In the middle of the nineteenth century, German and Austrian concertgoers began to hear new rhythms and harmonies as non-Western musical ensembles began to make their way to European cities and classical music introduced new compositional trends. At the same time, leading physicists, physiologists, and psychologists were preoccupied with understanding the sensory perception of sound from a psychophysical perspective, seeking a direct and measurable relationship between physical stimulation and physical sensation.
John Cage (1912–1992) defined a radical practice of composition that changed the course of modern music and shaped a new conceptual horizon for postwar art. Famous for his use of chance and “silence” in musical works, a pioneer in electronic music and the nonstandard use of instruments, Cage was one of the most influential composers of the last century. This volume traces a trajectory of writings on the artist, from the earliest critical reactions to the scholarship of today.
In Operatic Afterlives, Michal Grover-Friedlander examines the implications of opera’s founding myth—the story of Orpheus and Eurydice: Orpheus’s attempt to revive the dead Eurydice with the power of singing. Grover-Friedlander examines instances in which opera portrays an existence beyond death, a revival of the dead, or a simultaneous presence of life and death.
The "sonic turn" in recent art reflects a wider cultural awareness that sight no longer dominates our perception or understanding of contemporary reality. The background buzz of myriad mechanically reproduced sounds increasingly mediates our lives. Tuning into this incessant auditory stimulus, some of our most influential artists have investigated the corporeal, cultural, and political resonance of sound.
Hearing has traditionally been regarded as the second sense—as somehow less rational and less modern than the first sense, sight. Reason and Resonance explodes this myth by reconstructing the process through which the ear came to play a central role in modern culture and rationality.
Music, language, and drama come together in opera to make a whole that conveys emotional reality. In this book, Irving Singer develops a new mode for understanding and experiencing the operas of Mozart and Beethoven, approaching them not as a musical technician but as a philosopher concerned with their expressive and mythic elements.
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.
From the mid-twentieth century into the twenty-first, artists and musicians manipulated, cracked, and broke audio media technologies to produce novel sounds and performances. Artists and musicians, including John Cage, Nam June Paik, Yasunao Tone, and Oval, pulled apart both playback devices (phonographs and compact disc players) and the recorded media (vinyl records and compact discs) to create an extended sound palette. In Cracked Media, Caleb Kelly explores how the deliberate utilization of the normally undesirable (a crack, a break) has become the site of productive creation.
Sound UnboundSampling Digital Music and Cultureedited by Paul D. Miller aka DJ Spooky that Subliminal Kid foreword by Cory Doctorowintroduction by Steve ReichIf Rhythm Science was about the flow of things, Sound Unbound is about the remix--how music, art, and literature have blurred the lines between what an artist can do and what a composer can create. In Sound Unbound, Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid asks artists to describe their work and compositional strategies in their own words.
How human musical experience emerges from the audition of organized tones is a riddle of long standing. In The Musical Representation, Charles Nussbaum offers a philosophical naturalist's solution. Nussbaum founds his naturalistic theory of musical representation on the collusion between the physics of sound and the organization of the human mind-brain.