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The groundbreaking Audio Culture: Readings in Modern Music (Continuum; September 2004; paperback original) maps the aural and discursive terrain of vanguard music today. Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture.
This new and expanded edition of the Audio Culture contains twenty-five additional essays, including four newly-commissioned pieces. Taken as a whole, the book explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, ambient music, hip hop, and techno via writings by philosophers, cultural theorists, and composers. Instead of focusing on some "crossover" between "high art" and "popular culture," Audio Culture takes all these musics as experimental practices on par with, and linked to, one another. While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical.
Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Ornette Coleman, Pauline Oliveros, Maryanne Amacher, Glenn Gould, Umberto Eco, Jacques Attali, Simon Reynolds, Eliane Radigue, David Toop, John Zorn, Karlheinz Stockhausen, and many others. Each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts, and the volume concludes with a glossary, a timeline, and an extensive discography.
- Published on: 2017-07-27
- Released on: 2017-07-27
- Original language: English
- Dimensions: 228.60" h x 1.44" w x 6.00" l, .0 pounds
- Binding: Hardcover
- 664 pages
Review
[Audio Culture] is an indispensable primer full of the theories behind noise, Free-jazz, minimalism, 20th century composition, ambient, avant-garde and all the other crazy shit your square-ass friends can't believe you actually like. With writing and interviews from all the players in question (quoting Stockhausen is five points in hipster bingo), this book deconstructs all the essential ideas: Cage's themes, Eno's strategies, Zorn's games and Merzbow's undying love of porno.CMJ New Music Monthly, 7/04
Audio Culture is the best introduction to the long historical fades and theoretical jumpcuts of what millions in the 21st C. now listen to as music: overwhelming noise and disturbed silences, unfettered Improv and indeterminate obstacles, the performance of recording, electricity, eclectics, mistakes and just the thought of music.Douglas Kahn, author of Noise, Water, Meat: A History of Sound in the Arts, and Director of Technocultural Studies at the University of California, Davis
The contributors include composers from the worlds of avant-garde classical music, pop, and jazz--e.g. John Cage, Karlheinz Stockhausen, and Pauline Oliveros--as well as cultural historians like Marshall McLuhan and Jacques Barzun and literary experimentalists such as William Burroughs....Students of contemporary music will find this compendium useful.Library Journal, September 15, 2004
About the Author
Christoph Cox is Professor of Philosophy at Hampshire College, USA. He is the author of Sonic Flux: Sound, Art, and Metaphysics and Nietzsche: Naturalism and Interpretation, and co-editor of Realism Materialism Art.
Daniel Warner is Professor of Music at Hampshire College, USA. He is a composer, electronic artist, and author of Live Wires: A History of Electronic Music.
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