Contemporary electronic music has splintered into numerous genres and subgenres, all of which share a concern with whether sound, in itself, bears meaning. 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.
Contemporary electronic music has splintered into numerous genres and subgenres, all of which share a concern with whether sound, in itself, bears meaning. 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.
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.
Inhaltsangabe
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 5.6.: Site in Ambient, Soundscape, and Field RecordingsGenre, Experimentalism, and the Musical Frame Conclusion Notes Glossary Bibliography Discographytates.
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 5.6.: Site in Ambient, Soundscape, and Field RecordingsGenre, Experimentalism, and the Musical Frame Conclusion Notes Glossary Bibliography Discographytates.
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