Jacques Attali. Noise: The Political Economy of Music. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 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 significant historical revision of the last three hundred years of Western music.
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Jacques Attali. Noise: The Political Economy of Music. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 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 significant historical revision of the last three hundred years of Western music.
In doing so, it contributes some of the most innovative and important theoretical advances to date in twentieth-century musical scholarship. The central premise of the book is that music is prophetic. Attali finds the political economy of the western world in the twentieth century to be the natural outcome of its political rationale and political structures in the nineteenth century.
In and of itself this is not a groundbreaking assertion, but the true innovation of Attali's work comes in finding nineteenthcentury European political theory contained, in nascent form, within the structural codes of eighteenth-century Western European music. In Attali's view, music's "styles and economic organization are ahead of the rest of society because it explores, much faster than material reality can, the entire range of possibilities in a given code" p. Thus, music announces a society that is to come, heralding the political, economic, and cultural order of succeeding generations.
Students of cultural Marxism will immediately notice the novelty, blasphemous or revolutionary depending on one's point-of-view, of Attali's claim. By situating music as annunciatory of political economy, Attali is rejecting the economic determinism and reflection theory inherent in much critical cultural work.
This theoretical claim is the Author: Jason Lee Guthrie. Date: Annual Document Type: Book review. Length: 1, words. Access from your library This is a preview. Get the full text through your school or public library. Source Citation Guthrie, Jason Lee. Accessed 5 June
Jacques Attali. Noise: The Political Economy of Music
Follow us on. The relationships of music to the politics and economics of the societies in which it is composed and performed are rarely given serious study, but a moment's reflection will convince us, I think, that this is an important subject for anyone interested in music to look into. An activity which gives so much enjoyment and arouses so much passion in so many people must have important consequences in the rest of society, and the other areas of society must in turn impinge on it in many crucial ways. His principal thesis in the former category is that changes in the basic character of music throughout history have foreshadowed subsequent fundamental revolutions in political and economic structures, from which he concludes inductively that changes taking place in music today predict the future shape of our society. Whether or not one agrees with this claim, and many readers of his book have apparently had a hard time with it, the connections he makes between the various kinds of musical activity in history and the social matrices surrounding them are fascinating and almost always quite illuminating. His argument is structured by four types of music which he regards as fundamental: "sacrifice," "representation," "repetition," and "composing. These terms have special meanings in Attali's argument, which need to be clearly understood in order to grasp properly what he is stating.
Noise: The Political Economy of Music
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Coming soon. 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. His work stands out as an adventuresome analysis of the political economy of music. Its challenge to calcified critical thinking is undeniable. For Attali, music is not simply a reflection of culture, but a harbinger of change, an anticipatory abstraction of the shape of things to come.
Noise: The Political Economy of Music is a book by French economist and scholar Jacques Attali concerning the role of music in the political economy. 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. 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.