Filed under book | Tags: · cultural economy, cultural production, music, music history, noise, political economy
“Attali’s essential argument in Noise: The Political Economy of Music is that music, as a cultural form, is intimately tied up in the mode of production in any given society. For Marxist critics, this idea is nothing new. The novelty of Attali’s work is that it reverses the traditional understandings about how revolutions in the mode of production take place.
Attali believes that music has gone through four distinct cultural stages in its history: Sacrificing, Representing, Repeating, and a fourth cultural stage which could roughly be called Post-Repeating. These stages are each linked to a certain “mode of production”; that is to say, each of these stages carries with it a certain set of technologies for producing, recording and disseminating music, and also concomitant cultural structures that allow for music’s transmission and reception.”
Publisher Presses Universitaires de France, 1977
Translated by Brian Massumi
Foreword by Fredric Jameson
Afterword by Susan McClary
Publisher Manchester University Press ND, 1985
Theory and History of Literature, Volume 16
ISBN 0719014719, 9780719014710
Reviews: Edinburgh Review (1986), Dana Polan (SubStance, 1988), Ronald M. Radano (Ethnomusicology, 1989), Steven Shaviro (2005), notbored.org (n.d.), J. Szigeti (2014).
Outline: Theodore Gracyk.
Commentary: Eric Drott (Critical Inquiry, 2015).
Bruits: essai sur l’economie politique de la musique (French, New edition, 1977/2001, added on 2013-9-25)
Noise: The Political Economy of Music (English, updated on 2012-7-24)