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Sound Unseen: Acousmatic Sound in Theory and Practice by Brian Kane: New
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Item specifics
- Condition
- Publication Date
- 2016-09-01
- Pages
- 336
- ISBN
- 9780190632212
About this product
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0190632216
ISBN-13
9780190632212
eBay Product ID (ePID)
229674588
Product Key Features
Book Title
Sound Unseen : Acousmatic Sound in Theory and Practice
Number of Pages
336 Pages
Language
English
Publication Year
2016
Topic
History & Criticism, Philosophy & Social Aspects, General, Acoustics & Sound
Genre
Music, Science
Format
Trade Paperback
Dimensions
Item Height
0.8 in
Item Weight
16.8 Oz
Item Length
6.1 in
Item Width
9.1 in
Additional Product Features
Intended Audience
Trade
Reviews
"Much in this substantive book will resonate with the reader after the concluding page is turned. Recommended." --Choice "Sound Unseen is both successful and provocative precisely because of these constructive dissonances. It is a rare book that can put thinkers as diverse as P. F. Strawson or Bertrand Russell on the same page with Derrida or Heidegger, especially with Kane's unassuming clarity. Furthermore, Kane shows how music studies and philosophy can speak to each other when they are conceived as mutually supplemental--questions about sound infect philosophical questions, and thus a musical answer becomes a philosophical answer. Finally, Kane's tone deserves special mention, as it untangles knotty philosophical questions with remarkably accessible language: despite the density of his topics, his prose treads lightly and patiently, requiring little philosophical acumen yet rewarding those who may have it."--Music Theory Spectrum "Kane uncovers a history of acousmatic sound independent of the legacy of Schaeffer and Pythagoras in order to articulate a rather distinct approach to the study of sound that transcends the divisions between musicology and sound studies...[Sound Unseen] is an essential text for scholars of the philosophy of music, electronic music, sound studies, and phenomenology." --Journal of Sonic Studies "Kane's methodology is multi-disciplinary, analysing a variety of cases."--Neural "Brian Kane...has in Sound Unseen written the definitive explanatory tract on the acousmatic."--The Wire "Sound Unseen represents a significant contribution to the field of voice studies...Brian Kane succeeds in developing a cogent and flexible explanatory paradigm for acousmatic sound that is clear without being reductive. Kane's account of acousmatic sound allows one to situate the practices of listening within their historical and cultural contexts...Scrupulously researched and conceptually virtuosic, Sound Unseen asks us to rethink the way we listen."--Journal of Musicological Research "Kane effectively decenters the privileged position of Schaefferian accounts in present discourse and opens the door to a broader survey of acousmatic listening practices spanning a variety of sociohistorical situations...Kane's traversal of the transdisciplinary landscape is graceful and his approach offers a healthy perspective for the field of music research more generally...Without doubt, Kane's book makes a significant contribution to existing literature on acousmatic sound, and it is necessary reading for anyone interested in exploring the fertile intersection of music, sound, and philosophy."--Music Theory Online, "Much in this substantive book will resonate with the reader after the concluding page is turned. Recommended." --Choice "Sound Unseen is both successful and provocative precisely because of these constructive dissonances. It is a rare book that can put thinkers as diverse as P. F. Strawson or Bertrand Russell on the same page with Derrida or Heidegger, especially with Kane's unassuming clarity. Furthermore, Kane shows how music studies and philosophy can speak to each other when they are conceived as mutually supplemental--questions about sound infect philosophical questions, and thus a musical answer becomes a philosophical answer. Finally, Kane's tone deserves special mention, as it untangles knotty philosophical questions with remarkably accessible language: despite the density of his topics, his prose treads lightly and patiently, requiring little philosophical acumen yet rewarding those who may have it."--Music Theory Spectrum "Kane uncovers a history of acousmatic sound independent of the legacy of Schaeffer and Pythagoras in order to articulate a rather distinct approach to the study of sound that transcends the divisions between musicology and sound studies...[Sound Unseen] is an essential text for scholars of the philosophy of music, electronic music, sound studies, and phenomenology." --Journal of Sonic Studies "Kane's methodology is multi-disciplinary, analysing a variety of cases."--Neural "Brian Kane...has in Sound Unseen written the definitive explanatory tract on the acousmatic."--The Wire "Sound Unseen represents a significant contribution to the field of voice studies...Brian Kane succeeds in developing a cogent and flexible explanatory paradigm for acousmatic sound that is clear without being reductive. Kane's account of acousmatic sound allows one to situate the practices of listening within their historical and cultural contexts...Scrupulously researched and conceptually virtuosic, Sound Unseen asks us to rethink the way we listen."--Journal of Musicological Research "Kane effectively decenters the privileged position of Schaefferian accounts in present discourse and opens the door to a broader survey of acousmatic listening practices spanning a variety of sociohistorical situations...Kane's traversal of the transdisciplinary landscape is graceful and his approach offers a healthy perspective for the field of music research more generally...Without doubt, Kane's book makes a significant contribution to existing literature on acousmatic sound, and it is necessary reading for anyone interested in exploring the fertile intersection of music, sound, and philosophy."--Music Theory Online "Brian Kane's Sound Unseen: Sound in Theory and Practice directly questions the material constitution of sonic phenomena; however, Kane's methodology is theoretical rather than historical... Upon first blush the book appears topically focused on the work of French composer Pierre Schaeffer and the school of musique concrete; however, its major contributions are to twentieth-century histories of aesthetics and the senses...Kane is also interested in the ways in which incidental subjectivity is interpolated into technologies. For Kane, musical transcendence is revealed time and again to be a phantasmagoric effect of techn, in which the means of production are eclipsed, resulting in a suprahuman category." Contemporary European History, "Much in this substantive book will resonate with the reader after the concluding page is turned. Recommended." --Choice "Sound Unseen is both successful and provocative precisely because of these constructive dissonances. It is a rare book that can put thinkers as diverse as P. F. Strawson or Bertrand Russell on the same page with Derrida or Heidegger, especially with Kane's unassuming clarity. Furthermore, Kane shows how music studies and philosophy can speak to each other when they are conceived as mutually supplemental--questions about sound infect philosophical questions, and thus a musical answer becomes a philosophical answer. Finally, Kane's tone deserves special mention, as it untangles knotty philosophical questions with remarkably accessible language: despite the density of his topics, his prose treads lightly and patiently, requiring little philosophical acumen yet rewarding those who may have it."--Music Theory Spectrum"Kane uncovers a history of acousmatic sound independent of the legacy of Schaeffer and Pythagoras in order to articulate a rather distinct approach to the study of sound that transcends the divisions between musicology and sound studies...[Sound Unseen] is an essential text for scholars of the philosophy of music, electronic music, sound studies, and phenomenology." --Journal of Sonic Studies"Kane's methodology is multi-disciplinary, analysing a variety of cases."--Neural"Brian Kane...has in Sound Unseen written the definitive explanatory tract on the acousmatic."--The Wire"Sound Unseen represents a significant contribution to the field of voice studies...Brian Kane succeeds in developing a cogent and flexible explanatory paradigm for acousmatic sound that is clear without being reductive. Kane's account of acousmatic sound allows one to situate the practices of listening within their historical and cultural contexts...Scrupulously researched and conceptually virtuosic, Sound Unseen asks us to rethink the way we listen."--Journal of Musicological Research"Kane effectively decenters the privileged position of Schaefferian accounts in present discourse and opens the door to a broader survey of acousmatic listening practices spanning a variety of sociohistorical situations...Kane's traversal of the transdisciplinary landscape is graceful and his approach offers a healthy perspective for the field of music research more generally...Without doubt, Kane's book makes a significant contribution to existing literature on acousmatic sound, and it is necessary reading for anyone interested in exploring the fertile intersection of music, sound, and philosophy."--Music Theory Online"Brian Kane's Sound Unseen: Sound in Theory and Practice directly questions the material constitution of sonic phenomena; however, Kane's methodology is theoretical rather than historical... Upon first blush the book appears topically focused on the work of French composer Pierre Schaeffer and the school of musique concrete; however, its major contributions are to twentieth-century histories of aesthetics and the senses...Kane is also interested in the ways in which incidental subjectivity is interpolated into technologies. For Kane, musical transcendence is revealed time and again to be a phantasmagoric effect of techné, in which the means of production are eclipsed, resulting in a suprahuman category." Contemporary European History, "Much in this substantive book will resonate with the reader after the concluding page is turned. Recommended." --Choice"Sound Unseen is both successful and provocative precisely because of these constructive dissonances. It is a rare book that can put thinkers as diverse as P. F. Strawson or Bertrand Russell on the same page with Derrida or Heidegger, especially with Kane's unassuming clarity. Furthermore, Kane shows how music studies and philosophy can speak to each other when they are conceived as mutually supplemental--questions about sound infect philosophicalquestions, and thus a musical answer becomes a philosophical answer. Finally, Kane's tone deserves special mention, as it untangles knotty philosophical questions with remarkably accessible language: despite thedensity of his topics, his prose treads lightly and patiently, requiring little philosophical acumen yet rewarding those who may have it."--Music Theory Spectrum"Kane uncovers a history of acousmatic sound independent of the legacy of Schaeffer and Pythagoras in order to articulate a rather distinct approach to the study of sound that transcends the divisions between musicology and sound studies...[Sound Unseen] is an essential text for scholars of the philosophy of music, electronic music, sound studies, and phenomenology." --Journal of Sonic Studies"Kane's methodology is multi-disciplinary, analysing a variety of cases."--Neural"Brian Kane...has in Sound Unseen written the definitive explanatory tract on the acousmatic."--The Wire"Sound Unseen represents a significant contribution to the field of voice studies...Brian Kane succeeds in developing a cogent and flexible explanatory paradigm for acousmatic sound that is clear without being reductive. Kane's account of acousmatic sound allows one to situate the practices of listening within their historical and cultural contexts...Scrupulously researched and conceptually virtuosic, Sound Unseen asks us to rethink the way welisten."--Journal of Musicological Research"Kane effectively decenters the privileged position of Schaefferian accounts in present discourse and opens the door to a broader survey of acousmatic listening practices spanning a variety of sociohistorical situations...Kane's traversal of the transdisciplinary landscape is graceful and his approach offers a healthy perspective for the field of music research more generally...Without doubt, Kane's book makes a significant contribution to existing literatureon acousmatic sound, and it is necessary reading for anyone interested in exploring the fertile intersection of music, sound, and philosophy."--Music Theory Online"Brian Kane's Sound Unseen: Sound in Theory and Practice directly questions the material constitution of sonic phenomena; however, Kane's methodology is theoretical rather than historical... Upon first blush the book appears topically focused on the work of French composer Pierre Schaeffer and the school of musique concrete; however, its major contributions are to twentieth-century histories of aesthetics and the senses...Kane is alsointerested in the ways in which incidental subjectivity is interpolated into technologies. For Kane, musical transcendence is revealed time and again to be a phantasmagoric effect of techné, in which the means of production areeclipsed, resulting in a suprahuman category." Contemporary European History, "Much in this substantive book will resonate with the reader after the concluding page is turned. Recommended." --Choice, "Much in this substantive book will resonate with the reader after the concluding page is turned. Recommended." --Choice "Sound Unseen is both successful and provocative precisely because of these constructive dissonances. It is a rare book that can put thinkers as diverse as P. F. Strawson or Bertrand Russell on the same page with Derrida or Heidegger, especially with Kane's unassuming clarity. Furthermore, Kane shows how music studies and philosophy can speak to each other when they are conceived as mutually supplemental--questions about sound infect philosophical questions, and thus a musical answer becomes a philosophical answer. Finally, Kane's tone deserves special mention, as it untangles knotty philosophical questions with remarkably accessible language: despite the density of his topics, his prose treads lightly and patiently, requiring little philosophical acumen yet rewarding those who may have it."--Music Theory Spectrum "Kane uncovers a history of acousmatic sound independent of the legacy of Schaeffer and Pythagoras in order to articulate a rather distinct approach to the study of sound that transcends the divisions between musicology and sound studies...[Sound Unseen] is an essential text for scholars of the philosophy of music, electronic music, sound studies, and phenomenology." --Journal of Sonic Studies "Kane's methodology is multi-disciplinary, analysing a variety of cases."--Neural "Brian Kane...has in Sound Unseen written the definitive explanatory tract on the acousmatic."--The Wire "Sound Unseen represents a significant contribution to the field of voice studies...Brian Kane succeeds in developing a cogent and flexible explanatory paradigm for acousmatic sound that is clear without being reductive. Kane's account of acousmatic sound allows one to situate the practices of listening within their historical and cultural contexts...Scrupulously researched and conceptually virtuosic, Sound Unseen asks us to rethink the way we listen."--Journal of Musicological Research "Kane effectively decenters the privileged position of Schaefferian accounts in present discourse and opens the door to a broader survey of acousmatic listening practices spanning a variety of sociohistorical situations...Kane's traversal of the transdisciplinary landscape is graceful and his approach offers a healthy perspective for the field of music research more generally...Without doubt, Kane's book makes a significant contribution to existing literature on acousmatic sound, and it is necessary reading for anyone interested in exploring the fertile intersection of music, sound, and philosophy."--Music Theory Online "Brian Kane's Sound Unseen: Sound in Theory and Practice directly questions the material constitution of sonic phenomena; however, Kane's methodology is theoretical rather than historical... Upon first blush the book appears topically focused on the work of French composer Pierre Schaeffer and the school of musique concrete; however, its major contributions are to twentieth-century histories of aesthetics and the senses...Kane is also interested in the ways in which incidental subjectivity is interpolated into technologies. For Kane, musical transcendence is revealed time and again to be a phantasmagoric effect of techné, in which the means of production are eclipsed, resulting in a suprahuman category." Contemporary European History
Dewey Edition
23
Dewey Decimal
781.2/3
Table Of Content
Table of Contents Introduction PART I. The Acousmatic Situation CHAPTER 1. Pierre Schaeffer, the sound object and the acousmatic reduction PART II. Interruptions CHAPTER 2. Myth and the origin of the Pythagorean veil CHAPTER 3. The baptism of the acousmate PART III. Conditions CHAPTER 4. Acousmatic phantasmagoria and the problem of technê INTERLUDE. Must musique concrète be phantasmagoric? CHAPTER 5. Kafka and the ontology of acousmatic sound PART IV. Cases CHAPTER 6. The acousmatic voice CHAPTER 7. Acousmatic fabrications: Les Paul and the "Les Paulverizer" Notes Bibliography
Synopsis
Sound coming from outside the field of vision, from somewhere beyond, holds a privileged place in the Western imagination. When separated from their source, sounds seem to manifest transcendent realms, divine powers, or supernatural forces. According to legend, the philosopher Pythagoras lectured to his disciples from behind a veil, and two thousand years later, in the age of absolute music, listeners were similarly fascinated with disembodied sounds, employing various techniques to isolate sounds from their sources. With recording and radio came spatial and temporal separation of sounds from sources, and new ways of composing music. Sound Unseen: Acousmatic Sound in Theory and Practice explores the phenomenon of acousmatic sound. An unusual and neglected word, "acousmatic" was first introduced into modern parlance in the mid-1960s by avant garde composer of musique concr te Pierre Schaeffer to describe the experience of hearing a sound without seeing its cause. Working through, and often against, Schaeffer's ideas, Brian Kane presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses. Kane investigates acousmatic sound from a number of methodological perspectives -- historical, cultural, philosophical and musical -- and provides a framework that makes sense of the many surprising and paradoxical ways that unseen sound has been understood. Finely detailed and thoroughly researched, Sound Unseen pursues unseen sounds through a stunning array of cases -- from Bayreuth to Kafka's "Burrow," Apollinaire to Zizek, music and metaphysics to architecture and automata, and from Pythagoras to the present-to offer the definitive account of acousmatic sound in theory and practice. The first major study in English of Pierre Schaeffer's theory of "acousmatics," Sound Unseen is an essential text for scholars of philosophy of music, electronic music, sound studies, and the history of the senses., Sound Unseen explores the phenomenon of acousmatic sound -- a sound that one hears without seeing its source-and presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses., Sound coming from outside the field of vision, from somewhere beyond, holds a privileged place in the Western imagination. When separated from their source, sounds seem to manifest transcendent realms, divine powers, or supernatural forces. According to legend, the philosopher Pythagoras lectured to his disciples from behind a veil, and two thousand years later, in the age of absolute music, listeners were similarly fascinated with disembodied sounds, employing various techniques to isolate sounds from their sources. With recording and radio came spatial and temporal separation of sounds from sources, and new ways of composing music.Sound Unseen: Acousmatic Sound in Theory and Practice explores the phenomenon of acousmatic sound. An unusual and neglected word, "acousmatic" was first introduced into modern parlance in the mid-1960s by avant garde composer of musique concrète Pierre Schaeffer to describe the experience of hearing a sound without seeing its cause. Working through, and often against, Schaeffer's ideas, Brian Kane presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses. Kane investigates acousmatic sound from a number of methodological perspectives -- historical, cultural, philosophical and musical -- and provides a framework that makes sense of the many surprising and paradoxical ways that unseen sound has been understood. Finely detailed and thoroughly researched, Sound Unseen pursues unseen sounds through a stunning array of cases -- from Bayreuth to Kafka's "Burrow," Apollinaire to Zizek, music and metaphysics to architecture and automata, and from Pythagoras to the present-to offer the definitive account of acousmatic sound in theory and practice. The first major study in English of Pierre Schaeffer's theory of "acousmatics," Sound Unseen is an essential text for scholars of philosophy of music, electronic music, sound studies, and the history of the senses., Sound coming from outside the field of vision, from somewhere beyond, holds a privileged place in the Western imagination. When separated from their source, sounds seem to manifest transcendent realms, divine powers, or supernatural forces. According to legend, the philosopher Pythagoras lectured to his disciples from behind a veil, and two thousand years later, in the age of absolute music, listeners were similarly fascinated with disembodied sounds, employing various techniques to isolate sounds from their sources. With recording and radio came spatial and temporal separation of sounds from sources, and new ways of composing music. Sound Unseen: Acousmatic Sound in Theory and Practice explores the phenomenon of acousmatic sound. An unusual and neglected word, "acousmatic" was first introduced into modern parlance in the mid-1960s by avant garde composer of musique concrète Pierre Schaeffer to describe the experience of hearing a sound without seeing its cause. Working through, and often against, Schaeffer's ideas, Brian Kane presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses. Kane investigates acousmatic sound from a number of methodological perspectives -- historical, cultural, philosophical and musical -- and provides a framework that makes sense of the many surprising and paradoxical ways that unseen sound has been understood. Finely detailed and thoroughly researched, Sound Unseen pursues unseen sounds through a stunning array of cases -- from Bayreuth to Kafka's "Burrow," Apollinaire to %Zi%zek, music and metaphysics to architecture and automata, and from Pythagoras to the present-to offer the definitive account of acousmatic sound in theory and practice. The first major study in English of Pierre Schaeffer's theory of "acousmatics," Sound Unseen is an essential text for scholars of philosophy of music, electronic music, sound studies, and the history of the senses.
LC Classification Number
ML3805.K15 2016
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- a***e- Feedback left by buyer.Past monthVerified purchaseProfessional Seller; Wide Inventory Selection; Competitive Prices; Great Communication; FAST Ship; Item Safely & Well-Packaged; Item Accurately Described in Listing; Item of High Quality and in Mint Condition; Appearance of Item is Great! Highly Recommended; Hope to Do Business with Again! Thank You Very Much!
- m***u (849)- Feedback left by buyer.Past 6 monthsVerified purchaseAbsolutely delightful seller! As pictured and described, fast shipping, and great communication! Excellent packaging and a phenomenal value! This seller is an extremely valuable asset to the eBay community! A++++! ✨🥇✨
- a***a (346)- Feedback left by buyer.Past 6 monthsVerified purchaseThis hardback book is of the highest quality, has a fine appearance , arrived in perfect condition, and is an excellent value. On what I was not asked about this time, communicating with the seller would have required using email outside of the eBay system, because they do not accept eBay messages, the book was well packed in a purpose-designed cardboard box, the shipping was faster than I expected for the bound media rate, and the book was exactly as described and pictured.Tameshigiri - The History and Development of Japanese Sword Testing by Sesko (#282906424466)