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Fidelity
- During this era, Attali asserts that the goal of music is not memory or quality, but fidelity—the goal of those engaged in the musical project (which includes not only composers and performers, but sound engineers, studio execs and the like) is to record sound as clearly and flawlessly as possible, and to perfectly reproduce these recordings.
en.wikipedia.org/wiki/Noise:_The_Political_Economy_of_Music
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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. “Music is a metaphor for society,” said the founding president of the European Bank for Reconstruction ...
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.
Oct 14, 2022 · The central concept of Noise is that music is prophetic of society, but that the prophecy can only be accessed if one breaks with the purely technical, aesthetic, and cultural analyses that dominate the academic treatment of music. Attali’s case study is western music and civilization over the last three centuries.
Apr 16, 2018 · Jacques Attali’s Bruits [Noise] was first published in French in 1977, then in English translation in 1985. It presents a long-term history of musical development, based on Attali’s novel theory of distinct stages of historical development in music.
Music, long seen as standing at a remove from political economy, is instead placed squarely at its center. For scholars persuaded of music’s social efficacy, of its ability to act upon and perhaps even change the world, Attali’s Bruits has proven in-valuable. This is most evident in connection to the new musicology.
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.
