Noise is Not Volume Alone – Ambiences and Drony Experiments in Music and Sound Art
Visualizações: 154DOI:
https://doi.org/10.33871/23179937.2021.9.2.2Palabras clave:
sound art, noise, experimental music, ambience, droneResumen
Noise is a complex category that has been used to describe instances of disturbance and disruption in technical vocabulary and in many artistic languages. In music, and more precisely, in sound art, noise has been imbued with specific significations that operate as aesthetical signifiers that convey meaning even beyond its intensity of volume. In this article, the theoretical aspects of noise are articulated through the analysis of concerning discourse around the transformations of the concept of sound, which ultimately resulted in the designation of a genre in itself – noise. Furthermore, it is through the enhancement of a "˜sonic turn' that the notion of listening as a generative aesthetic practice has referred to the body as the main instance of meaning construction in relation to both time and space.Descargas
Citas
CAGE, John. Silence: lectures and writings. Digital Version by The Internet Archive, 2012 (first edition by Middletown, Connecticut: Wesleyan University Press, 1961). Available at: https://archive.org/stream/silencelecturesw1961cage/silencelecturesw1961cage_djvu.txt Accessed on: 11 oct. 2021.
CAMPESATO, Lílian. Limite na musica-ruído: musicalidade, dor e experimentalismo. In: ANPPOM XXIII, Anais do Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música. Natal: UFRN, 2013, p. 1-9.
COX, Christoph. Music, Noise and Abstraction. In: DICKERMAN, Leah (Org.) Inventing Abstraction 1910-1925. New York NY: Museum of Modern Art - MOMA, 2012.
_____________. Sonic Thought. IN: HERZOGENRATH, Bernd (Org.) SONIC THINKING A media philosophical approach. UK: Bloomsbury Academic, 2017, p. 99-110.
DEMERS, Joanna. Listening through the Noise: The aesthetics of Experimental Electronic Music. New York: Oxford University Press, 2010.
DROBNICK, Jim. Aural Cultures. Sound Art & Society. Toronto and Banff: YYZ Books/ WPG Editions, 2004.
ENGSTRÖM, Andreas & STJERNA, Asa. Sound Art or Klangkunst? A reading of the German and English literature on sound art. In: Organized Sound An International Journal of Music Technology. Cambridge University Press, UK. Vol. 14 n.1, p. 11-18, April 2009.
ENO, Brian. Ambient Music. Liner notes to Ambient #1: Music for airports. Editions EG, 1978.
FRANCÈS, Robert. The perception of Music. New York: Psychology Press, 2014.
GLAZER, Diane. Among friends: Italian futurism comes to America. In: New Sound International Journal of Music, Department of Musicology, University of Belgrade, n.34 II, p. 62-75, 2009.
KAHN, Douglas. Noise water meat: a history of sound in the arts. Cambridge London: The MIT Press, 1999.
_____________. Sound Art, Art, Music. In: BASAN, Ben (Org.) The Iowa Review Web, Vol. 8, No. 1, p. 23-36, Feb/March 2006.
KOHUT, Tom. "Noise Pollution and the Eco-Politics of Sound: Toxicity, Nature and Culture in the Contemporary Soundscape". In: Organized Sound An International Journal of Music Technology, Cambridge University Press, UK, Vol. 25 n.1, p. 5-8, 2015.
LICHT, Alan. "Sound Art: Origins, development and ambiguities". In: Organized Sound An International Journal of Music Technology. Cambridge University Press, UK. Vol. 14 n.1, p. 3-10, 2009.
NEUHAUS, Max. BANG, BOOooom, ThumP, EEEK, tinkle. In: The New York Times. December 6, 39, 1974. Available at: https://www.nytimes.com/1974/12/06/archives/bang-booooom-thump-eeek-tinkle.html. Accessed on: 11 oct. 2021.
O'DOHERTY, Brian. No Interior do Cubo Branco. A Ideologia do Espaço da Arte. São Paulo: Editora Martins Fontes, 2007.
PORCELLO, Thomas. Three Contributions to the "˜Sonic Turn"™. In: Current Musicology, Columbia University Press, No. 83, 2007, p. 153-166.
SCHAEFFER, Pierre. Treatise on Musical Objects: An Essay across Disciplines. California: University of California Press, Oakland, 2017.
SCHAFER, R. Murray. The New Soundscape. Toronto: Berandol, 1968.
__________________. The Book of Noise. Wellington, NZ: Price Milburn, 1970.
__________________. O ouvido pensante. São Paulo: Ed Unesp, 2011.
SCHULZE, Holger. How to Think Sonically? On the Generativity of the Flesh. IN: HERZOGENRATH, Bernd (Org.) SONIC THINKING A media philosophical approach. UK:Bloomsbury Academic, 2017, p. 217-242.
VALIQUET, Patrick. Review Pierre Schaeffer's Treatise of Musical Objects - An essay across disciplines. Translated by Christine North e John Dack. In: SoundEffects, vol. 8, no. 1, p. 157-164, 2019.
VARÈSE, Edgar. The Liberation of Sound. In: Perspectives of New Music. Vol. 5 n. 1, p. 11-19, 1966. Available at: https://music.arts.uci.edu/dobrian/CMC2009/Liberation.pdf. Accessed on: 11 oct. 2021.
VOEGELIN, Salomé. Listening to noise and silence. Towards a philosophy of sound art. New York: Continuum, 2010.
WILSON, Daniel R. Failed Histories of Electronic Music. In: Organised Sound An International Journal of Music Technology. Cambridge University Press, UK. Vol. 22 n. 2, p. 150-160, 2017.
WORBY, Robert. An introduction to sound art, 2006. Online Document. Available at: http://www.robertworby.com/writing/an-introduction-to-sound-art/. Accessed on: 11 oct. 2021.
Descargas
- PDF (English) 170
Publicado
Cómo citar
Número
Sección
Licencia
Derechos de autor 2021 Ianni Barros Luna
Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.
Los autores conservan los derechos de autor y conceden a la revista el derecho de primera publicación, con el trabajo simultáneamente bajo la licencia Creative Commons Attribution Licence que permite compartir el trabajo con reconocimiento de autoría y publicación inicial en esta revista.
