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Sigur Ros's : 33 1/3, Oprawa miękka autorstwa Hayden, Ethan, jak nowy używany, darmowa wysyłka...–
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- Kup terazSigur Ros's : 33 1/3, Oprawa miękka autorstwa Hayden, Ethan, jak nowy używany, darmowa wysyłka...
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Znajduje się w: Jessup, Maryland, Stany Zjednoczone
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Nr przedmiotu eBay: 384476831188
Ostatnia aktualizacja: 19-09-2024 23:47:54 CEST Wyświetl wszystkie poprawkiWyświetl wszystkie poprawki
Parametry przedmiotu
- Stan
- ISBN
- 9781623568924
- Book Title
- Sigur Rós's ( )
- Book Series
- 33 1/3 Ser.
- Publisher
- Bloomsbury Publishing
- Item Length
- 6.4 in
- Publication Year
- 2014
- Format
- Trade Paperback
- Language
- English
- Illustrator
- Yes
- Item Height
- 0.6 in
- Genre
- Music
- Topic
- History & Criticism, Genres & Styles / Punk, Genres & Styles / Rock, Genres & Styles / Pop Vocal
- Item Weight
- 5.3 Oz
- Item Width
- 4.8 in
- Number of Pages
- 168 Pages
O tym produkcie
Product Identifiers
Publisher
Bloomsbury Publishing
ISBN-10
1623568927
ISBN-13
9781623568924
eBay Product ID (ePID)
171767032
Product Key Features
Book Title
Sigur Rós's ( )
Number of Pages
168 Pages
Language
English
Publication Year
2014
Topic
History & Criticism, Genres & Styles / Punk, Genres & Styles / Rock, Genres & Styles / Pop Vocal
Illustrator
Yes
Genre
Music
Book Series
33 1/3 Ser.
Format
Trade Paperback
Dimensions
Item Height
0.6 in
Item Weight
5.3 Oz
Item Length
6.4 in
Item Width
4.8 in
Additional Product Features
Intended Audience
Trade
LCCN
2014-009099
Reviews
Ethan Hayden painstakingly transcribes the eight untitled tracks on ( ) into a series of long vowel sounds and odd clusters of consonants in an attempt to diagram the syntax of this strange new tongue and figure out what the band might be saying (despite their best efforts not to say anything)., While Sigur Ros fans who are not also students of linguistics would probably prefer a book that concentrated more on the music and less on things like trochaic rhythm, xenogloss and echolalia, there's no denying that Hayden does make his points successfully and reading this book did give me a new level of appreciation for an album I already loved., "Ethan Hayden painstakingly transcribes the eight untitled tracks on ( ) into a series of long vowel sounds and odd clusters of consonants in an attempt to diagram the syntax of this strange new tongue and figure out what the band might be saying (despite their best efforts not to say anything)." --Stephen M. Deusner, Pitchfork
Dewey Edition
23
Dewey Decimal
781.64
Synopsis
Words like "inspiring," "expansive," and "moving" are regularly used to describe Sigur R s's ( ) , and yet the only words heard on the record itself are a handful of meaningless nonsense syllables. The album has no title--or rather, its title is no title: just an empty pair of parentheses. The intention being that listeners will fill in the parentheses with their own title, their own interpretation of the sounds on the record. The CD sleeve consists of twelve pages that are essentially blank, lacking song titles, liner notes or production credits. Instead, it contains only semi-translucent frosted images of abstract natural scenes (tree branches, clouds, etc.), on which the listener is free to inscribe their own notes--or no notes at all. And then there are the lyrics, sung in a deliberately unintelligible tongue called "Hopelandic" which the band invites listeners to interpret freely. Ethan Hayden's book doesn't try to fill in the gaps between the album's parentheses, but instead explores the ways in which listeners might attempt to do so. Examining the communicative powers of asemantic language, the book asks whether music can bring sense to nonsense. What happens to the voice when it stops singing conventional language: does it simply become another musical instrument, or is it somehow more "human"? What role does space play on ( ) ? And how do we interpret music that we cannot possibly understand, but feel very deeply that we do?, Words like "inspiring," "expansive," and "moving" are regularly used to describe Sigur Rós's ( ) , and yet the only words heard on the record itself are a handful of meaningless nonsense syllables. The album has no title--or rather, its title is no title: just an empty pair of parentheses. The intention being that listeners will fill in the parentheses with their own title, their own interpretation of the sounds on the record. The CD sleeve consists of twelve pages that are essentially blank, lacking song titles, liner notes or production credits. Instead, it contains only semi-translucent frosted images of abstract natural scenes (tree branches, clouds, etc.), on which the listener is free to inscribe their own notes--or no notes at all. And then there are the lyrics, sung in a deliberately unintelligible tongue called "Hopelandic" which the band invites listeners to interpret freely. Ethan Hayden's book doesn't try to fill in the gaps between the album's parentheses, but instead explores the ways in which listeners might attempt to do so. Examining the communicative powers of asemantic language, the book asks whether music can bring sense to nonsense. What happens to the voice when it stops singing conventional language: does it simply become another musical instrument, or is it somehow more "human"? What role does space play on ( ) ? And how do we interpret music that we cannot possibly understand, but feel very deeply that we do?, Words like inspiring, expansive, and moving are regularly used to describe Sigur R.s' ( ), and yet the only words heard on the record itself are a handful of meaningless nonsense syllables. The album had no title - or rather its title was no title: just an empty pair of parentheses. The intent was that listeners would fill in the parentheses with their own title, their own interpretation of the sounds on the record. The CD sleeve consisted of twelve pages that were essentially blank, lacking song titles, liner notes or production credits. Instead, just semi-translucent frosted images of abstract natural scenes (tree branches, clouds, etc.), on which the listener is free to inscribe their own notes - or no notes at all. And then there were the lyrics, sung in a deliberately unintelligible tongue called Hopelandic which the band invited listeners to interpret freely...Ethan Hayden's book doesn't try to fill in the gaps between the album's parentheses, but instead explores the ways in which listeners might attempt to do so. Examining the communicative powers of nonsensical language, the book asks whether music can bring sense to nonsense. What happens to the voice when it stops singing conventional language: does it simply become another musical instrument, or is it somehow more human? What role does space play on ( )? And how do we interpret music that we cannot possibly understand, but feel very deeply that we do?
LC Classification Number
ML421.S52S54 2014
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