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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
Noise is, at its heart, a reversal of the orthodox reading of Marx's base/superstructure model. By situating music as annunciatory of political economy, Attali is rejecting the economic determinism and reflection theory inherent in much critical cultural work.
Noise: The Political Economy of Music. Jason Lee Guthrie. 2015, Journal of the Music & Entertainment Industry Educators Association. Jacques Attali's Noise: The Political Economy of Music opens with an ambitious program, the critique of two and a half millennia of Western knowledge.
- Jason Lee Guthrie
Sep 14, 2015 · Noise: The Political Economy of Music. by Jacques Attali (1977) QUOTES: Our sicence has always desired to monitor, measure, abstract, and castrate meaning, forgetting that life is full of noise and that death alone is silent: work noise, noise of man, and noise of beast. Noise bought, sold, or prohibited.
Though Attali's historical analysis of music is thoroughly economic, his honest critiques of Marxism and his downright libertarian, Utopian and anti-economistic conclusions are surprising and welcome.
Nov 12, 2017 · Attali’s seminal text Noise: the Political Economy of Music demonstrates how the organisation of sound (as music but also as not noise), is crucial to the consolidation of a totality. In order to understand how the structures of capital are organised, he makes the point that ‘any theory of power today must include a theory of the ...
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.
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