000			02116cam a22003614a 4500
001			muse86383
003			MdBmJHUP
005			20210127151712.0
006			m o d
007			cr||||||||nn|n
008			191107s2020 mau o 00 0 eng d
010			_z 2019954611
020			_a9781643150161
020			_z9781643150154
035			_a(OCoLC)1142816085
040			_aMdBmJHUP _cMdBmJHUP
100	1		_aDi Leo, Jeffrey R., _eauthor.
245	1	0	_aVinyl Theory _cJeffrey R. Di Leo.
264		1	_bLever Press,
264		3	_bProject MUSE,
300			_a1 online resource (pages cm)
506	0		_aOpen Access _fUnrestricted online access _2star
520			_a"Why are vinyl records making a comeback? How is their resurgence connected to the political economy of music? Vinyl Theory responds to these and other questions by exploring the intersection of vinyl records with critical theory. In the process, it asks how the political economy of music might be connected with the philosophy of the record. The young critical theorist and composer Theodor Adorno's work on the philosophy of the record and the political economy of music of the contemporary French public intellectual, Jacques Attali, are brought together with the work of other theorists to in order to understand the fall and resurrection of vinyl records. The major argument of Vinyl Theory is that the very existence of vinyl records may be central to understanding the resiliency of neoliberalism. This argument is made by examining the work of Adorno, Attali, Friedrich Nietzsche, and others on music through the lens of Michel Foucault's biopolitics"-- _cProvided by publisher.
588			_aDescription based on print version record.
655		7	_aElectronic books. _2local
710	2		_aProject Muse. _edistributor
830		0	_aBook collections on Project MUSE.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/book/75687/
999			_c26708 _d26708