Manual Listening through the Noise: The Aesthetics of Experimental Electronic Music

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This book 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. This book proceeds from this starting point to consider how electronic music changes the way we listen not only to music, but to sound itself. The common trait in recent experimental electronic music is a concern with whether sound, in itself, bears meaning.

The use 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. Some electronic music genres insist upon the inscrutability and abstraction of sound.

Listening Through the Noise: The Aesthetics of Experimental Electronic Music – Joanna Demers

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. Joanna Demers writes on aesthetics, technology, and intellectual property in post music. Convert currency. Add to Basket. Condition: New.

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Language: English. 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? 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.

Author Joanna Demers proceeds from this starting point to consider how electronic music ischanging 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.

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The use in recent works of previously undesirable materials like noise, field recordings, and extremelyquiet sounds has contributed to electronic music's destruction of the "musical frame," the conventions that used to set apart music from the outside world. But all share an approach towards listeningthat departs fundamentally from the expectations that have governed music listening in the West for the previous five centuries.


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Listening Through the Noise: The Aesthetics of Experimental Electronic Music

Shipped from UK. Established seller since Seller Inventory IQ In addition, she has a couple of gripes with the application of the idea to microsound. In particular, Demers's second criticism focuses on the means these artists use to this famiiar end. There must be more to it than that.

One final note before we move on. The stasis she finds in this music focuses our attention on the disjunction between what we're hearing a work of music occurring in finite time and what we hear in another sense non-teleological eternity. Here too typically for me, I grant I worry about the danger of overdetermination of artistic substance by theory, as well as Demers's use, as before, of perhaps-too-friendly examples. Not all drone is as long-winded or reductive as Radigue, nor all noise simply featureless and loud.

For another take on noise, see my post here. My sense is that there is more to these genres than this, and we need to let our ears lead us farther before we turn things over to the theoreticians.

ISBN 13: 9780195387650

Anyway, let's finish up with a look at chapter 5. While not signifying i. While field recordings are the most obvious example of sound's connection with site, ambient music is equally concerned with site's aesthetic potential. And isn't greatness what we're really concerned with, when it's there to be had? Skip to content.