Japanoise: Music at the Edge of Circulation
Noise, an underground music made through an amalgam of feedback, distortion, and electronic effects, first emerged as a genre in the 1980s, circulating on cassette tapes traded between fans in Japan, Europe, and North America. With its cultivated obscurity, ear-shattering sound, and over-the-top per...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2013]
|
| Schriftenreihe: | Sign, Storage, Transmission
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| Schlagworte: | |
| Online-Zugang: | FAB01 FAW01 FHA01 FKE01 FLA01 UBG01 UPA01 FCO01 Volltext |
| Zusammenfassung: | Noise, an underground music made through an amalgam of feedback, distortion, and electronic effects, first emerged as a genre in the 1980s, circulating on cassette tapes traded between fans in Japan, Europe, and North America. With its cultivated obscurity, ear-shattering sound, and over-the-top performances, Noise has captured the imagination of a small but passionate transnational audience.For its scattered listeners, Noise always seems to be new and to come from somewhere else: in North America, it was called "Japanoise." But does Noise really belong to Japan? Is it even music at all? And why has Noise become such a compelling metaphor for the complexities of globalization and participatory media at the turn of the millennium?In Japanoise, David Novak draws on more than a decade of research in Japan and the United States to trace the "cultural feedback" that generates and sustains Noise. He provides a rich ethnographic account of live performances, the circulation of recordings, and the lives and creative practices of musicians and listeners. He explores the technologies of Noise and the productive distortions of its networks. Capturing the textures of feedback-its sonic and cultural layers and vibrations-Novak describes musical circulation through sound and listening, recording and performance, international exchange, and the social interpretations of media |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) |
| Beschreibung: | 1 online resource (304 pages) 51 illustrations |
| ISBN: | 9780822397540 |
| DOI: | 10.1515/9780822397540 |
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| illustrated | Illustrated |
| index_date | 2024-07-03T16:07:31Z |
| indexdate | 2024-07-10T09:01:09Z |
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| isbn | 9780822397540 |
| language | English |
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| physical | 1 online resource (304 pages) 51 illustrations |
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| publishDate | 2013 |
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| series2 | Sign, Storage, Transmission |
| spelling | Novak, David Verfasser aut Japanoise Music at the Edge of Circulation David Novak Durham Duke University Press [2013] © 2013 1 online resource (304 pages) 51 illustrations txt rdacontent c rdamedia cr rdacarrier Sign, Storage, Transmission Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) Noise, an underground music made through an amalgam of feedback, distortion, and electronic effects, first emerged as a genre in the 1980s, circulating on cassette tapes traded between fans in Japan, Europe, and North America. With its cultivated obscurity, ear-shattering sound, and over-the-top performances, Noise has captured the imagination of a small but passionate transnational audience.For its scattered listeners, Noise always seems to be new and to come from somewhere else: in North America, it was called "Japanoise." But does Noise really belong to Japan? Is it even music at all? And why has Noise become such a compelling metaphor for the complexities of globalization and participatory media at the turn of the millennium?In Japanoise, David Novak draws on more than a decade of research in Japan and the United States to trace the "cultural feedback" that generates and sustains Noise. He provides a rich ethnographic account of live performances, the circulation of recordings, and the lives and creative practices of musicians and listeners. He explores the technologies of Noise and the productive distortions of its networks. Capturing the textures of feedback-its sonic and cultural layers and vibrations-Novak describes musical circulation through sound and listening, recording and performance, international exchange, and the social interpretations of media In English MUSIC / History & Criticism bisacsh Noise music Japan History and criticism https://doi.org/10.1515/9780822397540 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Novak, David Japanoise Music at the Edge of Circulation MUSIC / History & Criticism bisacsh Noise music Japan History and criticism |
| title | Japanoise Music at the Edge of Circulation |
| title_auth | Japanoise Music at the Edge of Circulation |
| title_exact_search | Japanoise Music at the Edge of Circulation |
| title_exact_search_txtP | Japanoise Music at the Edge of Circulation |
| title_full | Japanoise Music at the Edge of Circulation David Novak |
| title_fullStr | Japanoise Music at the Edge of Circulation David Novak |
| title_full_unstemmed | Japanoise Music at the Edge of Circulation David Novak |
| title_short | Japanoise |
| title_sort | japanoise music at the edge of circulation |
| title_sub | Music at the Edge of Circulation |
| topic | MUSIC / History & Criticism bisacsh Noise music Japan History and criticism |
| topic_facet | MUSIC / History & Criticism Noise music Japan History and criticism |
| url | https://doi.org/10.1515/9780822397540 |
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