By Jacques Attali
“Noise is a version of cultural historiography. . . . In its common theoretical argument at the relatives of tradition to economic system, but in addition in its really expert focus, Noise has a lot that's of value to serious thought today.” SubStance“For Attali, song isn't easily a mirrored image of tradition, yet a harbinger of swap, an anticipatory abstraction of the form of items to return. The book’s name refers particularly to the reception of musics that sonically rival normative social orders. Noise is Attali’s metaphor for a large, old vanguardism, for the unconventional soundscapes of the western continuum that specific structurally the process social development.” EthnomusicologyJacques Attali is the writer of diverse books, together with Millennium: Winners and Losers within the Coming global Order and Labyrinth in tradition and Society
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Additional info for Noise: The Political Economy of Music
In fact, all of the elements of my hypothesis are present in it: music as the eliminator of violence, the usage of which is exchanged for money; the breaking of the contract; the reconversion of music into an instrument of violence against children. Money appears here as the sower of death, shattering the social unity that had been restored through music. To my way of thinking, music appears in myth as an affirmation that society is possible. That is the essential thing. Its order simulates the social order, and its dissonances express marginalities.
This situation is not without significance. It is even essential in understanding both the uniqueness of music and its prophetic nature in economic imitations. If we go by the preceding analysis, a person whose creation originates an extensive process of material production is remunerated as a rentier: his income is independent of the quantity of labor he provides.
Dominus Superintendens: He had asked only for four weeks. but had stayed about four times as long . . Nos: Reprove him for having hitherto made many curious variations in the chorale, and mingled many strange tones in it, and for the fact that the Congregation had been confused by it. In the future, if he wished to introduce a tonus peregrinus, he was told to hold it out, and not to turn too quickly to something else. or, as had hitherto been his habit, even playa tonus contrarius. 20 A petty and impossible control to which the musician would be unceasingly subjected, even if in the bourgeois world of representation that control would be more subtle, more abstract than that which plagued Bach his entire life.