000			03343cam a2200373 i 4500
001			ocn862746046
003			OCoLC
005			20240726105438.0
008			130425s2013 ilu ob s001 0 eng
010			_a2019717351
040			_aDLC _beng _erda _cDLC _dYDXCP _dP@U _dJSTOR _dE7B _dIDEBK _dOCLCF _dVLB _dEBLCP _dIOG _dCOCUF _dAGLDB _dMOR _dPIFAG _dZCU _dMERUC _dU3W _dBUF _dEZ9 _dSTF _dVTS _dICG _dINT _dVT2 _dWYU _dLVT _dTKN _dDKC _dAU@ _dM8D _dNT
042			_apcc
050	0	0	_aML3920 _b.T757 2013
049			_aMAIN
100	1		_aVanel, Hervé, _e1
245	1	0	_aTriple entendre : _bfurniture music, Muzak, Muzak-Plus / _cHervé Vanel.
260			_aUrbana : _bUniversity of Illinois Press, _c(c)2013.
300			_a1 online resource
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_aFurniture music : a musical irresolution by Erik Satie -- _tMuzak incorporated -- _tMuzak-plus and the art of participation -- _tConclusion : the community to come.
520	0		_aTriple Entendre discusses the rise and spread of background music in contexts as diverse as office workplaces, shopping malls, and musical performance. Hervé Vanel 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. Vanel 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. Vanel'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, Triple Entendre analyzes and challenges the crucial boundary that separates an artistic concept from its actual implementation in life [Publisher description.
530			_a2 _ub
650		0	_aEnvironmental music _xHistory and criticism.
650		0	_aMuzak (Trademark)
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=662366&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hML _m2013 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c100567 _d100567
902			_a1 _bCynthia Snell _c1 _dCynthia Snell