Loading the Silence: Australian Sound Art in the by Linda Ioanna Kouvaras PDF

By Linda Ioanna Kouvaras

The experimentalist phenomenon of 'noise' as constituting 'art' in a lot twentieth-century song (paradoxically) reached its zenith in Cage's ('silent' piece,) 4'33". yet a lot post-1970s musical endeavour with an experimentalist telos, jointly referred to as 'sound art', has displayed a postmodern have to 'load' modernism's 'degree zero'. After contextualizing experimentalism from its inception within the early 20th century, Dr Linda Kouvaras's Loading the Silence: Australian Sound artwork within the Post-Digital Age explores the ways that chosen sound paintings works reveal creatively how sound is embedded inside neighborhood, nationwide, gendered and old environments. Taking Australian tune as its fundamental -- yet no longer sole -- concentration, the e-book not just covers discussions of technological development, but additionally engages with aesthetic standpoints, via quite a few interviews, theoretical advancements, research and cultural milieu for a modern Australian, and wider postmodern, context. constructing new methodologies for synergies among musicology and cultural reports, the ebook uncovers a brand new post-postmodern aesthetic trajectory, which Kouvaras locates as constructing over the last twenty years -- the altermodern. Australian sound artwork is the following placed firmly at the map of foreign debates approximately modern tune, supplying a customary reference and worthy source for practitioners within the artform, song critics, students and educators.

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3 1 Michael Nyman, Experimental Music: Cage and Beyond, 2nd edn (Cambridge; New York: Cambridge University Press, 1999), p. xv. pdf, accessed 18 January 2007. 2 Nyman, Experimental Music, p. xv. 3 David Nicholls, ‘Avant-garde and Experimental Music’, The Cambridge History of American Music, ed. David Nicholls (Cambridge: Cambridge University Press, 2004; 1998), p. 518. For the roots of mid-twentieth-century noise-based music, dating back to 20 Loading the Silence: Australian Sound Art in the Post-Digital Age Pioneered by such figures as Americans Henry Cowell, Christian Wolff, Cornelius Cardew, Harry Partch, Conlon Nancarrow, Morton Feldman, Earl Brown, John Cage, Pauline Oliveros and Meredith Monk, ‘maverick’ experimentalism sets out to produce essentially score-free music that cannot be imagined by the composer before the finished product, in order, as expressed in Cage’s Zeninflected aspiration,4 to free oneself from one’s intentions – including composer and/or performer, with the hope that this philosophy will filter through to, and be embraced by, the listener.

This is not uncommon across the world. 37 See Cox and Warner, ‘Experimental Musics’, and Michael Nyman, ‘Towards (a Definition of) Experimental Music’, Audio Culture, eds Cox and Warner, pp. 209–21. , pp. 207–8. The significance of a ‘new way of listening’ is a postmodern phenomenon that has traversed many genres, not just the experimental. ), Beyond Structural Listening: Postmodern Modes of Hearing (Berkeley, CA: University of California Press, 2004). 38 Michael Chanan, Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism (London; New York: Verso, 1994), pp.

Virtuosic Listening Concurrent with the subsidence of the mid-twentieth-century celebration of reduced listening and musique concrète, new audiences were beginning to engage with novel ways of listening to the musical territories that were developing. These lay outside commercial popular music, jazz and classical genres and were located in recordings of the environment, in alternative film soundtracks, and in 31 LaBelle, Background Noise, p. 33. Also see Katharine Norman, ‘Real-world Music as Composed Listening’, Contemporary Music Review 15/1 (1996): 1–27.

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