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- The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."
en.wikipedia.org/wiki/Noise:_The_Political_Economy_of_Music
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Noise: The Political Economy of Music is a book by French economist and scholar Jacques Attali which is about the role of music in the political economy.
- Jacques Attali, Brian Massumi, Frederic Jameson, Susan McClary
- 1977
Jacques Attali, a French economist who was a Special Counsellor to President François Mitterand, proposes a number of theories on the political economy of music in this book, some quite bold and difficult to accept at first encounter, others more readily convincing.
Jun 30, 1985 · “Noise is a model of cultural historiography. . . . In its general theoretical argument on the relations of culture to economy, but also in its specialized concentration, Noise has much that is of importance to critical theory today.”
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.
- 8MB
- 190
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.
Feb 24, 1977 · As an investigation into the fetishization of music and the regression of listening, Noise: The Political Economy of Music manages to fail in interesting ways. Attali attempts to provide a historical investigation into the development of music from its origins in ritual through to the development of modern recording.
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.
