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2020
- handle: 10670/1.ofo44k
- isbn: 2673-639X
- hal: hal-02956620
- doi: 10.56513/nftg6449-9
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info:eu-repo/semantics/altIdentifier/doi/10.56513/nftg6449-9
http://creativecommons.org/licenses/by-nc-nd/ , info:eu-repo/semantics/OpenAccess
Mots-clés
War photography Libya Music and ethics The End of Silence Sebastian Meyer Matthew Herbert Music and War Music and Politics Field recording Matthew Herbert Sebastian Meyer Musique et politique Musique et guerre The End of Silence Musique et éthique Photographie de guerre LybieSujets proches
Hostilities Conflict, Armed (War) Wars Armed conflict (War) Fighting Serious music Musical compositions Art music Musical works Classical music Western music (Western countries) Art music, Western Western art musicCiter ce document
Luis Velasco-Pufleau, « Sampling Sounds of War », HAL-SHS : histoire, ID : 10.56513/nftg6449-9
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What are the political implications and ethical concerns of sampling sounds of war? This is a critical question raised by The End of Silence, a 2013 record from the British composer Matthew Herbert based entirely on a six-second field recording of the Libyan civil war. Musicologist Luis Velasco-Pufleau examines this question and argues that sound and music can enable critical examinations of the rationale of war.