Name: Noise
ISBN: 9780816612871

作者: Jacques Attali
出版社: University Of Minnesota Press
副标题: The Political Economy of Music
译者: Brian Massumi
出版年: 1985-6-30
页数: 196
定价: USD 19.50
装帧: Paperback
丛书: Theory and History of Literature
ISBN: 9780816612871

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内容简介 · · · · · ·

Attali's essential argument in Noise: The Political Economy of Music is that music, as a cultural form, is intimately tied up in the mode of production in any given society. For marxist critics, this idea is nothing new. The novelty of Attali's work is that it reverses the traditional understandings about how revolutions in the mode of production take place:

[Attali] is the fir...

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作者简介 · · · · · ·

雅克·阿达利(Jacques Attali)是当代法国著名学术与政治人物，曾任法国总统密特朗的特别顾问，他的作品涉及面广，并具有历史文化的内涵，深受欧美知识界的重视。他的另一本著作《智慧之路－论迷宫》也已被翻译出版见www.douban.com/subject/1043617/

原文摘录 · · · · · · ( 全部 )

在其中一个区域中，音乐似乎生于仪式、用于仪式，目的在使人们遗忘普遍的暴力；在另一个区域中，音乐是用来使人们相信世界和谐的存在，相信在交换中有秩序，而且在商业权力中有合法性的存在；在最后一个区域中，音乐的作用是藉由大量生产震耳欲聋、折衷的音乐来达到沉寂，使所有其他人类的噪音消音。 (查看原文)

格俐玛 2赞 2012-03-20 19:04:23

—— 引自第23页
当权力要使人们遗忘的时候，音乐是仪式的牺牲，是替罪羔羊；当它要大众相信时，音乐是法规，是再现；当它要使大众消音时，音乐是再生产的、规格化的重复。 (查看原文)

格俐玛 2赞 2012-03-20 19:04:23

—— 引自第23页

> 全部原文摘录

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音乐音乐理论人类学社会媒体音乐学法国

丛书信息

　　Theory and History of Literature (共80册), 这套丛书还有《The Infinite Conversation》,《Ideology of Adventure》,《Social Semiotics As Praxis》,《The College of Sociology(1937-1939)》,《The Poetics of Plot》等。

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: Film, a Sound Art

: Audio Culture

: Japanoise

: Jacques Ranciere

: Improvisation

: Sociology and Empire

: Bios

: The Unanswered Question

: Ocean of Sound

: 貝多芬

我来说两句

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什么是话题

无论是一部作品、一个人，还是一件事，都往往可以衍生出许多不同的话题。将这些话题细分出来，分别进行讨论，会有更多收获。

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Noise的书评 · · · · · · ( 全部 10 条 )

热门 / 最新 / 好友 /只看本版本的评论

Unknown Artist 2009-09-09 00:42:26 上海人民出版社2000版

倾听噪音——《噪音音乐的政治经济学》读后感

倾听噪音——《噪音音乐的政治经济学》读后感当我们提到“音乐”的时候，我们的脑海里会出现一些曲调，对它有一个定义，或想到它的功能——审美、娱乐、教育等等。作为一个热爱音乐的人，从初中开始就不断的倾听，到现在，会被不同种类的音乐深深打动，感受音乐的力量。而当... (展开)

3回应

小宇宙 2014-07-28 09:40:04 上海人民出版社2000版

评《噪音——音乐的政治经济学》

叔本华在《论噪音》一文中这样写到：“有杰出才智的人对任何形式的扰乱深恶痛绝，因为扰乱转移了或分散了他们的思路，尤其是噪音”。我们通常所说的噪音，物理学定义为“发音体不规则的振动产生的声音”，无非就是工地、马路、机场等处那些难以忍受的声音。而在符号学里，噪音... (展开)

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[已注销] 2016-02-02 14:15:01 上海人民出版社2000版

读贾克·阿达利《噪音》

典型的法国思想风格，博学，灵巧。 p5 19世纪留声、摄影发明之后，音乐随着唱片的流通而变得容易取得，因此失去了其宗教观念的性格，也失去了原创性及品味。回到街头，自由爵士是阿达利的希望。对于音乐的把握精炼有效。 p31 噪音是一种武器，而音乐，在最初的时候，帮助这... (展开)

0回应

aco_books 2009-05-12 16:33:32

音樂社會功用史

音樂的社會歷史，在這兒分開5個章節：聆聽、犧牲、代表、重覆、作樂。如題目所暗示：音樂如何顛覆社會常規？此書將會深入探討音樂在歷史上的社會功用。 (展开)

0回应

adel 2009-03-11 09:21:49

recommend

the fact that it was published in 1984 doesn't affect its applicability in understanding today's musical world. It's a well written book, not perfect in arguments, but offers very helpful insight talking about music in relation to politics, economics, and s... (展开)

3回应

heroqiu 2006-03-26 21:40:19 上海人民出版社2000版

第一次读后感

大凡能引起我等的趣味、并不惜连续花费几个小时阅读的书籍，大多是小说。不过，当几年前忽然发现自己似乎被小说作者忽悠多过消遣时间的时候，便将重点转移至学理性的书籍上。代价是显而易见的：花费了更多的精力，消耗更大了，享受乐趣的方式也由体会小说中情节的跌宕起伏、... (展开)

4 0回应

A 2020-10-23 08:53:25

噤声

这篇书评可能有关键情节透露

Eavesdropping, censorship, recording, and surveillance are weapons of power. The technology of listening in on, ordering, transmitting, and recording noise is at the heart of this apparatus. The symbolism of the Frozen Words, ofthe Tables of the Law, of rec... (展开)

0回应

咩咩 2017-04-11 22:27:21 上海人民出版社2000版

资本主义音乐的政治经济学批判前景

阿达利用政治经济学的奥卡姆剃刀除去了覆在音乐文化史上的芜杂藤蔓，简概地将音乐文化史分成牺牲、代表、重复、创作四个阶段。一是从远古、中古始至17世纪（约14世纪为分水岭）止的 “牺牲”阶段，此时音乐是统治媒介，宫廷、教会的乐师不断创出、复制象征社会的秩序、神话及经... (展开)

0回应

幻梦残片 2018-04-12 16:35:23 上海人民出版社2000版

聆听社会的变迁——《噪音》阅读小记

听闻《噪音》这本书已经很久了，很多进行听觉文化研究的论文里都引用了这本书。因为想给自己研究民谣音乐找点思路，所以便翻开了此书。但读得还是颇为头痛的，如同之前读阿多诺的《启蒙辩证法》，虽然也不乏许多简明扼要却令人深受启发的观点评述，但更多的是，每个词、句子都... (展开)

0回应

渡旻 2018-04-04 10:49:44 河南大学出版社2017版

重读噪音

阿达利论述了四个阶段：牺牲、代表、重复、创作。这些已不再赘述。原始祭祀音乐和机械复制时代、景观等理论是老生常谈的理论，不管是听觉还是视觉都是共通的。这里比较感兴趣的还是阿达利对噪音和自由爵士即兴的论述。首先是阿达利在这方面也有太多观点可在《千高原》中寻到... (展开)

3 3回应

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chapter 1

满月様

I'm gonna do a group presentation on Attali. Share some excerpts here: Attali examines the relation between music/ordering noise/aesthetic and economic/history of people/social organization. Inversed relation between superstructure and economy. Superstructure anticipates new modes of production. Music and social codification: Music is the social codification of sounds caught up between noise an...
2018-03-19 12:40

I'm gonna do a group presentation on Attali. Share some excerpts here:
Attali examines the relation between music/ordering noise/aesthetic and economic/history of people/social organization. Inversed relation between superstructure and economy. Superstructure anticipates new modes of production.
Music and social codification:
Music is the social codification of sounds caught up between noise and silence, rooted in the technologies and ideologies that it reveals and produces.
Reciprocal interaction:
“The noises of a society are in advance of its images and material conflicts”.
“Music is prophecy. Its styles and economic organization are ahead of the rest of society because it explores, much faster than material reality can, the entire range of possibilities in a given code. It makes audible the new world that will gradually become visible, that will impose itself and regulate the order of things; it is not only the image of things, but the transcending of the everyday, the herald of the future.” (11)
“the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way” (Jameson, xi)
Mirror: Music, as a mode of immaterial production, is a mirror that “reflects a fluid reality”; “the principle of giving form to noise in accordance with changing syntactic structures” (10)
Power:
Music is the organization of sound that links a power center to its subjects; is an attribute of power in all of its form. “Noise is inscribed from the start within the panoply of power”. (6)
monopolization of communication; controlling the noise; institutionalization of the silence of others
Totalitarian states: censorship laws
Parliamentary democracy: law of economy (more subtle, new, less violent)
A little history of musicians in the pre-capitalist era
The musician’s position in most civilizations: simultaneously excluded/separator in terms of the social hierarchy and superhuman/integrator in terms of the sacrifice rite and the divine.
Before 14th century: musician as vagabond and jongleur; a permanent circulation of information between the court and the popular
14th-16th Domestication: paid for salaries, and therefore they were “economically bound to a machine of power, political or commercial, which paid him a salary for creating what is needed to affirm its legitimacy”. (17)
Three zones: music as tools of three power forms
Ritual power--forgot fear--music as sacrifice
Representative power--believe in harmony--music as representation
Bureaucratic power--silencing the noise--music as repetition
Composition...becoming

推荐

回应 2018-03-19 12:40

展开收起
chapter 1

满月様

I'm gonna do a group presentation on Attali. Share some excerpts here: Attali examines the relation between music/ordering noise/aesthetic and economic/history of people/social organization. Inversed relation between superstructure and economy. Superstructure anticipates new modes of production. Music and social codification: Music is the social codification of sounds caught up between noise an...
2018-03-19 12:40

I'm gonna do a group presentation on Attali. Share some excerpts here:
Attali examines the relation between music/ordering noise/aesthetic and economic/history of people/social organization. Inversed relation between superstructure and economy. Superstructure anticipates new modes of production.
Music and social codification:
Music is the social codification of sounds caught up between noise and silence, rooted in the technologies and ideologies that it reveals and produces.
Reciprocal interaction:
“The noises of a society are in advance of its images and material conflicts”.
“Music is prophecy. Its styles and economic organization are ahead of the rest of society because it explores, much faster than material reality can, the entire range of possibilities in a given code. It makes audible the new world that will gradually become visible, that will impose itself and regulate the order of things; it is not only the image of things, but the transcending of the everyday, the herald of the future.” (11)
“the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way” (Jameson, xi)
Mirror: Music, as a mode of immaterial production, is a mirror that “reflects a fluid reality”; “the principle of giving form to noise in accordance with changing syntactic structures” (10)
Power:
Music is the organization of sound that links a power center to its subjects; is an attribute of power in all of its form. “Noise is inscribed from the start within the panoply of power”. (6)
monopolization of communication; controlling the noise; institutionalization of the silence of others
Totalitarian states: censorship laws
Parliamentary democracy: law of economy (more subtle, new, less violent)
A little history of musicians in the pre-capitalist era
The musician’s position in most civilizations: simultaneously excluded/separator in terms of the social hierarchy and superhuman/integrator in terms of the sacrifice rite and the divine.
Before 14th century: musician as vagabond and jongleur; a permanent circulation of information between the court and the popular
14th-16th Domestication: paid for salaries, and therefore they were “economically bound to a machine of power, political or commercial, which paid him a salary for creating what is needed to affirm its legitimacy”. (17)
Three zones: music as tools of three power forms
Ritual power--forgot fear--music as sacrifice
Representative power--believe in harmony--music as representation
Bureaucratic power--silencing the noise--music as repetition
Composition...becoming

推荐

回应 2018-03-19 12:40

展开收起
chapter 1

满月様

I'm gonna do a group presentation on Attali. Share some excerpts here: Attali examines the relation between music/ordering noise/aesthetic and economic/history of people/social organization. Inversed relation between superstructure and economy. Superstructure anticipates new modes of production. Music and social codification: Music is the social codification of sounds caught up between noise an...
2018-03-19 12:40

I'm gonna do a group presentation on Attali. Share some excerpts here:
Attali examines the relation between music/ordering noise/aesthetic and economic/history of people/social organization. Inversed relation between superstructure and economy. Superstructure anticipates new modes of production.
Music and social codification:
Music is the social codification of sounds caught up between noise and silence, rooted in the technologies and ideologies that it reveals and produces.
Reciprocal interaction:
“The noises of a society are in advance of its images and material conflicts”.
“Music is prophecy. Its styles and economic organization are ahead of the rest of society because it explores, much faster than material reality can, the entire range of possibilities in a given code. It makes audible the new world that will gradually become visible, that will impose itself and regulate the order of things; it is not only the image of things, but the transcending of the everyday, the herald of the future.” (11)
“the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way” (Jameson, xi)
Mirror: Music, as a mode of immaterial production, is a mirror that “reflects a fluid reality”; “the principle of giving form to noise in accordance with changing syntactic structures” (10)
Power:
Music is the organization of sound that links a power center to its subjects; is an attribute of power in all of its form. “Noise is inscribed from the start within the panoply of power”. (6)
monopolization of communication; controlling the noise; institutionalization of the silence of others
Totalitarian states: censorship laws
Parliamentary democracy: law of economy (more subtle, new, less violent)
A little history of musicians in the pre-capitalist era
The musician’s position in most civilizations: simultaneously excluded/separator in terms of the social hierarchy and superhuman/integrator in terms of the sacrifice rite and the divine.
Before 14th century: musician as vagabond and jongleur; a permanent circulation of information between the court and the popular
14th-16th Domestication: paid for salaries, and therefore they were “economically bound to a machine of power, political or commercial, which paid him a salary for creating what is needed to affirm its legitimacy”. (17)
Three zones: music as tools of three power forms
Ritual power--forgot fear--music as sacrifice
Representative power--believe in harmony--music as representation
Bureaucratic power--silencing the noise--music as repetition
Composition...becoming

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回应 2018-03-19 12:40

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倾听噪音——《噪音音乐的政治经济学》读后感

评《噪音——音乐的政治经济学》

读贾克·阿达利《噪音》

音樂社會功用史

recommend

第一次读后感

噤声

资本主义音乐的政治经济学批判前景

聆听社会的变迁——《噪音》阅读小记

重读噪音

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0 有用 FoundObject 2020-04-25

1 有用 Kaka.Lam 2014-03-03

0 有用 J 2019-11-03

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