Listening Through the Noise

The Aesthetics of Experimental Electronic Music
1. Auflage 2010
ISBN: 978-0-19-538766-7
Verlag: Oxford University Press

Buch, Englisch, 216 Seiten, Format (B × H): 156 mm x 234 mm, Gewicht: 330 g

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.

Zielgruppe

Primary audience: advanced undergraduates, graduate students, and academics studying twentieth- and twenty-first-century music, new media, sound art, and technology studies; Secondary audience: electronic musicians; anyone interested in the philosophy of art.

Autoren/Hrsg.

Demers, Joanna

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikgattungen Elektronische Musik

Inhaltsverzeichnis

Acknowledgements
Introduction
Part 1. Sign
1.: Listening to Signs in Post-Schaefferian Electroacoustic music
2.: Material As Sign In Electronica
Part Two: Object
3.: Minimal Objects In Microsound
4.: Maximal Objects in Drone Music, Dub Techno, and Noise
Part Three: Situation
5.: Site in Ambient, Soundscape, and Field Recordings
Conclusion
Notes
Glossary
Bibliography
Discographytates

Über Autor(innen)

Joanna Demers writes on aesthetics, technology, and intellectual property in post-1945 music. She is an Associate Professor of Musicology at the University of Southern California.