Resonances: Noise and Contemporary Music
Editat de Dr. Michael Goddard, Dr. Benjamin Halligan, Nicola Spelmanen Limba Engleză Paperback – 11 sep 2013
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Specificații
ISBN-13: 9781441159373
ISBN-10: 1441159371
Pagini: 288
Ilustrații: 92
Dimensiuni: 150 x 226 x 28 mm
Greutate: 0.57 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
ISBN-10: 1441159371
Pagini: 288
Ilustrații: 92
Dimensiuni: 150 x 226 x 28 mm
Greutate: 0.57 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
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Caracteristici
Sweeping new study of various "noise musics" from a range of international scholars
Notă biografică
Michael Goddard is Lecturer in Media Studies at the University of Salford, UK. He has published research in media and aesthetic theory, Eastern European film and visual culture and anomalous forms of popular music.Ben Halligan runs the Graduate Programme for the School of Media, Music and Performance at the University of Salford, UK, teaching in the areas of Critical Theory, Media Studies and Performance at undergraduate and postgraduate levels.Nicola Spelman is Senior Lecturer in Popular Music at the University of Salford, UK.
Cuprins
part one Noise, Rock and Psychedelia 1 'Kick Out the Jams': Creative Anarchy and Noise in 1960s Rock Sheila Whiteley 2 Recasting Noise: The Lives and Times of Metal Machine Music Nicola Spelman 3 Shoegaze as the Third Wave: Affective Psychedelic Noise, 1965-1991 Benjamin Halligan 4 To Be Played at Maximum Volume: Rock Music as a Disabling (Deafening) Culture George McKay part two Punk Noise: Prehistories and Continuums 5 Sounds Incorporated: Dissonant Sorties into Popular Culture Stephen Mallinder 6 Stairwells of Abjection and Screaming Bodies: Einstürzende Neubauten's Artaudian Noise Music Jennifer Shryane 7 Make a Joyous Noise: The Pentecostal Nature of American Noise Music Seb Roberts 8 Roars of Discontent: Noise and Disaffection in Two Cases of Russian Punk Yngvar B. Steinholt 9 Noise from Nowhere: Exploring 'Noisyland's' Dark, Noisy and Experimental Music Michael Goddard Archive: Indestructible Energy: Seeing Noise Julie R. Kane part three Noise, Composition and Improvisation 10 Xenakian Sound Synthesis: Its Aesthetics and Influence on 'Extreme' Computer Music Christopher Haworth 11 Sound Barriers: The Framing Functions of Noise and Silence Alexis Paterson 12 Listening Aside: An Aesthetics of Distraction in Contemporary Musi David Cecchetto and eldritch Priest 13 Using Noise Techniques to Destabilize Composition and Improvisation Eric Lyon 14 Noise as Mediation: Adorno and the Turntablism of Philip Jeck Erich Hertz part four Approaching Noise Musics 15 Noise as Music: Is There a Historical Continuum? From Historical Roots to Industrial Music Joseph Tham 16 Noise as Material Impact: New Uses of Sound in Noiserelated Movements Rafael Sarpa 17 Into the Full: Strawson, Wyschnegradsky and Acoustic Space in Noise Musics J.-P. Caron 18 Gossips, Sirens, Hi-Fi Wives: Feminizing the Threat of Noise Marie Thompson 19 Beyond Auditive Unpleasantness: An Exploration of Noise in the Work of Filthy Turd James Mooney and Daniel WilsonBibliographyIndex
Recenzii
Resonances offers a conceptually diverse yet simultaneously minutely detailed investigation of noise that draws a line between popular music, cultural and sound studies. . [Reverberations and Resonances] are a significant achievement, a comprehensive collection of thinking to date about where noise fits into our cultural lives, pointing forward towards a fertile development of the field.
From overviews of specific artists--Lou Reed, Einsturzende Neubaten, Diamanda Galas, Filthy Turd--to theorizing about the sonics of feminism, computer sounds, turntablism, and composition, this timely book resituates noise not as Jacques Attali's societal 'herald of change' but as a vital and everyday part of the new media landscape. It's a great addition to any serious sound scholar's library.
The collection itself is a diverse mix...Resonances is fairly highbrow. The book's language is intensively scholarly, and its appeal mostly academic.
The value of this anthology lies in its attempt to be as complete as possible, and its inclusion of perspectives that often go unconsidered.
In the decade since, a stunning range of new offerings from a variety of publishers has become readily available, and sound studies is a far more expansive discipline. This fact is nowhere more evident than in Bloomsbury Academic's excellent sound studies catalog ... the scholarship here shows how adept the cultural study of sound can be at unearthing the thorny political and social tensions that define contemporary culture.
Resonances carries its readers from the ideas of Theodor Adorno to 'Hi-Fi Wives,' Russian punk and 60s rock. If you want to know what Iannis Xenakis, Eric Clapton, and the 'Filthy Turd aesthetic' have in common, this is the book for you! Handsomely illustrated and extensively documented, Resonances is a must-read volume for modernists and postmodern cultural critics alike.
'That's not music, it's noise!' The contributors to this book ask us to think again. They reveal that noise can prove as stimulating a part of sonic organization as melody and harmony-the distorted rock guitar being one example among many. These engrossing essays cover a remarkable variety of musical practices, exploring noise as both accident and deliberate design, and building theories about noise that set the agenda for future debate.
This collection is a massive achievement in laying the groundwork for a new way of thinking about things musical. Its scope is large - Hendrix, Xenakis, deafness, production aesthetics, pleasure, Russian punk - and essays impress in both their attention to detail and the breadth of their conceptual scope as we move from questions of aesthetics to detailed close reading. It is a study which succeeds as both music scholarship and cultural contextualization, particularly in relation to artists in other media (Ballard, Artaud) and key scholars (Attali, Adorno, Benjamin). And although it is hard to photograph noise, the book's photos find some excellent visual analogues.
From overviews of specific artists--Lou Reed, Einsturzende Neubaten, Diamanda Galas, Filthy Turd--to theorizing about the sonics of feminism, computer sounds, turntablism, and composition, this timely book resituates noise not as Jacques Attali's societal 'herald of change' but as a vital and everyday part of the new media landscape. It's a great addition to any serious sound scholar's library.
The collection itself is a diverse mix...Resonances is fairly highbrow. The book's language is intensively scholarly, and its appeal mostly academic.
The value of this anthology lies in its attempt to be as complete as possible, and its inclusion of perspectives that often go unconsidered.
In the decade since, a stunning range of new offerings from a variety of publishers has become readily available, and sound studies is a far more expansive discipline. This fact is nowhere more evident than in Bloomsbury Academic's excellent sound studies catalog ... the scholarship here shows how adept the cultural study of sound can be at unearthing the thorny political and social tensions that define contemporary culture.
Resonances carries its readers from the ideas of Theodor Adorno to 'Hi-Fi Wives,' Russian punk and 60s rock. If you want to know what Iannis Xenakis, Eric Clapton, and the 'Filthy Turd aesthetic' have in common, this is the book for you! Handsomely illustrated and extensively documented, Resonances is a must-read volume for modernists and postmodern cultural critics alike.
'That's not music, it's noise!' The contributors to this book ask us to think again. They reveal that noise can prove as stimulating a part of sonic organization as melody and harmony-the distorted rock guitar being one example among many. These engrossing essays cover a remarkable variety of musical practices, exploring noise as both accident and deliberate design, and building theories about noise that set the agenda for future debate.
This collection is a massive achievement in laying the groundwork for a new way of thinking about things musical. Its scope is large - Hendrix, Xenakis, deafness, production aesthetics, pleasure, Russian punk - and essays impress in both their attention to detail and the breadth of their conceptual scope as we move from questions of aesthetics to detailed close reading. It is a study which succeeds as both music scholarship and cultural contextualization, particularly in relation to artists in other media (Ballard, Artaud) and key scholars (Attali, Adorno, Benjamin). And although it is hard to photograph noise, the book's photos find some excellent visual analogues.