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Listening through the NoiseThe Aesthetics of Experimental Electronic Music$
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Joanna Demers

Print publication date: 2010

Print ISBN-13: 9780195387650

Published to Oxford Scholarship Online: September 2010

DOI: 10.1093/acprof:oso/9780195387650.001.0001

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Genre, Experimentalism, and the Musical Frame

Genre, Experimentalism, and the Musical Frame

Chapter:
(p.135) 6 Genre, Experimentalism, and the Musical Frame
Source:
Listening through the Noise
Author(s):

Joanna Demers

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195387650.003.0006

Chapter 6 takes a step back to consider the three metagenres of institutional electroacoustic, electronica, and sound art. Participants in each metagenre describe their music in terms borrowing from the discourse of experimentalism, a discourse that pits a distinguished minority against a commercial mainstream and an indifferent public. Despite the fact that the three metagenres insist on their difference from one another, all three encourage a type of listening that resembles less what we think to be traditional musical listening (at least in Western art music) than a new type of attention, one this chapter dubs “aesthetic listening.”

Keywords:   aesthetic listening, electronica, experimentalism, electroacoustic music, metagenre, sound art

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