Listening Through the Noise: The Aesthetics of Experimental Electronic Music

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9780195387667: Listening Through the Noise: The Aesthetics of Experimental Electronic Music
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a thought-provoking and significant contribution to our understanding of the aesthetics of electronic music. ( Peter Manning, Music and Letters)

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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.

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Joanna DeMers
Editorial: Oxford University Press Inc, United States (2010)
ISBN 10: 019538766X ISBN 13: 9780195387667
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Descripción Oxford University Press Inc, United States, 2010. Paperback. Estado de conservación: New. 231 x 155 mm. Language: English . Brand New Book ***** Print on Demand *****.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. Nº de ref. de la librería AAV9780195387667

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Descripción Oxford University Press Inc, United States, 2010. Paperback. Estado de conservación: New. 231 x 155 mm. Language: English . Brand New Book ***** Print on Demand *****. 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. Nº de ref. de la librería AAV9780195387667

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Descripción 2010. PAP. Estado de conservación: New. New Book. Shipped from US within 10 to 14 business days. Established seller since 2000. Nº de ref. de la librería VU-9780195387667

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Descripción OUP USA 2010-08-19, New York |Oxford, 2010. paperback. Estado de conservación: New. Nº de ref. de la librería 9780195387667

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Descripción Oxford University Press Inc. Paperback. Estado de conservación: new. BRAND NEW PRINT ON DEMAND., Listening Through the Noise: The Aesthetics of Experimental Electronic Music, Joanna Demers, 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. Nº de ref. de la librería B9780195387667

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DeMers, Joanna
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Descripción Oxford University Press, 2016. Paperback. Estado de conservación: New. PRINT ON DEMAND Book; New; Publication Year 2016; Not Signed; Fast Shipping from the UK. No. book. Nº de ref. de la librería ria9780195387667_lsuk

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Joanna Demers
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ISBN 10: 019538766X ISBN 13: 9780195387667
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Descripción Oxford University Press, USA, 2010. Estado de conservación: New. 2010. 1st Edition. Paperback. Listening through the Noise considers how the experience of listening to electronic music constitutes a departure from the expectations that have long governed music listening in the West. Num Pages: 216 pages, black & white illustrations. BIC Classification: AVGV; HPN. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 234 x 155 x 15. Weight in Grams: 312. . . . . . . Nº de ref. de la librería V9780195387667

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Joanna DeMers
Editorial: Oxford University Press Inc, United States (2010)
ISBN 10: 019538766X ISBN 13: 9780195387667
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Descripción Oxford University Press Inc, United States, 2010. Paperback. Estado de conservación: New. 231 x 155 mm. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. 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. Nº de ref. de la librería BTE9780195387667

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Joanna Demers
Editorial: Oxford University Press, U.S.A. (2010)
ISBN 10: 019538766X ISBN 13: 9780195387667
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Descripción Oxford University Press, U.S.A., 2010. Estado de conservación: New. book. Nº de ref. de la librería ria9780195387667_rkm

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