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Normal0falsefalsefalseMicrosoftInternetExplorer4st1\: *{behavior: url(#ieooui) }/* Style Definitions */table.MsoNormalTable{mso-style-name: "Table Normal";mso-tstyle-rowband-size:0;mso-tstyle-colband-size:0;mso-style-noshow: yes;mso-style-parent: "";mso-padding-alt:0in 5.4pt 0in 5.4pt;mso-para-margin:0in;mso-para-margin-bottom: .0001pt;mso-pagination: widow-orphan;font-size:10.0pt;font-family: "Times New Roman";mso-ansi-language: #0400;mso-fareast-language: #0400;mso-bidi-language: #0400;}"Paul Hegarty's Noise/Music is one of the more provocativebooks I've read this past year. When I first encountered the book, Iassumed like many readers that it would be a book about a genre that has cometo be known as "noise music," which evolved in Japan in the1990s but has subsequently become a world-wide phenomenon. While "noisemusic" does in fact get addressed in the latter part of the book, Hegarty's book is actually about something much larger; it is asocio-musicological examination of the ever-changing threshold of tolerancebetween music and noise in a wide variety of musical genres during the 20thcentury." -newmusicbox.com
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"Noise/Music" looks at the phenomenon of noise in music, from experimental music of the early 20th century to the Japanese noise music and glitch electronica of today. It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde. While it provides an excellent historical overview, the book's main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, "Noise/Music" is the perfect primer for anyone interested in the louder side of experimental music.
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Most Helpful Customer Reviews
6 of 7 people found the following review helpful
Format:Paperback
Ah, where would we be without noise? From Ayler's free jazz to industrial and electronica, I've always loved the way sound can be processed and mutated - 'just noise' or the music of the spheres.
This book provides a very interesting historical overview of noise music, taking in such wayward individuals as the Futurists and the denizens of the industrial and the Japanoise scenes, and subjects that history to a philosophical reading based on the works of such thinkers as Adorno, Deleuze and Bataille. (Bataille, it seems to me, as the patron saint of transgression, is particularly well suited to this task).
To paraphrase Potter Stewart's famous comment about pornography, I may not be able to define 'noise' but I know it when I hear it - it's a broad old church, noise music, and Hegarty does a good job of covering the waterfront - and it's hard not to feel fond of a book that defines Yes as Hegelian and King Crimson as Bataillean.
Paul Hegarty, as well as lecturing and writing on a broad range of cultural subjects, is engaged in a practical sense in the issues he discusses here , through running the excellent experimental label dotdotdot music and playing in such noise bands as Safe.
This book provides a very interesting historical overview of noise music, taking in such wayward individuals as the Futurists and the denizens of the industrial and the Japanoise scenes, and subjects that history to a philosophical reading based on the works of such thinkers as Adorno, Deleuze and Bataille. (Bataille, it seems to me, as the patron saint of transgression, is particularly well suited to this task).
To paraphrase Potter Stewart's famous comment about pornography, I may not be able to define 'noise' but I know it when I hear it - it's a broad old church, noise music, and Hegarty does a good job of covering the waterfront - and it's hard not to feel fond of a book that defines Yes as Hegelian and King Crimson as Bataillean.
Paul Hegarty, as well as lecturing and writing on a broad range of cultural subjects, is engaged in a practical sense in the issues he discusses here , through running the excellent experimental label dotdotdot music and playing in such noise bands as Safe.
Format:Paperback
During my Undergraduate Degree, I specialised in Noise Aesthetic. I discovered this book looking through the library of my University and skimmed a few chapters. I was instantly taken with the writing and the manner in which the book is structured.
My own copy became something of a standard text for me for the next couple of years and sits on my bookshelf dog-eared and thoroughly annotated. Hegarty writes persuasively and concisely with real insight into the minutiae of Noise and broaches many of the standard angles accurately and plainly. Simply reading the book is equally pleasurable and provides some comfort knowing that there is a genuine definability with regard to Noise and how is has affected modern sensibilities both consciously and unconsciously.
The criticisms I have are relatively minor. Firstly, Noise is analysed musically as something of an isolated case and drawing clearer musical parallels between 'conventional' musical aesthetics to deepen the contrast would have strengthened the position of the book. Secondly the book is in need of an update as Noise is a fast-changing field and Onkyokei has started to gain more momentum in avant-garde circles (my own work notwithstanding).
The chapter on Merzbow is a particular highlight and the text is recommended reading for those with even the most cursory interest in these sensibilities.
My own copy became something of a standard text for me for the next couple of years and sits on my bookshelf dog-eared and thoroughly annotated. Hegarty writes persuasively and concisely with real insight into the minutiae of Noise and broaches many of the standard angles accurately and plainly. Simply reading the book is equally pleasurable and provides some comfort knowing that there is a genuine definability with regard to Noise and how is has affected modern sensibilities both consciously and unconsciously.
The criticisms I have are relatively minor. Firstly, Noise is analysed musically as something of an isolated case and drawing clearer musical parallels between 'conventional' musical aesthetics to deepen the contrast would have strengthened the position of the book. Secondly the book is in need of an update as Noise is a fast-changing field and Onkyokei has started to gain more momentum in avant-garde circles (my own work notwithstanding).
The chapter on Merzbow is a particular highlight and the text is recommended reading for those with even the most cursory interest in these sensibilities.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
9 reviews
30 of 35 people found the following review helpful
Where's the musician?
28 Oct 2008
Format:Hardcover|Amazon Verified Purchase
First off, this book is long overdue; however, what undermines Hagerty's project is his theoretically dry and unconvincing writing (something the editor should have caught, unless the press wanted to publish the philosophical meanderings of the author). Thus, the reader is bombarded with concepts at the expense of offering insights into the production of noise (by actually interviewing the artists in question). This is a major problem with ethnomusicology and musicology in general-waxing and waning about the supposed post-modern qualities about music at the expense of the musician in favor of a totalizing reading of the subject.
Here's some examples: If Japanese noise is zen, then it is also rope bondage (134). -That's really academically lazy, I might add.
On John Zorn, "If he and others are some sort of neo-anthropologists, or exorcists, they are ethnographers of a future culture, and in the meantime, engage in neither the ethno-or the-graphy (137). - Am I'm supposed to be impressed with semantics here or what?
All in all, it will satiate the need to fill the gap; however, the many gaps within this text will hopefully be filled in the near future before many of our contemporary "noise" artists are dead.
Here's some examples: If Japanese noise is zen, then it is also rope bondage (134). -That's really academically lazy, I might add.
On John Zorn, "If he and others are some sort of neo-anthropologists, or exorcists, they are ethnographers of a future culture, and in the meantime, engage in neither the ethno-or the-graphy (137). - Am I'm supposed to be impressed with semantics here or what?
All in all, it will satiate the need to fill the gap; however, the many gaps within this text will hopefully be filled in the near future before many of our contemporary "noise" artists are dead.
8 of 8 people found the following review helpful
Over-analyzed and pedantic
15 Jan 2011
Format:Paperback
Having listened to a variety of noisemusics over the years, I was really excited to read this bookk which promised an overview of the genre without the hipster leanings that so often prevail when this subject has been broached (i.e. - a lot of namedropping and a dearth of actual content). Unfortunately, this book fails to provide a good groundwork to continue personal research from and also so dry and 'intellectual' as to render one into a sonobulastic state almost from the get-go.
In essence, I learned no new information and the author is unbearably 'clever'. This reads like a college freshman's study. Avoid at all costs.
In essence, I learned no new information and the author is unbearably 'clever'. This reads like a college freshman's study. Avoid at all costs.
13 of 15 people found the following review helpful
Entertaining AND informative
4 Nov 2007
Format:Paperback
Sometimes the writing tends to be a tad dry, but this is a serious work of scholarship regarding the "noise" movement through the history of music so one wouldn't expect a page turner. There is a whole chapter devoted to Japanese Noise music, as well as one specifically on Merzbow, who is like the god of noise. I appreciated the fact that in the introduction the author did mention that he only touches on Coil, Nurse With Wound, and Current 93 b/c they have their own book ("England's Hidden Reverse" by David Keegan). Several mentions of Throbbing Gristle are made as well, though the book "Wreckers of Civilization" by Simon Ford is an excellent read on that wacky troupe. I was entertained by the author's description of listening to specific pieces of music, and he raised my interest in several artists I wasn't familiar with. This was a gift, but I would have gladly paid full price for this excellent book.
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