Learning Through Noise
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This book argues that the formation of noise music as a distinctive musical genre (and noise music scenes as distinct musical subcultures) relies on the production of unique learning ecologies and vice versa. Noise music does not exist as a musical form that one learns to reproduce, create within, or appreciate in defined educational contexts (i.e. classrooms) separate from where this music lives (venues, recording studios, practice spaces, etc.). Instead, making and listening to noise music in itself represents the primary method of learning about and within the genre. Because the processes o...
This book argues that the formation of noise music as a distinctive musical genre (and noise music scenes as distinct musical subcultures) relies on the production of unique learning ecologies and vice versa. Noise music does not exist as a musical form that one learns to reproduce, create within, or appreciate in defined educational contexts (i.e. classrooms) separate from where this music lives (venues, recording studios, practice spaces, etc.). Instead, making and listening to noise music in itself represents the primary method of learning about and within the genre. Because the processes of making, listening to, and learning within noise music are deeply intertwined, the book contends that understanding noise music inherently requires understanding the unique and situated learning processes of the genre.
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