A compact masterpiece dedicated to the Russian composer Dmitri Shostakovich: Julian Barnes’s first novel since his best-selling, Man Booker Prize–winning The Sense of an Ending. In 1936, Shostakovich, just thirty, fears for his livelihood and his life. Stalin, hitherto a distant figure, has taken a sudden interest in his work and denounced his latest opera. Now, certain he will...(展开全部)

In 1936, Shostakovitch, just thirty, fears for his livelihood and his life. Stalin, hitherto a distant figure, has taken a sudden interest in his work and denounced his latest opera. Now, certain he will be exiled to Siberia (or, more likely, executed on the spot), Shostakovitch reflects on his predicament, his personal history, his parents, various women and wives, his childre...(展开全部)

In May 1937 a man in his early thirties waits by the lift of a Leningrad apartment block. He waits all through the night, expecting to be taken away to the Big House. Any celebrity he has known in the previous decade is no use to him now. And few who are taken to the Big House ever return. So begins Julian Barnes’s first novel since his Booker-winning The Sense of an Ending. A ...(展开全部)

In 1936, Shostakovitch, just thirty, fears for his livelihood and his life. Stalin, hitherto a distant figure, has taken a sudden interest in his work and denounced his latest opera. Now, certain he will be exiled to Siberia (or, more likely, executed on the spot), Shostakovitch reflects on his predicament, his personal history, his parents, various women and wives, his childre...(展开全部)

In May 1937 a man in his early thirties waits by the lift of a Leningrad apartment block. He waits all through the night, expecting to be taken away to the Big House. Any celebrity he has known in the previous decade is no use to him now. And few who are taken to the Big House ever return. So begins Julian Barnes’s first novel since his Booker-winning The Sense of an Ending. A ...(展开全部)

A compact masterpiece dedicated to the Russian composer Dmitri Shostakovich: Julian Barnes’s first novel since his best-selling, Man Booker Prize–winning The Sense of an Ending. In 1936, Shostakovich, just thirty, fears for his livelihood and his life. Stalin, hitherto a distant figure, has taken a sudden interest in his work and denounced his latest opera. Now, certain he will...(展开全部)

Noise is a widely recognized problem and health concern in the modern world. Given the importance of managing noise levels and developing suitable 'soundscapes' in contexts such as industry, schools, or public spaces, this is an area of active research for acousticians. But noise, in the sense of dissonance, can also be used positively; composers have employed it from Baroque m...(展开全部)

Attali's essential argument in Noise: The Political Economy of Music is that music, as a cultural form, is intimately tied up in the mode of production in any given society. For marxist critics, this idea is nothing new. The novelty of Attali's work is that it reverses the traditional understandings about how revolutions in the mode of production take place: [Attali] is the fir...(展开全部)

Attali's essential argument in Noise: The Political Economy of Music is that music, as a cultural form, is intimately tied up in the mode of production in any given society. For marxist critics, this idea is nothing new. The novelty of Attali's work is that it reverses the traditional understandings about how revolutions in the mode of production take place: [Attali] is the fir...(展开全部)

这是对 Spotify 的起源及其对音乐的影响的一次毫不留情的调查，将报道与尖锐的文化批评交织在一起，阐明了流媒体如何为听众和艺术家重塑音乐。 通过对业内人士、前 Spotify 员工和音乐家的一百多次采访，Mood Machine 带我们了解了当今高度整合的唱片业务的内部运作，展示了随着音乐越来越多地被列入播放列表、个性化和自动播放，发生了哪些变化。 音乐记者 Liz Pelly 在多年广泛报道流媒体的基础上，通过研究该公司所谓的双边市场的双方，详细描述了 Spotify 模式的后果：用他们的金钱和数据付费的听众，以及提供所有支持材料的音乐家。音乐行业以不透明而闻名，但 Pelly 在这里揭开了重要新闻的面纱，例如流媒体服务用低成本的库存音乐填充热门播放列表以及新的类似贿赂的做法的兴起。 尽管流媒体加剧了不平等现象，但佩利也从记录艺术家为争取更好模...(展开全部)