University of Minnesota, 1985; Paperback in good; no marks. The book has been stored properly on bookshelves in the 4th floor, not musty, one owner. We have numerous Lacan titles from this acquisition. From a recent acquisition of a retired therapist.
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Text: English, French (translation)
--This text refers to an out of print or unavailable edition of this title.
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Most Helpful Customer Reviews
50 of 58 people found the following review helpful
Format:Paperback
Sometimes lazy people like to use phrases like "literary{wind} " to justify their inability to understand difficult topics, or to cover for their own, lacking, vocabularies. The foregoing review did just that. The fact is, sometimes precise thought demands precise language.
Anyway, this book provides valuable insight into the relationship of fringe art/music, and the future of society. Attali postulates that society is founded upon the idea that bad noise must be subverted. Therefore, all forces effecting social change, at some time, have been subverted. Given time though, they find their way into society by way of, here, music, and begin to cause change.
This is a very interesting and well conceived book. A great read for philosophy student and musician alike. It puts a new spin on the effect of music on culture, and the reciprocal relationship between art and society. Good stuff.
In closing, and in response to the previous reviewer, "college isn't taken as seriously as it once was" simply because the hallowed halls are clogged with students who readily dismiss works of sound thought because they don't like having to look up words or work for their own enlightenment.ENDs
40 of 46 people found the following review helpful
By A Customer
Format:Paperback
This is an essential work for anyone interested in the sociology of music. The author follows 2 significant threads of thought in this work; the commidification of music, and music as indicator (predictor) of social change. Using sophisiticated but well written theories and examples Attali demonstrates how music acts as
the subconsciousness of society, validating and testing new social and political realities.
Among the powerful analogies he draws is that of how modern people stockpile musical recordings, in some instances more than can possibly ever listen too, much in the same way nations stockpile weapons. In describing the
evolution of the orchestra he compares the conductor to the king conducting his flanks
of violins and horns with the same dictorial
presence of command as one would dispatch foot
soldiers and calvaries.
Attali clearly has a passion for music drawing
examples from Bach to improvisational jazz. In the end this is an optimistic book, illuminating indications of both social and musical evolution
during the 20th century.
D.L. Jonsson <Reviewer>
the subconsciousness of society, validating and testing new social and political realities.
Among the powerful analogies he draws is that of how modern people stockpile musical recordings, in some instances more than can possibly ever listen too, much in the same way nations stockpile weapons. In describing the
evolution of the orchestra he compares the conductor to the king conducting his flanks
of violins and horns with the same dictorial
presence of command as one would dispatch foot
soldiers and calvaries.
Attali clearly has a passion for music drawing
examples from Bach to improvisational jazz. In the end this is an optimistic book, illuminating indications of both social and musical evolution
during the 20th century.
D.L. Jonsson <Reviewer>
10 of 11 people found the following review helpful
By Adie
Format:Paperback
A musicology professor of mine recommended I use this book in a presentation I gave on aesthetics. I compared Attali's approach to that of Benjamin and Adorno and found myself highlighting and smiling and nodding. I found this book to be so brilliant and hopeful (where Adorno was so pessimistic) that I used it again in a presentation for another graduate musicology seminar.
If you don't like to read books that use complex sentences and multi-syllabic words, you should not be in higher education in the first place. Attali makes arguments that may seem outlandish, but with more thought and consideration, prove to be intelligent, fresh, and seemingly common sense.
If you don't like to read books that use complex sentences and multi-syllabic words, you should not be in higher education in the first place. Attali makes arguments that may seem outlandish, but with more thought and consideration, prove to be intelligent, fresh, and seemingly common sense.
3 of 3 people found the following review helpful
By banananino
Format:Paperback
I agree with the difficulty in the read, but I will blame it on a poor translation than Attali's writing prowess (not that I have compared with the French version). The ideas in the book are not very complex, so they do not necessarily require such awkward phrasing.
It is too bad, because there is a lot of value in this text, but its language is holding it back from reaching a wider audience, which is sort of ironic since Attali urges renewed study and composition of music by non-specialists. Many advanced topics (which this text does not really contain) can be explained to almost anyone if they truly understand a topic. If a new edition is printed, please revise the translation!!
It is too bad, because there is a lot of value in this text, but its language is holding it back from reaching a wider audience, which is sort of ironic since Attali urges renewed study and composition of music by non-specialists. Many advanced topics (which this text does not really contain) can be explained to almost anyone if they truly understand a topic. If a new edition is printed, please revise the translation!!
7 of 9 people found the following review helpful
By A Customer
Format:Paperback
... because it is so outrageous to be brilliantly thought provoking. Sometimes I think he is out to lunch and I am not confident that he understands everything he wrote. (or maybe the translation is not right.) Still, the mythology he presents is detailed and well developed and whether you agree with it or not, is fascinating.
There is a lot of coverage of European classical music in terms of "Who is paying whom" as well as the current recording industry. He also gets some things wrong, such as his coverage of Free Jazz (Carly Bley is black?), to which he nevertheless is sympathetic towards.
Therefore, I don't know how much you can trust his conclusions, but at the same time it gets the reader's mind to consider all sorts of new facets, and that is why this book is great.
6 of 9 people found the following review helpful
By A Customer
Format:Paperback
... because it is so outrageous to be brilliantly thought provoking. Sometimes I think he is out to lunch and I am not confident that he understands everything he wrote. (or maybe the translation is not right.) Still, the mythology he presents is detailed and well developed and whether you agree with it or not, is fascinating.
There is a lot of coverage of European classical music in terms of "Who is paying whom" as well as the current recording industry. He also gets some things wrong, such as his coverage of Free Jazz (Carly Bley is black?), to which he nevertheless is sympathetic towards.
Therefore, I don't know how much you can trust his conclusions, but at the same time it gets the reader's mind to consider all sorts of new facets, and that is why this book is great.
Most Recent Customer Reviews
5.0 out of 5 stars
provocative
The music industry is on trial as well as it should be. The cloning of America starts with it's youth, and when Bill Graham closed the Fillmore East in 1971 it was due to the... Read more
Published on December 8, 2007 by Earl C. Robicheaux
1.0 out of 5 stars
Literary Masturbation
This text was a required reading for a college course I took, and it basically summarizes why college isn't taken as seriously as it once was. Read more
Published on April 5, 1999
5.0 out of 5 stars
Simply brilliant
This is simply one of the very best books I've ever read in my life. If you're interested in music, or maybe about, don't laugh, the meaning of life in general, this text is a... Read more
Published on April 14, 1998 by radoslaw@gte.net
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