in fact almost always exploited and manipulated by his clients… The attitude of music then changed profoundly: During this era, Attali asserts that the goal of music is not memory or quality, but fidelity—the goal of those engaged in the musical project which includes not only composers and performers, but sound engineers, studio execs and the like is to record sound as clearly and flawlessly as possible, and to perfectly reproduce these recordings.
This was made possible by the advance of capitalism and technology.
The Political Economy of Music French title: In more day-to-day political terms, it takes the route of the permanent affirmation of the right to be di “Today, music heralds … the establishment of a uacques of repetition in which nothing will happen anymore … a society in which the informal is mass produced and consumed, in which difference is artificially recreated in the multiplication of attalu objects.
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Specifically, music is said by Attali to have been first created as a way to commit symbolic violence against the other, to jwcques the need for ritual murder which in “ancient” societies was the act that identified a scapegoat, an other, thereby giving everyone else a sense of tr In sum, the history of music should be rewritten as a political effort to channel violence through noise, which by its nature is unwieldy and acts as a safety valve, to put it too simply.
He calls the chapter Sacrificing because in this era, music is a ritualized, structuralized sublimation of the violence of nature. Statisticians use the term for random fluctuations in data that they dismiss as meaningless.
The Political Economy of Music. According to Attali, noise is the source of power and the power has always listened to it with fascination.
Noise: The Political Economy of Music by Jacques Attali
I love this book. More importantly, according to Attali, attai process of stockpiling removes the social and political power from music. Decentralization of publishing as publishers outside Paris granted equal status with those in Paris.
I read it for the first time in many years, in order to see how well it holds up in the 21st century. SacrificingRepresentingRepeatingand a fourth cultural stage which could roughly be called Post-Repeating. The musician becomes a servant of the Court in 17th and 18th jxcques Europe; by the 19th century, with the rise to power of the bourgeoisie after the French Revolution, the musician must become an entrepreneur.
As political events, the American Revolution and then the French Revolution follow the demand for liberation of composers. For Marxist critics, this idea is nothing new. This outline was written by Theodore Gracyk. Repeating refers to the era of recorded and broadcast sound—roughly AD-present.