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
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...
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 first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image.[1]
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/
丛书信息
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读书笔记 · · · · · ·
我来写笔记-
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
回应 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 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
回应 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 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
回应 2018-03-19 12:40
这本书的其他版本 · · · · · · ( 全部5 )
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暂时无货, 28天前曾上架
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时报出版 (1995年01月14日)7.7分 49人读过
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以下书单推荐 · · · · · · ( 全部 )
谁读这本书?
二手市场
订阅关于Noise的评论:
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0 有用 满月様 2018-03-19
Jameson已经说了Attali这本书最有意义的部分,是作为上层建筑/非物质性的音乐对于经济基础的生产性预言,对于经典马克思主义的翻转。当然Attali读起来十分舒服,Massumi这本翻译很简洁啊比他自己写的东西清楚多了wwww
0 有用 juneandjune 2020-05-04
All music can be defined as noise, given form according to a code that is theoretically knowable by the listener.
0 有用 FoundObject 2020-04-25
东方主义
1 有用 Kaka.Lam 2014-03-03
the foreword is written by Fredric Jameson...
0 有用 J 2019-11-03
"No organized society can exist without structuring differences at its core. No market economy can exist without erasing differences in mass production."
0 有用 juneandjune 2020-05-04
All music can be defined as noise, given form according to a code that is theoretically knowable by the listener.
0 有用 FoundObject 2020-04-25
东方主义
0 有用 J 2019-11-03
"No organized society can exist without structuring differences at its core. No market economy can exist without erasing differences in mass production."
0 有用 满月様 2018-03-19
Jameson已经说了Attali这本书最有意义的部分,是作为上层建筑/非物质性的音乐对于经济基础的生产性预言,对于经典马克思主义的翻转。当然Attali读起来十分舒服,Massumi这本翻译很简洁啊比他自己写的东西清楚多了wwww
0 有用 三次方根 2018-01-12
用政治经济学观点审视音乐,讲音乐观念试分成献祭-再现-复制-即兴四部分,非常具有启发性。对fine-art,pop art和free music的分析也鞭辟入里。绝对一本好书。