Knjige na polici za knjige „The Sound Exploration“ koju je napravio/la Alexey Yukhalov

Marcus’ compelling history covers a specific time period, 1989–1994, and a particular type of music that turned into a larger social movement. The riot grrrl movement was a potent form of female empowerment as well as a postfeminist reaction to sexism and the rising number of sexual assaults against women when expectations for equality were high. A writer and musician, Marcus describes some of the major players on the scene, including individuals (Kathleen Hanna, Tobi Vail) and bands (Bikini Kill, Heavens to Betsy)—all set against the backdrop of the so-called postfeminist period. She tells colorful anecdotes (such as the origin of the title of Nirvana’s breakthrough single “Smells like Teen Spirit”). She describes the music scene in such important riot grrrl locations as the Pacific Northwest and Washington, D.C., and chronicles the rise of riot grrrl zines and riot grrrl conventions. In all, Marcus has done a commendable job of telling the little-known history of an important social and cultural movement.
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Joanna Demers is associate professor of musicology at the University of Southern California’s Thornton School of Music, where she specializes in post-1945 popular and art music.

Drone and Apocalypse is a sprawling and inventive meditation on the nature of apocalypse in contemporary art and music. It takes the form of an ‘exhibit catalogue’ pertaining to an exhibition staged in 2213 on the essays and artistic ideas of Cynthia Wey.

Wey’s favorite musicians are drone artists like William Basinski, Celer, Thomas Köner, Les Rallizes Dénudés, and Éliane Radigue, and her essays relate their works to moments of ineffability in Herodotus, Aristotle, Plato, Pliny the Elder, Isidore of Seville, Robert Burton, Hegel, and Dostoyevsky.

The book variously focuses on drone music, film, philosophy, cynicism, list making and the apocalypse, which Wey, Demers’ invention and interlocutor, believed was imminent and foreshadowed in contemporary culture.
Jordannah Elizabeth is a musician, entertainment journalist, author, model and the founder of nonprofit Publik / Private. Her work has appeared on VICE,, SF Weekly, MTV Iggy, ​Bitch Magazine, Ms. Magazine and more. Elizabeth is also a civil rights and feminist writer who often offers commentary on racial and gender issues in America. She has interviewed notable writers and musicians such as Talib Kweli, Saul Williams and Ishmael Butler of Shabazz Palaces for SF Weekly, covering topics of race, class and cultural appropriation.

The majority of this book's "40 selected articles, essays, and Q&As" are reviews of albums or live shows, interviews of artists, best-of lists, or columns about whatever musical subject was on Elizabeth's mind that day. But there are also other topics and approaches, showcasing Elizabeth's versatility and her palpable, personal voice.
German acoustician and musicologist Fritz Winckel (1907–2000) was a founding member of the Studio of the Technical University of West Berlin. This translation of Phänomene des Musikalischen Hörens, first published in 1960, has, as its title implies, musical, physical and psychological ingredients.

Winckel was born in Bregenz and studied acoustics and natural sciences at Berlin Technical University. In the 1930s he worked as an engineer for a studio of experimental music in Berlin before going on to further studies at Berlin University, working on the neo-Bechstein (the first ‘electric’ piano, with radio and record player) and on the related structures of music and language. In 1950 he took a doctorate in engineering and that year joined the Technical University’s faculty, teaching communications science in music and language. In 1953 he founded the Studio for experimental music and composition with Boris Blacher, and in 1968 started a course in experimental music at the university.
O'Dell, one of the few foreigners who got involved in the early punk rock scene in Beijing in the mid-1990s and early 2000s, tells his story in his book Inseparable: The Memoirs of an American and The Story of Chinese Punk Rock.

The book revisits the world of punk rock at a time when the country was just opening up and seeing more clashes between East and West.

"This is a story book," O'Dell says while promoting his book in Beijing. "It is a true story, but it's a very personal story. If you get a chance to glance through it, it's kind of like every foreigner's story. It has a lot of those first experiences of landing in Beijing, taking that first breath. It's something that you tell your friend back home, something still in my lungs today."
Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the “psychoacoustic correction” aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or “sound bombs”) over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations.

Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture.

Goodman concludes with speculations on the not yet heard—the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.
Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat).
From Morrissey and Nick Cave to The Streets and Kanye West, this is the book that explores the links between hip-hop and rock. Reynolds has focused on two strands: white alternative rock and black street music. He's identified the strange dance of white bohemian rock and black culture, how they come together at various points and then go their own way. Through interviews he has carried out as a top music journalist for the last twenty years Reynolds is here able to tell a story of musical rivalry which no-one has told before.
Totally Wired features 32 interviews with the post-punk era's most innovative musicians and colourful personalities. From Ari Up, Jah Wobble, David Byrne, Edwyn Collins, it also includes conversations with the most influential of label bosses, managers, record producers, DJs and journalists - such as John Peel and Paul Morley.

Crackling with argument and anecdote, these conversations bring a rich human dimension to post-punk's exceptional characters, from their earliest days to their glorious and sometimes disastrous musical adventures. Along with the interviews, we get 'overviews': further reflections by Simon Reynolds on key icons and crucial scenes, including John Lydon and Public Image Ltd, Ian Curtis and Joy Division, and the lineage of glam grotesquerie running from Siouxsie and the Banshees to the New Romantics to Leigh Bowery.
Simon Reynolds:
Ghosts Of My Life confirms that Mark Fisher is our most penetrating explorer of the connections between pop culture, politics, and personal life under the affective regime of digital capitalism. The most admirable qualities of Fisher’s work are its lucidity, reflecting the urgency of his commitment to communicating ideas; his high expectations of popular art’s power to challenge, enlighten, and heal; and his adamant refusal to settle for less.
"Noise" isn't the book about Sonic Youth, is a compilation of stories inspired by the band, each story prompted by the title of a song chosen from thier extensive catalog.

Contributors: Hiag Akmakjian, Christopher Coake, Katherine Dunn, Mary Gaitskill, Rebecca Godfrey, Laird Hunt, Shelley Jackson, J. Robert Lennon, Samuel Ligon, Emily Maguire, Tom McCarthy, Scott Mebus, Eileen Myles, Catherine O'Flynn, Emily Carter Roiphe, Kevin Sampsell, Steven Sherrill, Matt Thorne, Rachel Trezise, Jess Walter, Peter Wild.
In "Girl in a Band" Kim Gordon, founding member of Sonic Youth and role model for a generation of women, tells her story. She writes frankly about her route from girl to woman and pioneering icon within the music and art scene of New York City in the 1980s and 90s as well as marriage, motherhood, and independence.
Ross, the classical music critic for the New Yorker, leads a whirlwind tour from the Viennese premiere of Richard Strauss's Salome in 1906 to minimalist Steve Reich's downtown Manhattan apartment. The wide-ranging historical material is organized in thematic essays grounded in personalities and places, in a disarmingly comprehensive style reminiscent of historian Otto Friedrich. Thus, composers who led dramatic lives—such as Shostakovich's struggles under the Soviet regime—make for gripping reading, but Ross treats each composer with equal gravitas. The real strength of this study, however, lies in his detailed musical analysis, teasing out—in precise but readily accessible language—the notes that link Leonard Bernstein's West Side Story to Arnold Schoenberg's avant-garde compositions or hint at a connection between Sibelius and John Coltrane. Among the many notable passages, a close reading of Benjamin Britten's opera Peter Grimes stands out for its masterful blend of artistic and biographical insight. Readers new to classical music will quickly seek out the recordings Ross recommends, especially the works by less prominent composers, and even avid fans will find themselves hearing familiar favorites with new ears.
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Twenty-five years since acid house and Ecstasy revolutionized pop culture, Simon Reynolds's landmark rave history Energy Flash has been expanded and updated to cover twenty-first-century developments like dubstep and EDM's recent takeover of America.

Author of the acclaimed postpunk history Rip It Up and Start Again, Reynolds became a rave convert in the early nineties. He experienced first-hand the scene's drug-fuelled rollercoaster of euphoria and darkness. He danced at Castlemorton, the illegal 1992 mega-rave that sent spasms of anxiety through the Establishment and resulted in the Criminal Justice and Public Order Bill. Mixing personal reminiscence with interviews and ultra-vivid description of the underground's ever-changing sounds as they mutated under the influence of MDMA and other drugs, Energy Flash is the definitive chronicle of electronic dance culture.

From rave's origins in Chicago house and Detroit techno, through Ibiza, Madchester and the anarchic free-party scene, to the pirate-radio underworld of jungle and UK garage, and then onto 2000s-shaping genres such as grime and electro, Reynolds documents with authority, insight and infectious enthusiasm the tracks, DJs, producers and promoters that soundtracked a generation. A substantial final section, added for this new Faber edition, brings the book right up to date, covering dubstep's explosive rise to mass popularity and America's recent but ardent embrace of rave. Packed with interviews with participants and charismatic innovators like Derrick May, Goldie and Aphex Twin, Energy Flash is an infinitely entertaining and essential history of dance music.
Стюарт Исакофф доступно и увлекательно рассказывает о спорах и конфликтах вокруг различных систем настроек музыкальных инструментов, помещает их в контекст истории искусства, философии, религии, политики и науки.

Изобретение используемой и по сей день системы настройки музыкальных инструментов, известной как равномерная темперация, поставило под сомнение прежние представления и вызвало большие споры, но именно оно привело к появлению великой музыки Бетховена, Шуберта, Шопена, Дебюсси и других композиторов.
Oregano Rathbone: "Adam Harper’s thorough, considered and cogent attempt to suggest a means of taking music forward by liberating it from restrictive modes of perception and regressive, habitual practices is an admirably high-minded undertaking. Musical variables, dimensions in music space and music criticism are among the myriad facets tackled in a treatise which reveals the bigger picture by delving into the minutiae at a sub-atomic level... [He] makes for a wise and informed guide. He’s hot on the distinction between acknowledging the work of Cage, Stockhausen et al, and noting that it quickly became its own orthodoxy: furthermore, the weight of his argument encourages a holistic viewpoint whereby music can be seen as a fully integrated aspect of life, not an end in itself".
The later years of the 1960s saw the rise in more avant-garde music as artists and musicians began to experiment with mind altering substances. Beginning with the hippie movement in America and rapidly spreading across the Atlantic to Britain, this period in music saw bands such as The Beatles - free from their touring commitments - together with The Rolling Stones, Pink Floyd and many others make use of sensory altering concoctions to reach new heights of artistic creativity. This is the story of those years.
There is no doubt that Rock 'n' Roll had its beginnings in America. Artists such as Bill Haley, Little Richard, Jerry Lee Lewis, Gene Vincent, Elvis Presley and Eddie Cochran were the idols of the early British rock 'n' rollers, as homegrown acts such as Tommy Steele, Lonnie Donegan, Billy Fury and Cliff Richard produced their own versions of this new music. But by the end of 1962, rock 'n' roll was in danger of becoming extinct. The music charts on both sides of the Atlantic were overwhelmed by softer songs lacking the dynamism and raw power of the originators. Emerging from this panache of smoothness, the British acts of the Beat Boom rejuvenated and revitalised the music industry with their freshness and excitement. This is the story of those climactic years when Britannia ruled the airwaves across the world.
Главный парадокс поп-музыки, пишет Джон Сибрук, заключается в том, что современные хиты и синглы двадцатилетней давности написаны одними и теми же людьми, пионером среди которых был шведский продюсер Денниз Поп. В основанной им стокгольмской студии Cheiron Поп вместе с другим шведом Максом Мартином в начале 1990-х ковали знаменитостей из артистов местной эстрады (в том числе Ace of Base), а вскоре стали получать заказы из Америки. Их авторству принадлежат первые синглы мировых поп-звезд Backstreet Boys (We’ve Got It Goin’ On, 1997), NSYNC (I Want You Back, 1998 в США), а также предназначавшийся для TLC, но ставший в итоге дебютом Бритни …Baby One More Time (1998). В 35 лет Денниз Поп умер от рака, но Мартин продолжает писать и продюсировать бестселлеры для новых заказчиков, среди которых Кэти Перри, Тейлор Свифт, Пинк и Джастин Тимберлейк.

Музыка для масс зародилась не в Стокгольме, а в Нью-Йорке. Уже в середине XX века первая «машина песен» эпохи звукозаписи — бродвейский Брилл-билдинг — производила хиты в промышленных масштабах. Все они строились по принципу соединения мелодии и текста. Феномен шведских продюсеров 1990-х Сибрук объясняет тем, что, «будучи по другую сторону границы от американской и британской музыки, они смогли освоить, а в чем-то — и объединить разнообразные жанры — ар-энд-би, рок, хип-хоп — и превратить их в универсальный поп». Основатели Cheiron Studios предложили альтернативный рецепт хита под названием «трек-и-хук», «при котором продюсер, ответственный за бит, аккорды и подбор инструментов, сотрудничает с топ-лайнером — автором мелодии и хуков». Этот принцип освобождает от необходимости писать внятный текст, ведь привлекательным делают трек не слова, а синтез различных жанров, ориентированный на максимально разнообразную аудиторию. Именно поэтому, считает Сибрук, несмотря на переход от материальных аудионосителей к цифровым и появление пиратских программ для обмена музыкой, существенно сокративших прибыль звукозаписывающих компаний, поп-индустрия продолжает процветать, а хиты — создаваться в студиях.

«Логично предположить, что во времена, когда любой пользователь компьютера может написать песню прямо на своем ноутбуке, не имея при этом музыкального образования и не умея играть ни на одном инструменте, все чарты должны быть забиты хитами новоиспеченных авторов. Почти никаких препятствий на пути. Тем не менее за каждым новым хитом стоит группа одних и тех же композиторов и продюсеров — таинственный орден волшебников от музыки».
В этой скомпилированной из десятков интервью беседе Кейдж рассказывает о своей жизни и образе мыслей, взглядах на различные аспекты культуры и искусства, о композиторах — предшественниках и современниках, оказавших влияние на его творчество. Текст организован по основным темам, которые вынесены в названия глав (автобиография, собственная музыка, перформансы, тексты, визуальные искусства, танец и т. д.).

В книге Джон Кейдж подробно говорит о своих философских взглядах — о том, как восточная философия вообще и дзен-буддизм в частности изменили его отношение к музыке, о том, как «Книга перемен» помогала ему в работе. В результате знакомства с дзен-буддизмом родилось представление Кейджа о музыке как средстве изменения мышления, достижения спокойствия ума и восприимчивости к окружающему миру.

Кейдж рассказывает в интервью о своих вкусах в музыке, изобразительном искусстве и литературе, объясняет корни собственных произведений и свое понимание творчества других композиторов — от Баха и Моцарта до Сати и Шенберга.

Из книги можно узнать и об увлечениях Кейджа, выходящих за сферу искусства: о его занятиях шахматами, о приверженности макробиотической диете, о взглядах на экологию, о садоводстве и страстном увлечении собиранием грибов (Кейдж был одним из основателей Нью-Йоркского микологического общества и членом Чехословацкого микологического общества).
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