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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
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.
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,
5 Excerpts. Music, time, and international political economy: making coevalness. M. Davies. Political Science. Review of International Political Economy. 2022. Abstract Recent critical studies in International Political Economy (IPE) have engaged with the ‘temporal turn’ in International Relations.
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.
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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 ...
