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Contemporary electronic music has splintered into numerous genres and subgenres, all of which share a concern with whether sound, in itself, bears meaning. Listening through the Noise considers how the experience of listening to electronic music constitutes a departure from the expectations that have long governed music listening in the West.
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
A fresh, bold study of the emerging field of Sound Art, informed by the ideas of Adorno, Merleau-Ponty and others.
What if history had a sound track? What would it tell us about ourselves? Based on a thirty-part BBC Radio series and podcast, Noise explores the human dramas that have revolved around sound at various points in the last 100,000 years, allowing us to think in fresh ways about the meaning of our collective past. Though we might see ourselves inhabiting a visual world, our lives have always been hugely influenced by our need to hear and be heard. To tell the story of sound—music and speech, but also echoes, chanting, drumbeats, bells, thunder, gunfire, the noise of crowds, the rumbles of the human body, laughter, silence, conversations, mechanical sounds, noisy neighbors, musical recordings, and radio—is to explain how we learned to overcome our fears about the natural world, perhaps even to control it; how we learned to communicate with, understand, and live alongside our fellow beings; how we've fought with one another for dominance; how we've sought to find privacy in an increasingly noisy world; and how we've struggled with our emotions and our sanity. Oratory in ancient Rome was important not just for the words spoken but for the sounds made—the tone, the cadence, the pitch of the voice—how that voice might have been transformed by the environment in which it was heard and how the audience might have responded to it. For the Native American tribes first encountering the European colonists, to lose one's voice was to lose oneself. In order to dominate the Native Americans, European colonists went to great effort to silence them, to replace their "demonic" "roars" with the more familiar "bugles, speaking trumpets, and gongs." Breaking up the history of sound into prehistoric noise, the age of oratory, the sounds of religion, the sounds of power and revolt, the rise of machines, and what he calls our "amplified age," Hendy teases out continuities and breaches in our long relationship with sound in order to bring new meaning to the human story.
This book is about how you listen and what you hear, about how to have a dialogue with the sounds around you. Marcia Jenneth Epstein gives readers the impetus and the tools to understand the sounds and noise that define their daily lives in this groundbreaking interdisciplinary study of how auditory stimuli impact both individuals and communities. Epstein employs scientific and sociological perspectives to examine noise in multiple contexts: as a threat to health and peace of mind, as a motivator for social cohesion, as a potent form of communication and expression of power. She draws on a massive base of specialist literature from fields as diverse as nursing and neuroscience, sociology and sound studies, acoustic ecology and urban planning, engineering, anthropology, and musicology, among others, synthesizing and explaining these findings to evaluate the ubiquitous effects of sound in everyday life. Epstein investigates speech and music as well as noise and explores their physical and cultural dimensions. Ultimately she argues for an engaged public dialogue on sound, built on a shared foundation of critical listening, and provides the understanding for all of us to speak and be heard in such a discussion. Sound and Noise is a timely evaluation of the noise that surrounds us, how we hear it, and what we can do about it.
An "elegant and eloquent" (New York Times) exploration of the frontiers of noise and silence, and the growing war between them. Between iPods, music-blasting restaurants, earsplitting sports stadiums, and endless air and road traffic, the place for quiet in our lives grows smaller by the day. In Pursuit of Silence gives context to our increasingly desperate sense that noise pollution is, in a very real way, an environmental catastrophe. Traveling across the country and meeting and listening to a host of incredible characters, including doctors, neuroscientists, acoustical engineers, monks, activists, educators, marketers, and aggrieved citizens, George Prochnik examines why we began to be so loud as a society, and what it is that gets lost when we can no longer find quiet.
Listening across millennia, a cultural historian explores the process by which noise today has become as powerfully metaphorical--and intriguing--as the original Babel. When did the "silent deeps" become cacophonous and galaxies begin to swim in a sea of cosmic noise? Why do we think that noises have colors and that colors can be loud? How loud is too loud, and says who? Attending, as ears do, to a surround of sounds at once physical and political, Hillel Schwartz listens across millennia for changes in the Western experience and understanding of noise. From the uproarious junior gods of Babylonian epics to crying infants heard over baby monitors, from doubly mythic Echo to amplifier feedback, from shouts frozen in Rabelaisian air to the squawk of loudspeakers and the static of shortwave radio, Making Noise follows "unwanted sound" on its surprisingly revealing path through terrains domestic and industrial, urban and rural, legal and religious, musical and medical, poetic and scientific. At every stage, readers can hear the cultural reverberations of the historical soundwork of actresses, admen, anthropologists, astronomers, builders, composers, dentists, economists, engineers, filmmakers, firemen, grammar school teachers, jailers, nurses, oceanographers, pastors, philosophers, poets, psychologists, and the writers of children's books. Drawing upon such diverse sources as the archives of antinoise activists and radio advertisers, catalogs of fireworks and dental drills, letters and daybooks of physicists and physicians, military manuals and training films, travel diaries and civil defense pamphlets, as well as museum collections of bells, ear trumpets, megaphones, sirens, stethoscopes, and street organs, Schwartz traces the process by which noise today has become as powerfully metaphorical as the original Babel. Endnotes and bibliography are not included in the physical book but are available online at the MIT Press Web site.
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