Noise : The Political Economy of Music

作者：JacquesAttali

出版社：UniversityOfMinnesotaPress

副标题：ThePoliticalEconomyofMusic

译者：BrianMassumi

出版年：1985-6-30

页数：196

定价：USD19.50

装帧：Paperback

丛书：TheoryandHistoryofLiterature

ISBN：9780816612871

内容简介
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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]

作者简介
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Jacques Attali is the author of numerous books, including Millennium: Winners and Losers in the Coming World Order and Labyrinth in Culture and Society.

Brian Massumi has translated works by Gilles Deleuze, Michel de Certeau, and Jean-François Lyotard.

Fredric Jameson is professor of literature at Duke University.

Susan McClary is professor of musicology at the University of California, Los Angeles.

评论 ······

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。

东方主义

昨天断电了我还硬撑着看了好久~才发现和我写的论文完全不是一回事儿~切~

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

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