91桃色

鈥淎s much intellectual fun as G枚del, Escher, Bach, this book is a unique hybrid of music theory and bioastronomy, an engaging how-to manual especially for composers fluent in both Kierkegaard and Klingon. For the rest of us, an amusingly illustrated and mind-stretching discussion of our first interstellar playlist. ET music scholars are as likely to say 鈥楽end more Chua and Rehding鈥� as 鈥楽end more Chuck Berry.鈥� 鈥濃�擩on Lomberg, Design Director, Voyager Golden Record

鈥淭his book made me laugh out loud, and then reflect on my own place in the galaxy. While inhaling the authors' clear and elegant prose, I also showed anyone in my vicinity their genre-bending illustrations. Thinking about and listening to music will never be the same after reading this book! It would fit equally well in music theory, musicology, philosophy, and aesthetics curricula, and is a must-read for friends, neighbors, and aliens alike.鈥濃�擭ina Eidsheim, University of California at Los Angeles, author of Sensing Sound: Singing and Listening as Vibrational Practice

鈥淭o boldly go where no one has gone and ask what might music be! This book undertakes this mission with glee, wit, and imaginative flair. In outer space, we recognize something we should have known: that music is always mediated, both archived in time and stretched in space, both cosmic and mundane, both uncanny and familiar. The aliens we meet might just be ourselves.鈥濃�擩ohn Peters, Yale University, author of The Marvelous Clouds: Toward a Philosophy of Elemental Media

鈥淎lien Listening is at once monumental in its aspirations and effortless in its delivery. Exomusicology offers a new, otherworldly music theory that tarries with media and materiality, while also helping us to understand the limits鈥攁nd therefore the possibilities鈥攐f human musicking. Chua and Rehding have produced something creative, challenging, and unlike any other book on music that I鈥檝e read.鈥濃�擩onathan Sterne, McGill University, author of Diminished Faculties: A Political Phenomenology of Impairment

鈥淪ome of us have contemplated an exomusicology, but we lacked the boldness to pull it off鈥攐r, more to the point, we were looking for it in the wrong places. In this scintillating book, Chua and Rehding manage the feat not by imagining extraterrestrial worlds but by unleashing the alien in our-worldly music, then blasting it off into space. Along the way they leave Pythagorean, pitch-based music theory in the rocket exhaust, outstrip every materiality-of-music litany that has come along, and, framing a 鈥楶enelopean鈥� theory of music鈥檚 warp and weft, repetition and fold, restore music to a place at the heart of cosmic ontology. They have fun along the way, and so will the reader.鈥濃�擥ary Tomlinson, Yale University, author of A Million Years of Music: The Emergence of Human Modernity