par Cox, Christoph (1965-....)
Bloomsbury
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Disponible - 780.61 AUD
Niveau 3 - Musiques et documents parlés
- Contributeur(s)
- Éditeur(s)
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Date
- 2017
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Contenu
- Panorama des expérimentations musicales du vingtième siècle, dans le champ des musiques de recherche (compositions, improvisation, avant-garde) comme des musiques populaires (jazz, rock, reggae, hip-hop, techno).Contributions de : Jacques Attali, Luigi Russolo, Morton Feldman, Edgar Varèse, Henry Cowell, John Cage, R. Murray Schafer, Mark Slouka, Mary Russo & Daniel Warner, Simon Reynolds, Masami Akita, Marshall McLuhan, Hanns Eisler & Theodor Adorno, Pierre Schaeffer, Francisco Lopez, Ola Stockfelt, Brian Eno, Iain Chambers, Pauline Oliveros, J.K. Randall, Glenn Gould, John Oswald, Chris Cutler, Kodwo Eshun, Umerto Eco, Christoph Cox, Earle Brown, John Zorn, Anthony Braxton, Michael Nyman, Cornelius Cardew, David Toop, Ornette Coleman, Derek Bailey, Frederic Rzewski, George E. Lewis, Susan McClary, Kyle Gann, Steve Reich, Wim Mertens, Tony Conrad, Philip Sherburne, Laszlo Moholy-Nagy, William S. Burroughs, Christian Marclay & Yasanuo Tone, Paul D. Miller, Jacques Barzun, Karlheinz Stockhausen, Aphex Twin, Scanner, Daniel Pemberton, Ben Neill, Kim Cascone ;
- I. Music and Its Others: Noise, Sound, Silence : Introduction 1. Jacques Attali, “Noise and Politics” 2. Luigi Russolo, “The Art of Noises: Futurist Manifesto” 3. Edgard Varèse, “The Liberation of Sound” 4. Henry Cowell, “The Joys of Noise” 5. John Cage, “The Future of Music: Credo” 6. R. Murray Schafer, “The Music of the Environment” 7. Anne Carson, “The Gender of Sound” 8. Drew Daniel, “Queer Sound” 9. Kevin Quashie, “The Quiet of Blackness: Miles Davis and John Coltrane” II. Modes of Listening : Introduction 10. Marshall McLuhan, “Visual and Acoustic Space” 11. Pierre Schaeffer, “Acousmatics” 12. Francisco Lopez, “Profound Listening and Environmental Sound Matter” 13. Brian Eno, “Ambient Music” 14. Pauline Oliveros, “Auralizing the Sonosphere” 15. Maryanne Amacher, “Perceptual Geography: Third Ear Music and Structure Borne Sound” 16. Evelyn Glennie, “Hearing Essay” 17. Iain Chambers, “The Aural Walk”18. Annahid Kassabian, “Ubiquitous Listening” 19. Lawrence Abu Hamdan, “Forensic Listening” 20. Ultra-red, “Organizing the Silence” III. Music in the Age of Electronic Reproduction : Introduction 21. Glenn Gould, “The Prospects of Recording” 22. Brian Eno, “The Studio as Compositional Tool” 23. John Oswald, “Bettered by the Borrower: The Ethics of Musical Debt” 24. Chris Cutler, “Plunderphonia” 25. Kodwo Eshun, “Operating System for the Redesign of Sonic Reality” 26. Kenneth Goldsmith, “Six File-Sharing Epiphanies” 27. Tara Rodgers, “Cultivating Activist Lives in Sound”Part Two: Practices IV. The Open WorkIntroduction 28. Umberto Eco, “Poetics of the Open Work” 29. John Cage, “Composition as Process: Indeterminacy” 30. Christoph Cox, “Every Sound You Can Imagine: On Graphic Scores” 31. Earle Brown, “Transformations and Developments of a Radical Aesthetic” 32. John Zorn, “The Game Pieces” 33. Anthony Braxton, “Introduction to Catalog of Works”34. Lawrence “Butch” Morris, “Notes on Conduction”V. Experimental MusicsIntroduction35. Michael Nyman, “Towards (a Definition of) Experimental Music”36. John Cage, “Introduction to Themes & Variations”37. Brian Eno, “Generating and Organizing Variety in the Arts” 38. Cornelius Cardew, Scratch Music Draft Constitution 39. David Toop, “The Generation Game: Experimental Music and Digital Culture” 40. Jennifer Walshe on “The New Discipline” 41. Yan Jun, “Re-Invent: Experimental Music in China” VI. Improvised Musics : Introduction 42. Ornette Coleman, “Change of the Century” 43. Wadada Leo Smith, “Notes (8 Pieces): Creative Music” 44. Derek Bailey, “Free Improvisation” 45. Frederic Rzewski, “Little Bangs: A Nihilist Theory of Improvisation” 46. George E. Lewis, “Improvised Music After 1950: Afrological and Eurological Perspectives” 47. Vijay Iyer, “Improvisation: Terms and Conditions” 48. Mattin, “Going Fragile” 49. Trio Sowari et al., “27 Questions For a Start … And Some Answers to Begin With” VII. Minimalisms : Introduction 50. Kyle Gann, “Thankless Attempts at a Definition of Minimalism” 51. Wim Mertens, “Basic Concepts of Minimal Music” 52. Steve Reich, “Music as a Gradual Process” 53. La Monte Young and Marian Zazeela, “Conversation with Richard Kostelanetz” 54. Tony Conrad, “LYssophobia: On Four Violins” 55. Susan McClary, “Rap, Minimalism and Structures of Time in Late Twentieth-Century Culture” 56. Philip Sherburne, “Draw a Straight Line and Follow It: Minimalism in Contemporary Electronic Dance Music” VIII. DJ Culture Introduction 57. László Moholy-Nagy, “Production–Reproduction: Potentialities of the Phonograph” 58. Situationist International, “Détournement as Negation and Prelude” 59. William S. Burroughs, “The Invisible Generation” 60. Paul D. Miller, “Algorithms: Erasures and the Art of Memory” 61. David Toop, “Replicant: On Dub” 62. Simon Reynolds, “Post-Rock” 63. Marina Rosenfeld, “A Few Notes on Production and Playback” IX. Electronic Music and Electronica : Introduction 64. Jacques Barzun, “Introductory Remarks to a Program of Works Produced at the Columbia-Princeton Electronic Music Center” 65. Karlheinz Stockhausen, “Electronic and Instrumental Music” 66. Karlheinz Stockhausen et al., “Stockhausen vs. the Technocrats” 67. Eliane Radigue, “The Mysterious Power of the Infinitesimal” 68. Kim Cascone, “The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music” 69. Holly Herndon, “Laptop Intimacy and Platform Politics”
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Langues
- Anglais
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Description matérielle
- 646 p.; ; 23 cm
- Sujet(s)
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ISBN
- 978-1-5013-1835-1
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Indice
- 780.61 Musiques expérimentales, improvisation, noise
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Origine de la notice:
- BPI
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Disponible - 780.61 AUD
Niveau 3 - Musiques et documents parlés
