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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 a professional economist; meanwhile, the recurrent phenomenon of child prodigies in music and in mathematics alike perhaps also suggests the peculiarity of the numerical gift, which would seem to demand less practical experience of the world and of social life than does work in other fields.
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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. While this initial statement is perhaps more symbolic than substantive, Noise does undertake a.
- Jason Lee Guthrie
Jan 1, 2015 · Noise: The Political Economy of Music. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 1985. 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.
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.
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.
The first step he takes in the analysis is to define a specific counter-category to noise in music. The reason for this, he cites, is the peculiar autonomy the form has taken on in recent centuries, which he sees as indicative of wider historical, economic and political developments.
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