Audio Culture, Revised Edition: Readings in Modern Music PDF
Preview Audio Culture, Revised Edition: Readings in Modern Music
Audio Culture Revised Edition Contents Acknowledgments Sources and Permissions Introduction to the Revised Edition Part 1 Theories I. Music and Its Others: Noise, Sound, Silence Introduction 1 “Noise and Politics” Jacques Attali 2 “The Art of Noises: Futurist Manifesto” Luigi Russolo 3 “The Liberation of Sound” Edgard Varèse 4 “The Joys of Noise” Henry Cowell 5 “The Future of Music: Credo” John Cage 6 “The Music of the Environment” R. Murray Schafer 7 “The Gender of Sound” Anne Carson 8 “Queer Sound” Drew Daniel 9 “The Quiet of Blackness: Miles Davis and John Coltrane” Kevin Quashie II. Modes of Listening Introduction 10 “Visual and Acoustic Space” Marshall McLuhan 11 “Acousmatics” Pierre Schaeffer 12 “Profound Listening and Environmental Sound Matter” Francisco López 13 “Ambient Music” Brian Eno 14 “Auralizing the Sonosphere: A Vocabulary for Inner Sound and Sounding” Pauline Oliveros 15 “Perceptual Geography: Third Ear Music and Structure Borne Sound” Maryanne Amacher 16 “Hearing Essay” Evelyn Glennie 17 “The Aural Walk” Iain Chambers 18 “Ubiquitous Listening” Annahid Kassabian 19 “Forensic Listening” Lawrence Abu Hamdan 20 “Organizing the Silence” Ultra-red III. Music in the Age of Electronic Reproduction Introduction 21 “The Prospects of Recording” Glenn Gould 22 “The Studio as Compositional Tool” Brian Eno 23 “Bettered by the Borrower: The Ethics of Musical Debt” John Oswald 24 “Plunderphonia” Chris Cutler 25 “Operating System for the Redesign of Sonic Reality” Kodwo Eshun 26 “Six File-Sharing Epiphanies” Kenneth Goldsmith 27 “Cultivating Activist Lives in Sound” Tara Rodgers Part 2 Practices IV. The Open Work Introduction 28 “Poetics of the Open Work” Umberto Eco 29 “Composition as Process: Indeterminacy” John Cage 30 “Every Sound You Can Imagine: On Graphic Scores” Christoph Cox 31 “Transformations and Developments of a Radical Aesthetic” Earle Brown 32 “The Game Pieces” John Zorn 33 “Introduction to Catalog of Works” Anthony Braxton 34 “Notes on Conduction” Lawrence “Butch” Morris V. Experimental Musics Introduction 35 “Towards (a Definition of) Experimental Music” Michael Nyman 36 “Introduction to Themes & Variations” John Cage 37 “Generating and Organizing Variety in the Arts” Brian Eno 38 “Scratch Music Draft Constitution” Cornelius Cardew 39 “The Generation Game: Experimental Music and Digital Culture” David Toop 40 “The New Discipline” Jennifer Walshe 41 “Re-Invent: Experimental Music in China” Yan Jun VI. Improvised Musics Introduction 42 “Change of the Century” Ornette Coleman 43 “Notes (8 Pieces): Creative Music” Wadada Leo Smith 44 “Free Improvisation” Derek Bailey 45 “Little Bangs: A Nihilist Theory of Improvisation” Frederic Rzewski 46 “Improvised Music After 1950: Afrological and Eurological Perspectives” George E. Lewis 47 “Improvisation: Terms and Conditions” Vijay Iyer 48 “Going Fragile” Mattin 49 “27 Questions For a Start … And Some Answers to Begin With” Trio Sowari et al. VII. Minimalisms Introduction 50 “Thankless Attempts at a Definition of Minimalism” Kyle Gann 51 “Basic Concepts of Minimal Music” Wim Mertens 52 “Music as a Gradual Process” Steve Reich 53 “Conversation with Richard Kostelanetz” La Monte Young and Marian Zazeela 54 “LYssophobia: On Four Violins” Tony Conrad 55 “Rap, Minimalism and Structures of Time in Late Twentieth-Century Culture” Susan McClary 56 “Draw a Straight Line and Follow It: Minimalism in Contemporary Electronic Dance Music” Philip Sherburne VIII. DJ Culture Introduction 57 “Production–Reproduction: Potentialities of the Phonograph” László Moholy-Nagy 58 “Détournement as Negation and Prelude” Situationist International 59 “The Invisible Generation” William S. Burroughs 60 “Algorithms: Erasures and the Art of Memory” Paul D. Miller 61 “Replicant: On Dub” David Toop 62 “Post-Rock” Simon Reynolds 63 “A Few Notes on Production and Playback” Marina Rosenfeld IX. Electronic Music and Electronica Introduction 64 “Introductory Remarks to a Program of Works Produced at the Columbia-Princeton Electronic Music Center” Jacques Barzun 65 “Electronic and Instrumental Music” Karlheinz Stockhausen 66 “Stockhausen vs the Technocrats” Karlheinz Stockhausen et al. 67 “The Mysterious Power of the Infinitesimal” Eliane Radigue 68 “The Aesthetics of Failure: ‘Post-Digital’ Tendencies in Contemporary Computer Music” Kim Cascone 69 “Laptop Intimacy and Platform Politics” Holly Herndon Chronology Selected Discography Selected Bibliography Glossary Notes to Quotations Index Acknowledgements A large network of people contributed to the publication of Audio Culture in its two editions. The first edition was ably guided by Continuum’s David Barker, who enthusiastically supported the project, the revised edition by Bloomsbury’s Ally Jane Grossan, Michelle Chen, and Leah Babb-Rosenfeld, whom we thank for their patience and generosity. Gabriella Page-Fort superbly copyedited the manuscript and made helpful suggestions and wise decisions. Thanks also to The Wire magazine’s Rob Young, Tony Herrington, Chris Bohn, and Anne Hilde Neset. Aaron Berman and Eva Rueschmann, Deans of Faculty at Hampshire College, supported our work on the book with a series of faculty development grants for which we are very grateful. A grant from Hampshire’s European Studies Program, directed by Jim Miller, made possible the translation of Pierre Schaeffer’s “Acousmatics.” Several students assisted with the manuscript or suggested materials: Matt Krefting, Matthew Latkiewicz, Daniel Lopatin, Julie Beth Napolin, Aaron Rosenblum, Charlotte Schwennsen, John Shaw, Noel Kirsch, and Kira DeCoudres. Amherst College music librarians Ann Maggs and Jane Beebe generously granted us access to that library’s fine collections. Thanks, too, to a number of friends and colleagues who helped us locate materials and track down authors and artists: Robert Walser, David Rothenberg, Marta Ulvaeus, Stephen Vitiello, Andrew Deutsch, Jon Abbey, Jonas Leddington, Oren Ambarchi, Eddie Prévost, Keith Rowe, Jason Tors, and Eyal Hareuveni. Discographical advice was generously offered by Michael Ehlers, Alan Licht, Thurston Moore, Philip Sherburne, and Matt Krefting. Catherine Dempsey put in hours of work comparing and correcting versions of Brian Eno’s essays. John Zorn offered helpful criticisms and generously took the time to talk with us about his work. Bill Dietz gave us access to unpublished material in the Maryanne Amacher Archive. Special thanks to Daniel W. Smith for his superb translation of Pierre Schaeffer’s text, and to Holly Herndon, Kevin Quashie, Marina Rosenfeld, and Philip Sherburne for contributing commissioned essays under tight deadlines. Our warmest and deepest thanks go to Molly Whalen for her patience, support, and enthusiasm, and to Mary Russo for her love, advice, and encouragement. Finally, we express our sincere gratitude to the writers, composers, and musicians who generously allowed us to reprint their important work.
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