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Attali's essential argument in Noise: The Political Economy of Music (French title: Bruits: essai sur l'economie politique de la musique) is that music, as a cultural form, is intimately tied up in the mode of production in any given society.
- Jacques Attali, Brian Massumi, Frederic Jameson, Susan McClary
- 1977
Apr 24, 2014 · Nearly 40 years after the publication of his 1977 book Noise: The Political Economy of Music, French economist and writer Jacques Attali spoke at Harvard on Monday about the relationship between music and a society’s economic structure.
Noise: The Political Economy of Music. Jacques Attali. Manchester University Press, 1985 - Music - 179 pages. “For Attali, music is not simply a reflection of culture, but a harbinger of change,...
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- Jacques Attali
- 46
Common to these recent approaches is criticality towards the concept of noise as indexing a form of indeterminacy, or as embodying the negative, an approach that was exemplified, within a previous generation of noise theorists, by Jacques Attali’s Noise: The Political Economy of Music.
As a political tool, music is an implicit pride as scripture is dedicated to explicit breeding. Harmony in music becomes the organizer of the noise/violence, maintaining the social order,
Books. “For Attali, music is not simply a reflection of culture, but a harbinger of change, an anticipatory abstraction of the shape of things to come. The book’s title refers specifically to the...
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Feb 24, 1977 · Attali posits that music (at least in Western culture and history) is not just a reflection of its social, political, and economic times but also a predictor of change, an abstract anticipation of the new conditions ushered in by these changes.
