Noise Music A History Kindle ✓ Noise Music PDF or

Noise Music A History Kindle ✓ Noise Music PDF or

Noise Music A History [KINDLE] ✽ Noise Music A History By Paul Hegarty – NoiseMusic looks at the phenomenon of noise in music from experimental music of the early 20th century to the Japanese noise music and glitch electronica of today It situates different musics in their NoiseMusic looks at the phenomenon of noise in music from experimental music of the early th century to the Japanese noise music and glitch electronica of today It situates different musics in their cultural and historical context and analyses them in terms of cultural aesthetics Paul Hegarty argues that noise is a Noise Music PDF or judgement about sound that what was noise can become acceptable as music and that in many ways the idea of noise is similar to the idea of the avant gardeWhile it provides an excellent historical overview the book's main concern is in the noise music that has emerged since the mid s whether through industrial music punk free jazz or the purer noise of someone like Merzbow The book progresses seamlessly from discussions of John Cage Erik Satie and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms Sharp and erudite and underpinned throughout by the ideas of thinkers like Adorno and Deleuze NoiseMusic is the perfect primer for anyone interested in the louder side of experimental music.

10 thoughts on “Noise Music A History

  1. Connor Connor says:

    About as engaging and informative as a review on Pulse Demon written by a 17 year old RYM user who just discovered the work of Gilles Deleuze and Karl Marx Both tinged in the same boring pseudo academia pretenses

  2. Walid Walid says:

    starts off the discussion of noise on rather interesting therotical foundations only to ruin things one step at a time with every chapter that is being read despite his criticism of past teleological approaches to the subject matter or avant garde music i find his book to be too chronological and teleological as it slowly leads the reader to a self indulgent culminating panegyric on merzbow to whom he devotes an entire chapter instead of exploring the richness of the japanese – or otherwise – noise scene with breadth and depth not to mention that his theoretical references though pertinent and interesting at first slowly build up towards an irksome practice that almost verges on namedropping as in oh let's drop some derrida in here and not bother to explicate the reason behind this reference or that short bit on deleuze aptly – if unimaginatively – entitled deleuze bit which lands from out of the blue in the middle of a discussion of the grateful dead i mean can it possibly get prosaic than that?to keep it short because i could go on and on ranting about this book which sounded so fucking promising at first and ended up being yet another disappointment in my unremitting uest for a decent well rounded and challenging book on noise i mean come on his chapter on industrial noise was in all modesty less thorough and interesting than my undergrad thesis paper which was written 5 years ago back when i was still a young and handsome boy i think that he should have been focussed in the scope of his book and try to explore his subject matter selectively and in depth rather than spread himself out too thinoh and did i mention that i found the ending too new ageish to my liking?

  3. Adam Adam says:

    I was initially only going to read a chapter or two as research for a paper that I was writing but after that paper was done I got completely immersed Each chapter is set up like a research paper in and of itself but obviously relating back to the overarching topic of Noise either as music in music etcSeveral chapters in the beginning actually begin as a very in depth study into the history of rock music and other music and where other histories of rock follow that branch from the Beatles to the Rolling Stones and on to pop music Hegarty takes a sharp left turn exploring all of the music that didn't get its due or didn't seek the same kind of popularity as other acts This work is philosophical analytical and goes into a high degree of detail citing the works of Bataille Derrida Foucault and countless others Hegerty plunges the depths of noise in all of its forms whether they are political sound oriented as revolt as sound art as philosophical statement Basically I doubt there there is a better book out there that serves as an overview of the pop music that takes its cues from John Cage and Stockhausen than from the blues The text is dense with ample footnotes but the chapters are a forgiving length and Hegarty writes in a style that is easy to read and familiar Though I'm a grad student and reading it as such I would suggest this book to anyone interested in contemporary difficult music as it provides scores of insights

  4. M-R-N-D-R M-R-N-D-R says:

    really helpful book covers all sorts of western transgressive musics mostly focusing on the popular forms noise japanoise industrial techno prog punk rock and roll sound art and their theoretical precursors This book has a lot of faults Unfortunately free improv is only mildly covered and classical music hardly at all covered Both of these Heggarty looks down upon as high art even though I'm not so sure it's that clear cut of a distinction I think this is just his personal prejudice He's also way too pretentious in uoting Adorno Bataille Derrida Deleuze Foucault and Baudrillard every possible chance he can sometimes unnecessarily His writing is also unnecessarily abtruse sometimes not to the point at allBut still this is a good theoretical starting point I dig it's worthwhile for what he's after talking about

  5. pianogal pianogal says:

    Ok I can't read this book because I totally disagree with the author's viewpoint that noise is bad The first ten pages of this book which admittedly is all the farther I read discuss nothing but how noise is chaos and it's negative and how all noise is dangerous All noise is not dangerousyes it can be potentially harmfulbut the sound of water in the shower is not going to damage my hearing In fact I think that most people who fall asleep to white noise machines might also beg to differ The writer's style is a little pompus and over the top so for me this one is a pass

  6. BW Diederich BW Diederich says:

    Suffers from the dreaded I HAVE A LOT OF COOL RECORDS disease as well as the REFERENCE THEORY AND PHILOSOPHY WITHOUT DOING MUCH ELSE disease There's some good there but Microbionics while not doing the exact same thing is far far better

  7. Graham Graham says:

    Well done work on the phenomenology of noise which utilizes and subverts trends in both academic writing and music criticism most noticably the sort of ABC linear progression of influences and diffusions so well loved by writers of both aforementioned fields Hegarty pays some lip service to chronological progressions utilizing a linear teleological approach which could be seen as either hypocritical or self consciously post modern depending on how forgiving the reader is feeling while noting that noise is an entirely subjective term referring to disruptions of established aesthetic properties and movements than to the establishment of properties and movements itself implicitly arguing also that the latter negates the former I have few criticisms of this work but those few that I had nagged me throughout my reading It's obvious that Hegarty is passionate both about philosophy and music as would befit a man who is both a philosophy professor and noise musician but while well versed in both it sometimes seems as if he's writing dual discourses and while a reader as well versed in both disciplines could draw parallels anybody with interests leaning towards one side or another might find the work difficult to digest I'm less philosophically inclined therefore casual references to Adorno and Deleuze struck me the same way that casual references to Constellation Records or Nurse With Wound might affect the less musically nerdy which is to say not very strongly My other criticism is that within genres outside a relatively canonical avant garde Hegarty relies on a few accepted standbys Hip hop experimentalism Public Enemy Dub Lee Perry Metal barely a footnote and hardly scratches the surface of a lot of potential material Basically there are few books out there which approach this topic with remotely the depth that Hegarty does This is very obviously a passionately assembled piece of cultural criticism but one which is bogged down in foot note heavy occasionally self contradictory language which would not necessarily be great casual reading for the average Merzbow fan

  8. Jürgen De blonde Jürgen De blonde says:

    Interesting book Interesting insights and statements on the relation between noise and music Some passages were rather difficult for me but in the end the point he was making always became clear A whole chapter on Merzbow might seem obsolote or might come across as idolatry but then again as a case study and illustration of what noise can be about this was also very interesting and got me into checking some Merzbow than I actually did Having opened up for Merzbow once I was kind of biased towards this artist and not necessarily in the good sense this has now changed The final chapter on listening I pretty considered seminal and can perhaps with some editing easily stand on its own Nice

  9. Dennis Dennis says:

    This book was interesting but horribly written The first couple of chapters are ok but after a while it becomes painfully apparent that this was written without an editor It made me wonder if he was trying to make his writing an analogy to the noise he was writing aboutThe names he drops are pretty good and reminded me to check out than a few artists I'd either heard and forgotten about or heard of and never checked out The discography is really helpful on this front

  10. Christoph Christoph says:

    This is a book about music as noise why it is where it came from and how it came to be Following in the footsteps of Attali's Noise this book extends the concept of noise as cultural jamming instrument and applies it to the modern era in several admittedly arbitrary genres which would otherwise could not be respected based on the context Those interested in abstract expressionist music and high brow snobbery will love this book

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