Listening – Sacrificing – Representing – Repeating – Composing – The politics of silence and sound, by Susan McClary. Noise has ratings and 38 reviews. Ben said: In sum, the history of music should be rewritten as a political effort to channel violence through noise. Argues that music does not reflect society; it foreshadows new social formations. Noise. The Political Economy of Music. •. Author: Jacques Attali.

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I love this book. Apr 02, Andre Diehl rated it it was amazing Shelves: So “music is outside all measure. Showing of 7 reviews. 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. And by doing this, it helps to buttress and legitimize the social order in general, although the presence of “noise” or dissent at the margins of society can never be completely eliminated.

It is created by the substitution of new differences for the te differences.

Noise: The Political Economy of Music – Wikipedia

Attali’s purpose in tracing this history is economic and prophetic. And as a bonus, it’s atttali nearly as obtuse as most contemporary French philosophy. Amazon Advertising Find, attract, and tje customers. Attali’s survey of the relationship between music and capital has been barrel aged for 35 years but still maintains its sharp opening notes of Nietzsche followed by the rich, oakey, flavors of Foucault with a smooth, leathery, Marxist finish.

Music in this period is ubiquitous and often tied up in festival.

Sep 02, Chris and Yuri rated it it was amazing Recommends it for: By the term “sacrifice,” he is referring to the anthropological theory of Rene Girard’s that ritual sacrifice served in the earliest human societies to channel and substitute for the general violence which would otherwise have torn them apart.


In other words, Attali predicts a future in which people will write and enjoy their own music, the way people in some communities are already growing and harvesting their own food.

It makes audible the new world that will gradually become visible, that will impose itself and regulate the order of things; it is not only the image of things, but the transcending of the everyday, the herald of the future. His principal thesis in the former category is that changes in the basic politicsl 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 npise our society.

When Attali is focused on the political economy of nineteenth and twentieth century music, he does offer fresh insight into the economic exploitation of music. These predictions are made in Chapter 5.

Jacques Attali. Noise: The Political Economy of Music.

Attali summarizes his own argument: For this reason musicians, even when officially recognized, are dangerous, jacqies, and subversive; for this reason it is impossible to separate their history from that of repression and surveillance.

Philosophy Of New Music.

As Varese said, “The modern day composer refuses to die. Even worse, perhaps, is that any discussion of leisure time vs.

Noise: The Political Economy of Music

Book Review Jacques Attali. Attali is perhaps best known in America as the author of Noise: Write a customer review. It puts a new spin on the effect of music on culture, and the reciprocal relationship between art and society.


What is weak in this book is the connection to technology in musical production and reproduction. According to this theory, “the majority of ancient societies lived in terror of identity; this fear created a desire to imitate, it created rivalry, and thus an uncontrolled violence that spread like a plague” Attali, p. He calls the chapter Sacrificing because in this era, music is a ritualized, structuralized sublimation of the violence of nature.

His work stands out as an adventuresome analysis of the political economy of music. The alienation of life made bearable by a promise of eternity. Attali makes arguments that may seem outlandish, but with more thought and consideration, prove to be intelligent, fresh, and seemingly common sense.

Everyone interested in the fate of classical music in the 21 st century, especially, will find Attali’s book a good starting point for further investigation. The music industry is on trial as well as it should be.

During this era, music also becomes separated from the human life-world: At the same time, music is prophecy: Attali doesn’t theorize about music so music as through it.

As an investigation into popitical fetishization of music and the regression of listening, Noise: Fredric Jameson is professor of literature at Duke University.