Noise

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雅剋·阿達利(Jacques Attali)是當代法國著名學術與政治人物,曾任法國總統密特朗的特彆顧問,他的作品涉及麵廣,並具有曆史文化的內涵,深受歐美知識界的重視。他的另一本著作《智慧之路-論迷宮》也已被翻譯齣版 見www.douban.com/subject/1043617/

出版者:University Of Minnesota Press
作者:Jacques Attali
出品人:
頁數:196
译者:Brian Massumi
出版時間:1985-6-30
價格:USD 19.50
裝幀:Paperback
isbn號碼:9780816612871
叢書系列:Theory and History of Literature
圖書標籤:
  • 音樂 
  • 音樂理論 
  • Jacques_Attali 
  • 人類學 
  • noise 
  • 社會 
  • 媒體 
  • Economy 
  •  
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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]

具體描述

讀後感

評分

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...  

評分

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...

評分

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...

評分

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...  

評分

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...  

用戶評價

评分

i mean the historical distinction of different musical zones is interesting but the arguments are hinged on analogies...

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隻看瞭一部分,除瞭作者偶爾會不好好說話之外還是很精彩的,而且居然是80年代寫的!Frederic Jameson作序。

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昨天斷電瞭我還硬撐著看瞭好久~纔發現和我寫的論文完全不是一迴事兒~切~

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All music can be defined as noise, given form according to a code that is theoretically knowable by the listener.

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prophetic. very strong dissertation...but...

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