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Index
Half Title Title Page Contents Acknowledgments Sources and Permissions Introduction to the Revised Edition Part 1 Theories I. Music and Its Others: Noise, Sound, Silence 1 “Noise and Politics” 2 “The Art of Noises: Futurist Manifesto” 3 The Liberation of Sound 4 The Joys of Noise 5 The Future of Music: Credo 6 The Music of the Environment 7 The Gender of Sound 8 All Sound Is Queer 9 The Quiet of Blackness: Miles Davis and John Coltrane II. Modes of Listening 10 Visual and Acoustic Space 11 Acousmatics 12 Profound Listening and Environmental Sound Matter 13 Ambient Music 14 Auralizing the Sonosphere: A Vocabulary for Inner Sound and Sounding 15 Perceptual Geography: Third Ear Music and Structure Borne Sound 16 Hearing Essay 17 The Aural Walk 18 Ubiquitous Listening 19 Forensic Listening 20 Organizing the Silence III. Music in the Age of Electronic Reproduction 21 The Prospects of Recording 22 The Studio as Compositional Tool 23 Bettered by the Borrower: The Ethics of Musical Debt 24 Plunderphonia 25 Operating System for the Redesign of Sonic Reality 26 Six File-Sharing Epiphanies 27 Cultivating Activist Lives in Sound Part 2 Practices IV. The Open Work 28 The Poetics of the Open Work 29 Composition as Process: Indeterminacy 30 Every Sound You Can Imagine: On Graphic Scores 31 Transformations and Developments of a Radical Aesthetic 32 The Game Pieces 33 Introduction to Catalog of Works 34 Notes on Conduction V. Experimental Musics 35 Towards (a Definition of) Experimental Music 36 Introduction to Themes & Variations 37 Generating and Organizing Variety in the Arts 38 A Scratch Orchestra: Draft Constitution 39 The Generation Game: Experimental Music and Digital Culture 40 The New Discipline 41 RE-INVENT: Experimental Music in China VI. Improvised Musics 42 Change of the Century 43 Notes (8 Pieces): Creative Music 44 Free Improvisation 45 Little Bangs: A Nihilist Theory of Improvisation 46 Improvised Music after 1950: Afrological and Eurological Perspectives 47 Improvisation: Terms and Conditions 48 Going Fragile 49 27 Questions For A Start … And Some Possible Answers to Begin With VII. Minimalisms 50 Thankless Attempts at a Definition of Minimalism 51 Basic Concepts of Minimal Music 52 Music as a Gradual Process 53 Conversation with Richard Kostelanetz 54 LYssophobia: On Four Violins 55 Rap, Minimalism, and Structures of Time in Late Twentieth-Century Culture 56 Draw a Straight Line and Follow It: Minimalism in Contemporary Electronic Dance Music VIII. DJ Culture 57 Production–Reproduction: Potentialities of the Phonograph 58 Détournment as Negation and Prelude 59 The Invisible Generation 60 Algorithms: Erasures and the Art of Memory 61 Replicant: On Dub 62 Post-Rock 63 A Few Notes on Production and Playback IX. Electronic Music and Electronica 64 Introductory Remarks to a Program of Works Produced at the Columbia-Princeton Electronic Music Center 65 Electronic and Instrumental Music 66 Stockhausen vs the “Technocrats” 67 The Mysterious Power of the Infinitesimal 68 The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer Music 69 Laptop Intimacy and Platform Politics Chronology Selected Discography Selected Bibliography Glossary Notes to Quotations Index Copyright
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