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Triple Entendre : Furniture Music, Muzak, Muzak-Plus /

This book discusses the rise and spread of background music in contexts as diverse as office workplaces, shopping malls, and musical performance. The author examines background music in several guises, beginning with Erik Satie's "Furniture Music" of the late 1910s and early 1920s, wh...

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Detalles Bibliográficos
Autor principal: Vanel, Herve (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Urbana : University of Illinois Press, [2013]
Colección:Book collections on Project MUSE.
Temas:
Acceso en línea:Texto completo

MARC

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100 1 |a Vanel, Herve,  |e author. 
245 1 0 |a Triple Entendre :   |b Furniture Music, Muzak, Muzak-Plus /   |c Herve Vanel. 
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264 3 |a Baltimore, Md. :  |b Project MUSE,   |c 2013 
264 4 |c ©[2013] 
300 |a 1 online resource (216 pages). 
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505 0 |a Furniture music : a musical irresolution by Erik Satie -- Muzak incorporated -- Muzak-plus and the art of participation -- Conclusion : the community to come. 
520 |a This book discusses the rise and spread of background music in contexts as diverse as office workplaces, shopping malls, and musical performance. The author examines background music in several guises, beginning with Erik Satie's "Furniture Music" of the late 1910s and early 1920s, which first demonstrated the idea of a music not meant to be listened to and was later considered a precedent to modern, functional background music. The author argues that when the Muzak Corporation's commercialized ambient music became a predominant feature of modern life in the 1940s - both as a brand and a genre of background music - it also became a powerful instrument of social engineering in an advanced capitalist society. Different kinds of music were developed to encourage or incite greater productivity in the workplace, more energetic shopping, or more animated socializing. The book's discussion culminates in the creative response of the composer John Cage to the pervasiveness and power of background music in contemporary society. Cage neither opposed nor rejected Muzak, but literally answered its challenge by formulating a parallel concept that he called "Muzak-Plus." Forty years after Satie presented his work to general critical puzzlement, Cage saw how background music could be combined with mid-century technology and theories of art and performance to create a participatory soundscape on a scale that Satie could not have envisioned, again reconfiguring the listener's stance to music. By examining the subterranean connections existing between these three formulations of a singular idea, this book analyzes and challenges the crucial boundary that separates an artistic concept from its actual implementation in life.--publisher description 
588 |a Description based on print version record. 
650 7 |a Muzak (Trademark)  |2 fast  |0 (OCoLC)fst01031236 
650 7 |a Environmental music.  |2 fast  |0 (OCoLC)fst00913241 
650 7 |a HISTORY  |x Modern  |y 21st Century.  |2 bisacsh 
650 7 |a MUSIC  |x Instruction & Study  |x Theory.  |2 bisacsh 
650 6 |a Muzak (Marque de commerce) 
650 6 |a Musique d'ambiance  |x Histoire et critique. 
650 0 |a Muzak (Trademark) 
650 0 |a Environmental music  |x History and criticism. 
655 7 |a Musique d'ambiance.  |2 rvmgf 
655 7 |a Background music.  |2 lcgft 
655 7 |a Criticism, interpretation, etc.  |2 fast  |0 (OCoLC)fst01411635 
655 7 |a Background music.  |2 fast  |0 (OCoLC)fst01920430 
655 7 |a Electronic books.   |2 local 
710 2 |a Project Muse.  |e distributor 
830 0 |a Book collections on Project MUSE. 
856 4 0 |z Texto completo  |u https://projectmuse.uam.elogim.com/book/27456/ 
945 |a Project MUSE - Custom Collection 
945 |a Project MUSE - 2013 Film, Theater and Performing Arts 
945 |a Project MUSE - 2013 Complete