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Zusatztext 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...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. Informationen zum Autor Brian Kane is Associate Professor of Music at Yale University and a founding editor of the journal nonsite.org. His research specializes in contemporary music, sound art, sound studies/auditory culture, histories of listening, and intersections between music and philosophy Klappentext 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. Zusammenfassung 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. Inhaltsverzeichnis 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 ...
