Tools

LEADER 02449cam 2200421 a 4500

001 ocn435918247;

003 OCoLC;

005 20141212052728.0;

008 090902s2010 enk b 001 0 eng ;

010 a| 2009036518;

020 a| 9780195387650 (alk. paper);

020 a| 0195387651 (alk. paper);

020 a| 9780195387667 (alk. paper);

020 a| 019538766X (alk. paper);

035 a| (Sirsi) o435918247;

035 a| (OCoLC)435918247;

049 a| EREM;

050 00 a| ML1380b| .D45 2010;

082 00 a| 786.7/1172| 22;

100 1 a| Demers, Joanna Teresa,d| 1975-=| ^A628598;

245 10 a| Listening through the noise :b| the aesthetics of experimental electronic music /c| Joanna Demers.;

260 a| Oxford ;a| New York :b| Oxford University Press,c| 2010.;

300 a| 201 pages ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 179-189), discography (pages 191-193), and index.;

505 0 a| Sign. Listening to signs in post-Schaefferian electroacoustic music ; Material as sign in electronica -- Object. Minimal objects in microsound ; Maximal objects in drone music, dub techno, and noise -- Situation. Site in ambient, soundscape, and field recordings ; Genre, experimentalism, and the musical frame.;

520 a| Electronic music since 1980 has splintered into a dizzying assortment of genres and subgenres, communities and subcultures. Given the ideological differences among academic, popular, and avant-garde electronic musicians, is it possible to derive an aesthetic theory that accounts for this variety? This book explores genres ranging from techno to electroacoustic music, from glitch to ambient music, and from dub to drones, and maintains that culturally and historically informed aesthetic theory is not only possible but indispensable for understanding electronic music.;

650 0 a| Electronic musicx| History and criticism.=| ^A34792;

650 0 a| Avant-garde (Music)=| ^A287276;

650 0 a| Musicx| Philosophy and aesthetics.=| ^A18895;

650 0 a| Music and technology.=| ^A390482;

994 a| C0b| ERE;

596 a| 3;

998 a| 3279729;

999 a| ML1380 .D45 2010w| LCc| 1i| 30372014841545d| 11/13/2018e| 11/1/2018f| 4/9/2024g| 3l| MSTm| JMUSICn| 9r| Ys| Yt| MGESBKu| 3/7/2013x| BOOKz| MCIRCo| .STAFF. jjnb; enhanced 1/15/23 -jjab;

Listening through the noise : the aesthetics of experimental electronic music / Joanna Demers.

Author/creator	Demers, Joanna Teresa, 1975-
Format	Book
Publication Info	Oxford ; New York : Oxford University Press, 2010.
Description	201 pages ; 24 cm
Subjects	Electronic music--History and criticism. Avant-garde (Music) Music--Philosophy and aesthetics. Music and technology.

Contents	Sign. Listening to signs in post-Schaefferian electroacoustic music ; Material as sign in electronica -- Object. Minimal objects in microsound ; Maximal objects in drone music, dub techno, and noise -- Situation. Site in ambient, soundscape, and field recordings ; Genre, experimentalism, and the musical frame.
Abstract	Electronic music since 1980 has splintered into a dizzying assortment of genres and subgenres, communities and subcultures. Given the ideological differences among academic, popular, and avant-garde electronic musicians, is it possible to derive an aesthetic theory that accounts for this variety? This book explores genres ranging from techno to electroacoustic music, from glitch to ambient music, and from dub to drones, and maintains that culturally and historically informed aesthetic theory is not only possible but indispensable for understanding electronic music.
Bibliography note	Includes bibliographical references (pages 179-189), discography (pages 191-193), and index.
LCCN	2009036518
ISBN	9780195387650 (alk. paper)
ISBN	0195387651 (alk. paper)
ISBN	9780195387667 (alk. paper)
ISBN	019538766X (alk. paper)

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML1380 .D45 2010	✔ Available	Place Hold

Listening through the noise : the aesthetics of experimental electronic music / Joanna Demers.

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