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Los Angeles Noisescapes : = Culture and Aesthetics in the Early Twenty-First Century Experimental 'Noise' Scenes.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Los Angeles Noisescapes :/
Reminder of title:	Culture and Aesthetics in the Early Twenty-First Century Experimental 'Noise' Scenes.
Author:	Munoz, Daniel L.
Description:	1 online resource (826 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9780355131314

Los Angeles Noisescapes : = Culture and Aesthetics in the Early Twenty-First Century Experimental 'Noise' Scenes.
Munoz, Daniel L.

Los Angeles Noisescapes :Culture and Aesthetics in the Early Twenty-First Century Experimental 'Noise' Scenes. - 1 online resource (826 pages)

Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.

Thesis (Ph.D.)--University of California, Santa Cruz, 2017.

Includes bibliographical references

This dissertation examines the aesthetic values of the experimental 'noise' scenes in Los Angeles from 2010 to 2014 using ethnographic methods. It centers around three main venues and the practitioners and audiences associated with them: (the) Handbag Factory, Dem Passwords, and the wulf. I interviewed twenty-three practitioners, venue owners and promoters, and non-performing audience members. I found that the aesthetic goals of the practitioners tended to center on the production, discovery, and reception of new and unique sounds (timbres) that will lead to new and unique aesthetic experiences. I asked the participants a battery of over one hundred of the same questions for comparison and analysis. The data collected informed my understanding of the sonic values of the participants in the experimental 'noise' scenes in Los Angeles. I synthesized this information to corroborate the main theses of the dissertation: that experimental 'noise' prioritizes timbre over pitch, and that it is characterized by its aperiodicity and ametricality in favor of what I call entropic rhythm. A keen interest in the characteristics of sound(s), their organization, and morphology has led me to the notion that timbre is ontology---not only as the being of sound(s), but as a mode of ontological agency through listening practices. I claim that these ideologies characterize experimental 'noise' as an artistic idiom in the twenty-first century.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355131314Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Los Angeles Noisescapes : = Culture and Aesthetics in the Early Twenty-First Century Experimental 'Noise' Scenes.
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502 $a Thesis (Ph.D.)--University of California, Santa Cruz, 2017.
504 $a Includes bibliographical references
520 $a This dissertation examines the aesthetic values of the experimental 'noise' scenes in Los Angeles from 2010 to 2014 using ethnographic methods. It centers around three main venues and the practitioners and audiences associated with them: (the) Handbag Factory, Dem Passwords, and the wulf. I interviewed twenty-three practitioners, venue owners and promoters, and non-performing audience members. I found that the aesthetic goals of the practitioners tended to center on the production, discovery, and reception of new and unique sounds (timbres) that will lead to new and unique aesthetic experiences. I asked the participants a battery of over one hundred of the same questions for comparison and analysis. The data collected informed my understanding of the sonic values of the participants in the experimental 'noise' scenes in Los Angeles. I synthesized this information to corroborate the main theses of the dissertation: that experimental 'noise' prioritizes timbre over pitch, and that it is characterized by its aperiodicity and ametricality in favor of what I call entropic rhythm. A keen interest in the characteristics of sound(s), their organization, and morphology has led me to the notion that timbre is ontology---not only as the being of sound(s), but as a mode of ontological agency through listening practices. I claim that these ideologies characterize experimental 'noise' as an artistic idiom in the twenty-first century.
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