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oapen-20.500.12657-901052024-05-07T02:59:06Z Noise as a Constructive Element in Music Delaere, Mark Industrial Music;Iannis Xenakis;Avant Garde Music;Vice Versa;Dense;Electroacoustic Music;Chopin;Acoustic Space;Hildegard Westerkamp;AMM;Akita Masami;Sound Studies Scholars;Erik Satie;Free Jazz;Greg Hainge;Air Raid Alarm;Chopin’s Work;Throbbing Gristle;Free Improvisation;Spectral Music;Granular Noise;Instrumental Synthesis;Rhythmic Loop;Pop Punk;Sound Poetry thema EDItEUR::A The Arts::AB The arts: general topics thema EDItEUR::A The Arts::AV Music::AVL Music: styles and genres::AVLA Art music, orchestral and formal music Music and noise seem to be mutually exclusive. Music is generally considered as an ordered arrangement of sounds pleasing to the ear and noise as its opposite: chaotic, ugly, aggressive, sometimes even deafening. When presented in a musical context, noise can thus act as a tool to express resistance to predominant cultural values, to society or to socioeconomic structures (including those of the music industry). The oppositional stance confirms current notions of noise as something which is destructive, a belief not only cherished by hard-core rock bands but also shared by engineers and companies developing devices to suppress or reduce noise in our daily environment. In contrast to the common opinions on noise just described, this volume seeks to explore the constructive potential of noise in contemporary musical practices. Rather than viewing noise as a ‘defect’, this volume aims at studying its aesthetic and cultural potential. Within the noise music study field, most recent publications focus on subgenres such as psychedelic post-rock, industrial, hard-core punk, trash or rave, as they developed from rock and popular music. This book includes work on avant-garde music developed in the domain of classical music as well. In addition to already well-established (social) historical and aesthetical perspectives on noise and noise music, this volume offers contributions by music analysts. 2024-05-06T10:28:23Z 2024-05-06T10:28:23Z 2022 book 9781032308562 9781000620122 9781032200392 9781003307020 https://library.oapen.org/handle/20.500.12657/90105 eng Musical Cultures of the Twentieth Century application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 9781000619812.pdf Taylor & Francis Routledge 10.4324/9781003307020 10.4324/9781003307020 7b3c7b10-5b1e-40b3-860e-c6dd5197f0bb 9781032308562 9781000620122 9781032200392 9781003307020 Routledge 233 open access
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Music and noise seem to be mutually exclusive. Music is generally considered as an ordered arrangement of sounds pleasing to the ear and noise as its opposite: chaotic, ugly, aggressive, sometimes even deafening. When presented in a musical context, noise can thus act as a tool to express resistance to predominant cultural values, to society or to socioeconomic structures (including those of the music industry). The oppositional stance confirms current notions of noise as something which is destructive, a belief not only cherished by hard-core rock bands but also shared by engineers and companies developing devices to suppress or reduce noise in our daily environment.
In contrast to the common opinions on noise just described, this volume seeks to explore the constructive potential of noise in contemporary musical practices. Rather than viewing noise as a ‘defect’, this volume aims at studying its aesthetic and cultural potential.
Within the noise music study field, most recent publications focus on subgenres such as psychedelic post-rock, industrial, hard-core punk, trash or rave, as they developed from rock and popular music. This book includes work on avant-garde music developed in the domain of classical music as well. In addition to already well-established (social) historical and aesthetical perspectives on noise and noise music, this volume offers contributions by music analysts.
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