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John T. Lysaker Brian Eno's Ambient 1: Music for Airports (livre de poche)
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Numéro de l'objet eBay :335267184372
Dernière mise à jour : juin 04, 2024 11:37:58 HAEAfficher toutes les modificationsAfficher toutes les modifications
Caractéristiques de l'objet
- État
- Book Title
- Brian Eno's Ambient 1: Music for Airports
- Publication Name
- Brian Eno's Ambient 1: Music for Airports
- Title
- Brian Eno's Ambient 1: Music for Airports
- ISBN-10
- 0190497300
- EAN
- 9780190497309
- ISBN
- 9780190497309
- Publisher
- Oxford University Press, Incorporated
- Format
- Trade Paperback
- Release Year
- 2018
- Release Date
- 21/12/2018
- Language
- English
- Country/Region of Manufacture
- US
- Item Height
- 0.6 in
- Item Length
- 5.4 in
- Item Width
- 8.1 in
- Genre
- Music Dance & Theatre
- Series
- The Oxford Keynotes Ser.
- Item Weight
- 8.8 Oz
- Subject Area
- Music
- Subject
- History & Criticism, General
- Publication Year
- 2018
- Type
- Textbook
- Number of Pages
- 184 Pages
À propos de ce produit
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0190497300
ISBN-13
9780190497309
eBay Product ID (ePID)
14038262442
Product Key Features
Number of Pages
184 Pages
Publication Name
Brian Eno's Ambient 1: Music for Airports
Language
English
Subject
History & Criticism, General
Publication Year
2018
Type
Textbook
Subject Area
Music
Series
The Oxford Keynotes Ser.
Format
Trade Paperback
Dimensions
Item Height
0.6 in
Item Weight
8.8 Oz
Item Length
5.4 in
Item Width
8.1 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2018-012165
Reviews
"an introductory reading for listeners of all kinds who want to understand its importance for music history and aesthetics." -- Marta García Quiñones, Transposition"Lysaker empowers listeners and gives a deep lesson on the musical, cultural, and philosophical intersections they hear in Music For Airports. And beyond Eno, this book's ideas are valuable to the concerns and functions of ambient music at large. The focus here on coexisting levels of attentive depth is a welcome addition to our understanding of this, a music that proves itself more relevant every day." -- S. Alexander Reed, Ph.D., Associate Professor at Ithaca College and author of Assimilate: A Critical History of Industrial Music"MFA quietly and resolutely challenges many received ideas about music; John Lysaker's new book provides a wonderfully wide-ranging, non-technical guide to the record in all its aspects, musical, social and philosophical. A mindful, multi-faceted examination of a mindful, multi-faceted masterpiece." -- Evan Ziporyn, Distinguished Professor and Director of Center for Art, Science & Technology, Massachusetts Institute of Technology, Producer/Arranger, Bang on a Can Music for Airports, "Lysaker empowers listeners and gives a deep lesson on the musical, cultural, and philosophical intersections they hear in Music For Airports. And beyond Eno, this book's ideas are valuable to the concerns and functions of ambient music at large. The focus here on coexisting levels of attentive depth is a welcome addition to our understanding of this, a music that proves itself more relevant every day." -- S. Alexander Reed, Ph.D., Associate Professor at Ithaca College and author of Assimilate: A Critical History of Industrial Music "MFA quietly and resolutely challenges many received ideas about music; John Lysaker's new book provides a wonderfully wide-ranging, non-technical guide to the record in all its aspects, musical, social and philosophical. A mindful, multi-faceted examination of a mindful, multi-faceted masterpiece." -- Evan Ziporyn, Distinguished Professor and Director of Center for Art, Science & Technology, Massachusetts Institute of Technology, Producer/Arranger, Bang on a Can Music for Airports, "an introductory reading for listeners of all kinds who want to understand its importance for music history and aesthetics." -- Marta Garc´ia Quiñones, Transposition"Lysaker empowers listeners and gives a deep lesson on the musical, cultural, and philosophical intersections they hear in Music For Airports. And beyond Eno, this book's ideas are valuable to the concerns and functions of ambient music at large. The focus here on coexisting levels of attentive depth is a welcome addition to our understanding of this, a music that proves itself more relevant every day." -- S. Alexander Reed, Ph.D., Associate Professor at Ithaca College and author of Assimilate: A Critical History of Industrial Music"MFA quietly and resolutely challenges many received ideas about music; John Lysaker's new book provides a wonderfully wide-ranging, non-technical guide to the record in all its aspects, musical, social and philosophical. A mindful, multi-faceted examination of a mindful, multi-faceted masterpiece." -- Evan Ziporyn, Distinguished Professor and Director of Center for Art, Science & Technology, Massachusetts Institute of Technology, Producer/Arranger, Bang on a Can Music for Airports, "an introductory reading for listeners of all kinds who want to understand its importance for music history and aesthetics." -- Marta Garc'ia Qui~nones, Transposition"Lysaker empowers listeners and gives a deep lesson on the musical, cultural, and philosophical intersections they hear in Music For Airports. And beyond Eno, this book's ideas are valuable to the concerns and functions of ambient music at large. The focus here on coexisting levels of attentive depth is a welcome addition to our understanding of this, a music that proves itself more relevant every day." -- S. Alexander Reed, Ph.D., Associate Professor at Ithaca College and author of Assimilate: A Critical History of Industrial Music"MFA quietly and resolutely challenges many received ideas about music; John Lysaker's new book provides a wonderfully wide-ranging, non-technical guide to the record in all its aspects, musical, social and philosophical. A mindful, multi-faceted examination of a mindful, multi-faceted masterpiece." -- Evan Ziporyn, Distinguished Professor and Director of Center for Art, Science & Technology, Massachusetts Institute of Technology, Producer/Arranger, Bang on a Can Music for Airports, Lysaker empowers listeners and gives a deep lesson on the musical, cultural, and philosophical intersections they hear in Music For Airports. And beyond Eno, this book's ideas are valuable to the concerns and functions of ambient music at large. The focus here on coexisting levels of attentive depth is a welcome addition to our understanding of this, a music that proves itself more relevant every day., "an introductory reading for listeners of all kinds who want to understand its importance for music history and aesthetics." -- Marta García Quiñones, Transposition"Lysaker empowers listeners and gives a deep lesson on the musical, cultural, and philosophical intersections they hear in Music For Airports. And beyond Eno, this book's ideas are valuable to the concerns and functions of ambient music at large. The focus here on coexisting levels of attentive depth is a welcome addition to our understanding of this, a music that proves itself more relevant every day." -- S. Alexander Reed, Ph.D., Associate Professorat Ithaca College and author of Assimilate: A Critical History of Industrial Music"MFA quietly and resolutely challenges many received ideas about music; John Lysaker's new book provides a wonderfully wide-ranging, non-technical guide to the record in all its aspects, musical, social and philosophical. A mindful, multi-faceted examination of a mindful, multi-faceted masterpiece." -- Evan Ziporyn, Distinguished Professor and Director of Center for Art, Science & Technology, Massachusetts Institute of Technology,Producer/Arranger, Bang on a Can Music for Airports, "an introductory reading for listeners of all kinds who want to understand its importance for music history and aesthetics." -- Marta García Quiñones, Transposition "Lysaker empowers listeners and gives a deep lesson on the musical, cultural, and philosophical intersections they hear in Music For Airports. And beyond Eno, this book's ideas are valuable to the concerns and functions of ambient music at large. The focus here on coexisting levels of attentive depth is a welcome addition to our understanding of this, a music that proves itself more relevant every day." -- S. Alexander Reed, Ph.D., Associate Professor at Ithaca College and author of Assimilate: A Critical History of Industrial Music "MFA quietly and resolutely challenges many received ideas about music; John Lysaker's new book provides a wonderfully wide-ranging, non-technical guide to the record in all its aspects, musical, social and philosophical. A mindful, multi-faceted examination of a mindful, multi-faceted masterpiece." -- Evan Ziporyn, Distinguished Professor and Director of Center for Art, Science & Technology, Massachusetts Institute of Technology, Producer/Arranger, Bang on a Can Music for Airports
Illustrated
Yes
Table Of Content
About the Companion Website Acknowledgements Introduction: White Noise, Seminal Sounds Chapter One: A First Listen, or Through a Glass Lightly Chapter Two: Music for Airports and the Avant-Garde: The Activity of Sounds Chapter Three: Eno's Journey from Art School to the Studio: Becoming a Non-Musician Chapter Four: Ambience Chapter Five: Between Hearing and Listening: Music for Airports as Conceptual Art Crossroads: An Afterword Sources for Further Reading and Listening
Synopsis
Brian Eno's seminal album Ambient 1: Music for Airports continues to fascinate and charm audiences, not only as a masterpiece of ambient music, but as a powerful and transformative work of art. Author John T. Lysaker situates this album in the context of twentieth-century art music, where its ambitions and contributions to avant garde music practice become even more apparent. To appreciate the album's multifaceted character, Lysaker advocates for "prismatic listening," an attentiveness that continually shifts registers in the knowledge that no single approach can grasp the work as a whole. Exploring each of the album's four tracks and their unique sonic arrangements, Brian Eno's Ambient 1: Music for Airports argues that the album must be approached from at least three angles: as an ambient contribution to lived environments that draws upon cybernetics and the experiments of Erik Satie, as an exploration of what John Cage has termed the "activity of sounds," and as a work of conceptual art that asks us to think freshly about artistic creativity, listening, and the broad ecology of interactions that not only make art possible, but the full range of human meaning. If one listens in this way, Music for Airports becomes a sonic image that blurs the nature-culture distinction and rescues the most interesting concerns of avant-garde music from the social isolation of concert halls and performance spaces., Brian Eno's seminal album Ambient 1: Music for Airports continues to fascinate and charm audiences, not only as a masterpiece of ambient music, but as a powerful and transformative work of art. Author John T. Lysaker situates this album in the context of twentieth-century art music, where its ambitions and contributions to avant garde music practice become even more apparent.To appreciate the album's multifaceted character, Lysaker advocates for "prismatic listening," an attentiveness that continually shifts registers in the knowledge that no single approach can grasp the work as a whole. Exploring each of the album's four tracks and their unique sonic arrangements, Brian Eno's Ambient 1: Music for Airports argues that the album must be approached from at least three angles: as an ambient contribution to lived environments that draws upon cybernetics and the experiments of Erik Satie, as an exploration of what John Cage has termed the "activity of sounds," and as a work of conceptual art that asks us to think freshly about artistic creativity, listening, and the broad ecology of interactions that not only make art possible, but the full range of human meaning. If one listens in this way, Music for Airports becomes a sonic image that blurs the nature-culture distinction and rescues the most interesting concerns of avant-garde music from the social isolation of concert halls and performance spaces., Brian Eno's seminal album Ambient 1: Music for Airports continues to fascinate and charm audiences, not only as a masterpiece of ambient music, but as a powerful and transformative work of art. Author John T. Lysaker situates this album in the context of twentieth-century art music, where its ambitions and contributions to avant garde music practice become even more apparent.
LC Classification Number
ML410.E58L97 2019
Copyright Date
2019
ebay_catalog_id
4
Description de l'objet du vendeur
Le vendeur assume l'entière responsabilité de cette annonce.
Numéro de l'objet eBay :335267184372
Dernière mise à jour : juin 04, 2024 11:37:58 HAEAfficher toutes les modificationsAfficher toutes les modifications
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