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After Sound: Toward a Critical Music de G Douglas Barrett

After Sound: Toward a Critical Music

Autor G Douglas Barrett
en Limba Engleză Paperback – 10 aug 2016
After Sound considers contemporary art practices that reconceive music beyond the limitation of sound. This book is called After Sound because music and sound are, in Barrett's account, different entities. While musicology and sound art theory alike typically equate music with pure instrumental sound, or absolute music, Barrett posits music as an expanded field of artistic practice encompassing a range of different media and symbolic relationships. The works discussed in After Sound thus use performance, text scores, musical automata, video, social practice, and installation while they articulate a novel aesthetic space for a radically engaged musical practice. Coining the term "critical music," this book examines a diverse collection of art projects which intervene into specific political and philosophical conflicts by exploring music's unique historical forms.Through a series of intimate studies of artworks surveyed from the visual and performing arts of the past ten years-Pussy Riot, Ultra-red, Hong-Kai Wang, Peter Ablinger, Pauline Boudry and Renate Lorenz, and others-After Sound offers a significant revision to the way we think about music. The book as a whole offers a way out of one of the most vexing deadlocks of contemporary cultural criticism: the choice between a sound art effectively divorced from the formal-historical coordinates of musical practice and the hermetic music that dominates new music circles today.
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Specificații

ISBN-13: 9781501308123
ISBN-10: 1501308122
Pagini: 256
Ilustrații: 6 bw illus
Dimensiuni: 152 x 229 x 15 mm
Greutate: 0.39 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States

Caracteristici

Proposes a significant revision of the way we think about music through a series of intimate studies of visual and performing artists of the last ten years

Notă biografică

G Douglas Barrett is an artist and writer who works with music and visual art. Exhibiting and performing internationally, his critical writing is published in journals such as Postmodern Culture. He lives in New York.

Cuprins

Introduction: Music After Sound Silence and CollectivityChapter 1: The Limits of Performing Cage: Ultra-red's SILENT|LISTENChapter 2: The Silent Network: The Music of Wandelweiser Language and AuthorityChapter 3: "IDEAS MATTER": Zizek Sings Pussy RiotChapter 4: Music to the Letter: Noise, Language, and the Letter from Schoenberg Speculation and SenseChapter 5: The Debt of Philosophy: Music, Speculation, and The Sound of DebtChapter 6: The Metaphoricity of Sense: Hong-Kai Wang's Music While We Work - with Lindsey Lodhie Conclusion: Music After Art Acknowledgments Notes Selected Bibliography Index

Recenzii

[A] provocative thesis. ... Barrett summarises Cage's manifold aims in one brilliant paragraph ... [and] shows he can write lucidly ... I learned a lot from this book.
Barrett's book goes beyond the protesting of sound-art difference of Cox or Kim-Cohen and addresses the musicophobia of Kane. It identifies an important path and begins to move along it. Then think even harder and give us more ... If writing such as Barrett's constantly draws our attention back to the dynamic co-existence in music of absolute conceptuality and absolute materiality, and of the social and the individual, it's performing a vital task.
Doug Barrett's book marks a crucial intervention into the embattled and often confused contemporary discourses of the sonic. Deftly navigating between the Scylla and Charybdis of recent debates (so-called materialists [Cox] versus so-called idealists [Kim-Cohen]), Barrett's call for a 'critical music' offers new terms for thinking and practicing musical art. Against ahistorical theorizations of 'sound' as a novel field, Barrett seeks to provoke a genuine interdisciplinary encounter between music and contemporary art, philosophy, and politics.
Acts of intellectual courage are few and far between in these timid times. But Barrett throws caution to the wind. There is nothing absolute, he argues, about 'absolute music.' Except for a brief historical anomaly-lasting, roughly, from Beethoven to Boulez-music has always been embedded in the concatenations of history. What's more, music has always been the strange bedfellow of power and predicament, time and climate, finance and fellowship. Barrett absolves music (and us) of any recourse to the absolute. Where does that leave us? Here and now, thankfully.
After Sound is an ambitious and polemical contribution to the debates surrounding the porous domains of sound art, new music, and twenty-first century politics. It offers engaged interpretations of three collectives and five individual artists working at the borderlands of what is customarily taken as music, and handles a wide range of challenging and complex philosophical questions with remarkable ease.
An analyst in a crowded field of partisans, G. Douglas Barrett has given us a radical tool for apprehending the mess that we call music in the twenty-first century. Favoring clear-headed argument over strident polemics, he diagnoses the limits of discourse and practice in sound art, contemporary (visual) art, and new music by listening through and beyond them.