Noise/Music: A History

Noise Music A History Noise Music looks at the phenomenon of noise in music from experimental music of the early th century to the Japanese noise music and glitch electronica of today It situates different musics in the

  • Title: Noise/Music: A History
  • Author: Paul Hegarty
  • ISBN: 9780826417275
  • Page: 438
  • Format: Paperback
  • Noise Music looks at the phenomenon of noise in music, from experimental music of the early 20th century to the Japanese noise music and glitch electronica of today It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics Paul Hegarty argues that noise is a judgement about sound, that what was noise can becoNoise Music looks at the phenomenon of noise in music, from experimental music of the early 20th century to the Japanese noise music and glitch electronica of today It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant garde.While it provides an excellent historical overview, the book s main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise Music is the perfect primer for anyone interested in the louder side of experimental music.

    One thought on “Noise/Music: A History”

    1. About as engaging and informative as a review on Pulse Demon written by a 17 year-old RYM user who just discovered the work of Gilles Deleuze and Karl Marx. Both tinged in the same boring pseudo-academia pretenses.

    2. I was initially only going to read a chapter or two as research for a paper that I was writing, but after that paper was done I got completely immersed. Each chapter is set up like a research paper in and of itself, but obviously relating back to the overarching topic of "Noise" - either as music, in music etc.Several chapters in the beginning actually begin as a very in depth study into the history of rock music and "other" music and where other histories of "rock" follow that branch from the B [...]

    3. starts off the discussion of noise on rather interesting therotical foundations, only to ruin things one step at a time with every chapter that is being read. despite his criticism of past teleological approaches to the subject matter (or avant-garde music), i find his book to be too chronological and teleological as it slowly leads the reader to a self-indulgent, culminating panegyric on merzbow (to whom he devotes an entire chapter, instead of exploring the richness of the japanese – or othe [...]

    4. really helpful book, covers all sorts of western transgressive musics, mostly focusing on the "popular" forms (noise, japanoise, industrial, techno, prog, punk, rock and roll, sound art), and their theoretical precursors. This book has a lot of faults. Unfortunately, free improv is only mildly covered, and classical music hardly at all covered. Both of these Heggarty looks down upon as "high" art, even though I'm not so sure it's that clear cut of a distinction--I think this is just his personal [...]

    5. Ok, I can't read this book because I totally disagree with the author's viewpoint that noise is bad. The first ten pages of this book (which, admittedly, is all the farther I read) discuss nothing but how noise is chaos, and it's negative, and how all noise is dangerous. All noise is not dangerouss, it can be potentially harmfulbut the sound of water in the shower is not going to damage my hearing. In fact, I think that most people who fall asleep to white noise machines might also beg to differ [...]

    6. nothing like a grand heap of academic bullshit to dull an otherwise exciting subject. this is almost as boring as that one guy who comes into work and gives me the jung-ian perspective on Melville and the social ramifications of drinking coffee with a hard on.

    7. Suffers from the dreaded "I HAVE A LOT OF COOL RECORDS" disease, as well as the "REFERENCE THEORY AND PHILOSOPHY WITHOUT DOING MUCH ELSE" disease. There's some good there, but Microbionics, while not doing the exact same thing, is far, far better.

    8. Well-done work on the phenomenology of noise which utilizes and subverts trends in both academic writing and music criticism, most noticably the sort of A+B=C linear progression of influences and diffusions so well-loved by writers of both aforementioned fields. Hegarty pays some lip service to chronological progressions, utilizing a linear, teleological approach (which could be seen as either hypocritical or self-consciously post-modern, depending on how forgiving the reader is feeling), while [...]

    9. Interesting book. Interesting insights and statements on the relation between noise and music. Some passages were rather difficult for me but in the end the point he was making always became clear. A whole chapter on Merzbow might seem obsolote or might come across as idolatry, but then again, as a case study and illustration of what noise can be about this was also very interesting and got me into checking some more Merzbow than I actually did. Having opened up for Merzbow once I was kind of bi [...]

    10. ugh. Miles Davis as poster child for Adornian aesthetic theory? no, thank you. a sloppy, uncritical application of Frankfurt School theory to a wide array of cultural productions, further obfuscated by the author's refusal of linguistic consistency. as metafiction, a brilliant burst of failure-as-noise-as-success. as scholarship, an attempt to cash in on noise's brief celebrity that doesn't even reach for substantiality.

    11. This is an excellent analysis of the evolution of noise from natural to cultural phenomenon. Features chapters on pretty much the full spectrum of noise types. While the specific chapters are themselves, and Hegarty admits this himself in the introduction, not encyclopedic in their scope, overall the book is a great overview of both the sound genre and the aforementioned social appropriations of noise.

    12. This book was interesting, but horribly written. The first couple of chapters are ok, but after a while it becomes painfully apparent that this was written without an editor. It made me wonder if he was trying to make his writing an analogy to the noise he was writing about.The names he drops are pretty good and reminded me to check out more than a few artists I'd either heard and forgotten about or heard of and never checked out. The discography is really helpful on this front.

    13. This is a book about music as noise: why it is, where it came from and how it came to be. Following in the footsteps of Attali's Noise this book extends the concept of noise as cultural jamming instrument and applies it to the modern era in several admittedly arbitrary genres (which would otherwise could not be respected based on the context). Those interested in abstract expressionist music and high-brow snobbery will love this book.

    14. I guess this book provided more or less what I expected it to, but it wasn't that much of a joy to read. I think it turns out that listening to this music is more enjoyable than reading about it. No prob, though, it's nice to see a thorough, scholarly take on this broad subject and I'm glad I read it.

    15. Not perfect, but probably the best thing out there on the topic. I would prefer if the author would have stuck to either a purely theoretical-semiotic approach or a strickly formal analysis. It's a mixed bag with mixed results. It gets four stars because I'm in love with subject matter.

    16. Whew, welcome to academia! You thought noise music was just scritches, throbs, fubs, whistles, snaps and farts? Nope. According to Hegarty it's Derrida, Kant, Foucault and Masami Akita. Get with the program you Naysayers!

    17. Not so much a history as an interpretation, and not nearly as compelling as it could be, at that. David Toop charts a much more readable/engaging course through similar material.

    18. In the end, this was a good book. Although, clearly the author is into some crazy shit. Like music that consists of nothing but feedback and chickens.

    19. The book reads more like college textbook than fun historical rhetoric. My entire review of the book can be found soon on Tiny Mix Tapes.

    20. Very rigorous treatment of noise as both musical form and philosophical approach. Can be a bit dry at times, but I wouldn't spite a music book for being theoretically demanding.

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