David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
OUP USA (2010)
Contemporary electronic music has splintered into a dizzying assortment of genres and subgenres, communities and subcultures. Given the ideological differences among academic, popular and avant-garde electronic musicians, is it possible to derive an aesthetic theory that accounts for this variety? And is there even a place for aesthetics in twenty-first-century culture? Listening through the Noise explores genres ranging from techno to electroacoustic music, from glitch to drone music, and from dub to drones, and maintains that culturally and historically informed aesthetic theory is not only possible but indispensable for understanding electronic music. The abilities of electronic music to use preexisting sounds and to create new sounds are widely known. Author Joanna Demers proceeds from this starting point to consider how electronic music is changing the way we listen not only to music, but to sound itself. The common trait among all variants of recent experimental electronic music is a concern with whether sound, in itself, bears meaning. The use in recent works of previously undesirable materials like noise, field recordings, and extremely quiet sounds has contributed to electronic music's destruction of the "musical frame," the conventions that used to set apart music from the outside world. In the void created by the disappearance of the musical frame, different philosophies for listening have emerged. Some electronic music genres insist upon the inscrutability and abstraction of sound. Others maintain that sound functions as a sign pointing to concepts or places beyond the work. But all share an approach towards listening that departs fundamentally from the expectations that have governed music listening in the West for the previous five centuries.
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
|Buy the book||$30.21 used (70% off) $54.24 new (46% off) $82.98 direct from Amazon (17% off) Amazon page|
|ISBN(s)||9780195387650 0195387651 9780199774487 019977448X|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
W. A. Mathieu (2010). Bridge of Waves: What Music is and How Listening to It Changes the World. Shambhala.
Ruth Herbert (2011). Everyday Music Listening: Absorption, Dissociation and Trancing. Ashgate Pub. Co..
Judith Irene Lochhead & Joseph Henry Auner (eds.) (2002). Postmodern Music/Postmodern Thought. Routledge.
Roger Scruton (1999). The Aesthetics of Music. Oxford University Press.
Andrew Hugill (2008). The Digital Musician. Routledge.
Robin Maconie (1990). The Concept of Music. Oxford University Press.
Jenefer Robinson (ed.) (1997). Music & Meaning. Cornell University Press.
Andy Hamilton (2007). Music and the Aural Arts. British Journal of Aesthetics 47 (1):46-63.
Laird Addis (1999). Of Mind and Music. Cornell University Press.
Carolyn Beckingham (2009). Moribund Music: Can Classical Music Be Saved? Sussex Academic Press.
Peter Szendy (2008). Listen: A History of Our Ears. Fordham University Press.
David Schwarz (1997). Listening Subjects: Music, Psychoanalysis, Culture. Duke University Press.
N. Zangwill (2012). Listening to Music Together. British Journal of Aesthetics 52 (4):379-389.
Added to index2012-01-31
Total downloads7 ( #183,895 of 1,098,976 )
Recent downloads (6 months)2 ( #175,054 of 1,098,976 )
How can I increase my downloads?