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Unsayable Music
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summary
Profound theoretical and philosophical approach to contemporary music. Unsayable Music presents theoretical, critical and analytical reflections on key topics of contemporary music including acoustic, electroacoustic and digital music, and audiovisual and multimedia composition. Six essays by Paulo C. Chagas approaching music from different perspectives such as philosophy, sociology, cybernetics, musical semiotics, media, and critical studies. Chagas’s practical experience, both as a composer of contemporary music and sound director of the Electronic Music Studio of Cologne, nourishes his observations on the specific creativity that emerges with the use of the technical apparatus, the development of the electronic music studio, the different aesthetics of electroacoustic music, and the forms of audiovisual and multimedia composition. The title Unsayable Music is a reference to Wittgenstein, who suggested that sound is only the surface of music and that the musical work conceals something more profound that can hardly be described by philosophical models or scientific theories.

Table of Contents

  1. Title Page, Copyright Page
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  1. Foreword
  2. pp. 5-6
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  1. Contents
  2. pp. 7-8
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  1. Introduction
  2. pp. 9-12
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  1. Chapter 1 Musical Understanding: Wittgenstein, Ethics, and Aesthetics
  2. pp. 13-42
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  1. Chapter 2 Spectral Semiotics: Sound, Temporality, and Affect in Chopin
  2. pp. 43-64
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  1. Chapter 3 III – Communication and Meaning: Music as Social System
  2. pp. 65-102
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  1. Chapter 4 The Creativity of Electroacoustic and Digital Music
  2. pp. 103-158
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  1. Chapter 5 The Temple of Electronic Music: The Electronic Music Studio of Cologne in the 1990s1
  2. pp. 159-202
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  1. Chapter 6 Audiovisual and Multimedia Composition: The Relationship between Medium and Form
  2. pp. 203-250
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  1. APPENDIX I WDR Studio of Electronic Music: Works produced from 1987 to 2000
  2. pp. 251-256
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  1. APPENDIX II WDR Studio of Electronic Music: Studio equipment used from 1990 to 2000
  2. pp. 257-264
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  1. Bibliography
  2. pp. 265-278
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