Shelf view Global financial crisis Publisher Hauppauge, N. Format Web Online Available Electronic resource. Format Web Online Available Online source. Shelf view Modern dietary fat intakes in disease promotion Publisher Totowa, N. Shelf view Ground improvement technologies and case histories Publisher Singapore : Research Publishing, c Shelf view Mexico : narco-violence and a failed state? Shelf view Envisioning future academic library services : initiatives, ideas and challenges Publisher London : Facet Publishing, Shelf view Rules are not enough : the art of good governance in the real world Additional Title Art of good governance in the real world Author Merson, Rupert Publisher London : Profile, Tantalizing, because music's power over my own mind and body was so consuming, and the promise of channeling that power into social change had such allure.
Frustrating, because it always seemed to me that music's power was simultaneously monopolized and denigrated by big business, squandered in the interest of making a quick buck. While I was writing the book, I was interested in seeing how seriously governments and other social institutions had taken Plato's threat over the years, what role their regulations and prohibitions have had in shaping musical culture, and whether the resistance to these regulations has played a role as well.
I was also interested in finding out whether there's any substance to Plato's claims--anything actually worth fighting over--and, if so, what mechanism would allow a few mathematically related vibrations in air to ripple throughout the material and institutional structures that bind society together.
checkout.midtrans.com/laguardia-mujer-soltera-busca.php I discovered that music has essentially been treated as a controlled substance in a broad variety of societies throughout history, from pre-Hellenic Egypt to dynastic China to America's antebellum south. Although political states, churches, industries and other social institutions have consistently regulated musical aesthetics, practices and technologies, there has always been resistance from the citizens, worshippers and consumers being regulated. Sometimes this simply takes the form of flouting the rules; at other times, the music is cleverly morphed or assimilated so as to evade the eyes and ears of the regulators.
Ironically, this cat-and-mouse process has been responsible for a great deal of musical innovation over the years.
As to the veracity of Plato's claims, there is a growing body of research demonstrating the unique role that music plays in a broad range of cognitive, psychological and social processes, from memory to identity to collective self-organization. Historically, philosophers of art have puzzled over the fact that, unlike most other creative media, music lacks a representative function: you can paint, sculpt or write about a tree, but you can't play one on a saxophone.
I argue that music is, in fact, representative. But its subject isn't the external world; rather, it serves as a sonic map of our minds and perceptual apparatuses themselves. To put it another way, music is like a schematic or operating system for consciousness--we perceive the tree differently depending on who is playing the saxophone, and on which scales, rhythms and timbres they happen to use.
If we think of society as a network of nervous systems, themselves networks of cognitive and psychological subsystems with different evolutionary origins and functions, we can understand music as a patterned set of instructions that organizes thought, emotion and action at any scale, from the subconscious to the macro-social. This helps to explain why social institutions so often attempt to control the shape and flow of musical expression: it is simply a case of one regulatory mechanism absorbing and exploiting another.
Given this perspective, and my earlier comments about the role of technology and metaphor in bounding cultural and social processes, the fears of Andrew Keen and his ilk have a certain degree of legitimacy. There is little question in my mind that configurable culture, especially new musical aesthetics and practices, betoken a new consciousness and a new set of social operating instructions.
Our reigning institutions are built on the once-firm ground of an atomistic, hierarchical society that seemed natural and inevitable to many or most of its members. But, based on my extensive interviews with DJs and surveys of Americans at large, it seems as though a more modular and collective ethic inheres to the new communications framework, and that the metaphorical ground beneath our government, economy, and schools has eroded considerably in just a few short years.
Where Keen errs is in believing that this process is, in his words, "undermining truth" and "souring civic discourse. And it is difficult for me to believe that the discourse we witness on Fox News or CNN could be made any more sour or less civic by the inclusion of a few million new voices to the conversation. You come to this project with a background as both a musician and an industry consultant. How did those experiences impact the stance you've taken in this book? I'm not sure why, but from earliest childhood, I've always been simultaneously enthralled by music itself, and utterly awed by its power over me.
I'm one of those people who has trouble screening music out of my field of attention, and I have the annoying habit of commenting on and analyzing whatever tune is ostensibly playing in background of the elevator, restaurant, or public space where I happen to be. I know I'm not alone, because I married someone exactly like me in this respect.
In fact, you could say that this tendency or obsession has shaped nearly all of my major life decisions, from marriage to career choices to the use of my discretionary time and income to naming and raising my children. As a result of these decisions, I've had the opportunity to experience, produce, discuss and research music in a broad variety of contexts.
I can geek out on modal variations with the jazz-heads, swap industry data and gossip with record execs, compare the finer points of MP3 vs.
Novak, David. Sanjek, Russell. Da Capo Press. Suisman, David. Taylor, Timothy. Weisbard, Eric. Chicago: University of Chicago Press.
Berger, Harris M. Hanover: University Press of New England. Fox, Aaron A. Lawrence, Tim. Duke University Press. Peterson, Richard. Creating Country Music: Fabricating Authenticity. Quinn, Eithne. New York: Columbia University Press. Rivera, Raquel Z. New York: Palgrave Macmillan. Rose, Tricia. Andrew Ross and Tricia Rose. New York: Routledge. Schloss, Joseph G. Middletown: Wesleyan University Press. Waksman, Steve. Walser, Robert.
Aparicio, Frances. Cavicchi, Daniel. New York: Oxford University Press, Cheng, William.
Drew, Rob. Karaoke Nights: An Ethnographic Rhapsody , Keightley, Keir. Meintjes, Louis. Meizel, Katherine. Bloomington: Indiana University Press. McCracken, Allison.
Lanier, for example, argues that the alliance has resulted in a new kind of social contract:. Glick Schiller, N. Your library. Chicago: University of Chicago Press. Dictionary browser? Certeau, Michel de. In October Google launched its all-in-one streaming service YouTube Red, a subscription tier for its popular audio and video service.
American Music 17 4 : Miller, Kiri. New York: Oxford University Press. Samuels, David W. Tucson: University of Arizona Press. Sinnreich, Aram. University of Massachusetts Press. Kun, Josh. Berkeley: University of California Press. Manuel, Peter. Sakakeeny, Matt. Shank, Barry. Wesleyan University Press. Queering the Popular Pitch. Yang, Mina. Urbana: University of Illinois Press. Baranovitch, Nimrod. Oakland: University of California Press.
De Kloet, Jeroen.