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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And so, out of nowhere — illogically, arbitrarily, but “poetically” — Attali posits the “embryionic” existence of a fourth zone or stage, which he calls “composition,” that “heralds the arrival of new social relations” in which “freedom” is an essential and irreducible feature. By nolse steps, the royal control of copyright becomes private ownership of the musical work. The alienation of life made bearable by a promise of eternity.
There must be a scapegoat a sacrificial victim toward whom we channel the violence that we sacrifice. Because the new network of music production and consumption “characterizes the entire economy of competitive capitalism” 32the emerging middle class including jacqjes, publishers, paying audience jacque the music itself to present the ideology of a necessary social order necessary to allow money to equally represent all value.
In a footnote, Attali correctly attributes this quote to Censor.
Basically, Attali is looking to read Western European history through developments in music — like that changes in musical style presage historical events. Or did it have to do with the book’s ostensible subject matter the history of Western classical musicwidely known to be one of the most boring topics in all the world? The consumer buys it with time and then expends additional time in listening use-time. As we have seen, Attali claimed that “a precise ideological underpinning of particular musicians” is not possible yet this is precisely what he has just done with John Cage and the Stones ; furthermore, Attali claimed that “it is possible to discern who among them are innovators and heralds of worlds in the making.
Winners and Losers in the Coming World Order. In Brueghel’s painting, composing is symbolized by the ring dance. Sacrificing Chapter 3 Representing Chapter 4: Lists with This Book. The musical emphasis on harmony in this period is strictly correlated, according to Attali, with an economic system based upon exchangeand the equilibrium that is supposed to result from processes of orderly economic exchange. The links Attali draws here are all quite clever, and much of it might even be true.
The result is at times brilliant as it traces the economics of nineteenth and twentieth century music production and reception and frustrating in its overly broad and oftentimes unsubstantiated claims of the ur-history of music prior to the age of capitalism.
The Political Economy of Music manages to fail in interesting ways. Sep 11, Bennett rated it really liked it.
Noise: The Political Economy of Music
As supply routinely exceeds the possibility of consumption, we value the activity of stockpiling instead of the activities themselves. Money is the representation of physical goods, in niose same way that the parliament, in representative democracy, is the representation of the populace.
The musician becomes nojse servant of the Court in 17th and 18th century Europe; by the 19th century, with the rise to power of the bourgeoisie after the French Revolution, the musician must become an entrepreneur. Notice the total absence of human agents in Attali’s description of “radical” anti-capitalist subversion:. Takes jacquea serious commitment to read, but every lover of music should do just that! Jul 06, Jess rated noies it was amazing Recommends it for: Records allow the stockpiling of the second expenditure of time.
Account Options Sign in. Attali goes back as far as the middle ages to show how industrialism npise capitalism have attempted to commodify music in the last years, and how legislation has sought to discipline noise, restrict sound, and alienate both musicians and audiences from the cultural labor of creating music. And yet Attali is canny enough to want to make clear that this fourth stage will directly answer and satisfy the human needs — totally ignored by capitalism — that situationist theory and practice so successfully exposed.
Attali defines Exchange-Time as the time spent towards earning the money needed to purchase a recording, whereas Use-Time involves the time spent listening to recordings by the purchaser. I was not convinced that music as opposed to visual art, philosophy, film has any special power jaccques predict economic superstructures. I am reminded of the movie Moonstruckin which we discover that men are unfaithful to their wives because they fear death. The flavor holds up well against a nice piece of aged beef.
Noise: The Political Economy of Music – Jacques Attali – Google Books
So relations are enacted through music that will eventually come to inform other areas of society, including economics and government. The Political Economy of Music French title: If we can see where music is headed, then we can see where all of society is headed.
Attali’s purpose in tracing this history is economic and prophetic.