[(Resonances: Noise and Contemporary Music)] [ Edited by Michael Goddard, Edited by Benjamin Halligan, Edited by Nicola Spelman ] [September, 2013] par Michael Goddard

[(Resonances: Noise and Contemporary Music)] [ Edited by Michael Goddard, Edited by Benjamin Halligan, Edited by Nicola Spelman ] [September, 2013] par Michael Goddard

Titre de livre: [(Resonances: Noise and Contemporary Music)] [ Edited by Michael Goddard, Edited by Benjamin Halligan, Edited by Nicola Spelman ] [September, 2013]

Auteur: Michael Goddard

Date de sortie: September 12, 2013

Éditeur: Continuum Publishing Corporation

Michael Goddard avec [(Resonances: Noise and Contemporary Music)] [ Edited by Michael Goddard, Edited by Benjamin Halligan, Edited by Nicola Spelman ] [September, 2013]

[(Resonances: Noise and Contemporary Music)] [ Edited by Michael Goddard, Edited by Benjamin Halligan, Edited by Nicola Spelman ] [September, 2013] par Michael Goddard a été vendu pour EUR 42,93 chaque copie. Le livre publié par Continuum Publishing Corporation. Inscrivez-vous maintenant pour accéder à des milliers de livres disponibles en téléchargement gratuit. L’inscription était gratuite.

Resonances is a compelling collection of new essays by scholars, writers and musicians, all seeking to explore and enlighten this field of study. Noise seems to stand for a lack of aesthetic grace, to alienate or distract rather than enrapture. And yet the drones of psychedelia, the racket of garage rock and punk, the thudding of rave, the feedback of shoegaze and post-rock, the bombast of thrash and metal, the clatter of jungle and the stuttering of electronica, together with notable examples of avant-garde noise art, have all found a place in the history of contemporary musics, and are recognised as representing key evolutionary moments. Noise therefore is the untold story of contemporary popular music, and in a critical exploration of noise lies the possibility of a new narrative: one that is wide-ranging, connects the popular to the underground and avant-garde, fully posits the studio as a musical instrument, and demands new critical and theoretical paradigms of those seeking to write about music.