Product Details

• Amazon Sales Rank: #197018 in Books
• Published on: 1985-06-30
• Original language: German
• Number of items: 1
• Binding: Paperback
• 196 pages

Language Notes
Text: English, French (translation)

Customer Reviews

Music as commidity and predictor of social change.
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

Not Literary {wind}
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

A must read..
... 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.