Noise in music
In
The influence of modernism in the early 20th century lead composers such as Edgard Varèse to explore the use of noise-based sonorities in an orchestral setting. In the same period the Italian Futurist Luigi Russolo created a "noise orchestra" using instruments he called intonarumori. Later in the 20th century the term noise music came to refer to works consisting primarily of noise-based sound.
In more general usage,
Definition of noise
In conventional musical practices sounds that are considered unmusical tend to be treated as noise.[2] Oscillations and Waves defines noise as irregular vibrations of an object, in contrast to the periodical, patterned structure of music.[3] More broadly, electrical engineering professor Bart Kosko in the introductory chapter of his book Noise defines noise as a "signal we don't like."[4] Paul Hegarty, a lecturer and noise musician, likewise assigns a subjective value to noise, writing that "noise is a judgment, a social one, based on unacceptability, the breaking of norms and a fear of violence."[5] Composer and music educator R. Murray Schafer divided noise into four categories: Unwanted noise, unmusical sound, any loud system, and a disturbance in any signaling system.[6]
In regard to what is noise as opposed to music, Robert Fink in The Origin of Music: A Theory of the Universal Development of Music claims that while cultural theories view the difference between noise and music as purely the result of social forces, habit, and custom, "everywhere in history we see man making some selections of some sounds as noise, certain other sounds as music, and in the overall development of all cultures, this distinction is made around the same sounds."[7] However, musicologist Jean-Jacques Nattiez considers the difference between noise and music nebulous, explaining that "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be."[8]
Noise as a feature of music
Musical tones produced by the human voice and all acoustical musical instruments incorporate noises in varying degrees. Most consonants in human speech (e.g., the sounds of f, v, s, z, both voiced and unvoiced th, Scottish and German ch) are characterised by distinctive noises, and even vowels are not entirely noise free. Wind instruments include the whizzing or hissing sounds of air breaking against the edges of the mouthpiece, while bowed instruments produce audible rubbing noises that contribute, when the instrument is poor or the player unskilful, to what is perceived as a poor tone. When they are not excessive, listeners "make themselves deaf" to these noises by ignoring them.[9]
Unpitched percussion
Many
Traditional music
Antiquity
Although percussion instruments were generally rather unimportant in
And now I hear the turban-wearing women,
Votaries of th' Asiatic Cybele,
The wealthy Phrygians' daughters, loudly sounding
With drums, and rhombs, and brazen-clashing cymbals,
Their hands in concert striking on each other,
Pour forth a wise and healing hymn to the gods.[13]
An altogether darker picture of the function of this noise music is painted by
secret murders ... [where] the bodies could not even be found for burial. Many of their audacious deeds were brought about by treachery, but most of them by force, and this force was concealed by loud shouting, and the noise of drums and cymbals, so that none of the cries uttered by the persons suffering violation or murder could be heard abroad.[14]
Polynesia
A Tahitian traditional dance genre dating back to before the first contact with European explorers is ʻōteʻa, danced by a group of men accompanied solely by a drum ensemble. The drums consist of a slit-log drum called tō‘ere (which provides the main rhythmic pattern), a single-headed upright drum called fa‘atete, a single-headed hand drum called pahu tupa‘i rima, and a double-headed bass drum called tariparau.[15]
Asia
In Shaanxi in the north of China, drum ensembles accompany yangge dance, and in the Tianjin area there are ritual percussion ensembles such as the Fagu hui Dharma-drumming associations, often consisting of dozens of musicians.[16] In Korea, a style of folk music called Nongak (farmers' music) or pungmul has been performed for many hundred years, both by local players and by professional touring bands at concerts and festivals. It is loud music meant for outdoor performance, played on percussion instruments such as the drums called janggu and puk, and the gongs ching and kkwaenggwari. It originated in simple work rhythms to assist repetitive tasks carried out by field workers.[17]
South Asian music places a special emphasis on drumming, which is freed from the primary time-keeping function of drumming found in other part of the world.
Turkey
The Turkish janissaries military corps had included since the 14th century bands called mehter or mehterân which, like many other earlier military bands in Asia featured a high proportion of drums, cymbals, and gongs, along with trumpets and shawms. The high level of noise was pertinent to their function of playing on the battlefield to inspire the soldiers.[21] The focus in these bands was on percussion. A full mehterân could include several bass drums, multiple pairs of cymbals, small kettledrums, triangles, tambourines, and one or more Turkish crescents.[22]
Europe
Through Turkish ambassadorial visits and other contacts, Europeans gained a fascination with the "barbarous", noisy sound of these bands, and a number of European courts established "Turkish" military ensembles in the late-17th and early 18th centuries. The music played by these ensembles, however, were not authentically Turkish music, but rather compositions in the prevalent European manner.[23] The general enthusiasm quickly spread to opera and concert orchestras, where the combination of bass drum, cymbals, tambourines, and triangles were collectively referred to as "Turkish music". The best-known examples include Haydn's Symphony No. 100, which acquired its nickname, "The Military", from its use of these instruments, and three of Beethoven's works: the "alla marcia" section from the finale of his Symphony No. 9 (an early sketch reads: "end of the Symphony with Turkish music"), his "Wellington's Victory"—or Battle Symphony—with picturesque sound effects (the bass drums are designated as "cannons", side drums represent opposing troops of soldiers, and ratchets the sound of rifle fire), and the "Turkish March" (with the expected bass drum, cymbals, and triangle) and the "Chorus of Dervishes" from his incidental music to The Ruins of Athens, where he calls for the use of every available noisy instrument: castanets, cymbals, and so forth.[24][25][26] By the end of the 18th century, the batterie turque had become so fashionable that keyboard instruments were fitted with devices to simulate the bass drum (a mallet with a padded head hitting the back of the sounding board), cymbals (strips of brass striking the lower strings), and the triangle and bells (small metal objects struck by rods). Even when percussion instruments were not actually employed, certain alla turca "tricks" were used to imitate these percussive effects. Examples include the "Rondo alla turca" from Mozart's Piano Sonata, K. 331, and part of the finale of his Violin Concerto, K. 219.[27]
Harpsichord, piano, and organ
At about the same time that "Turkish music" was coming into vogue in Europe, a fashion for programmatic keyboard music opened the way for the introduction of another kind of noise in the form of the keyboard
Clusters were also used on the organ, where they proved more versatile (or their composers more imaginative). Their most frequent use on this instrument was to evoke the sound of thunder, but also to portray sounds of battle, storms at sea, earthquakes, and Biblical scenes such as the fall of the walls of Jericho and visions of the apocalypse. The noisy sound nevertheless remained a special sound effect, and was not integrated into the general texture of the music. The earliest examples of "organ thunder" are from descriptions of improvisations by
Bowed strings
Percussive effects in imitation of drumming had been introduced to bowed-string instruments by early in the 17th century. The earliest known use of
An important aspect of all of these examples of noise in European keyboard and string music before the 19th century is that they are used as
Orchestras
Vocal music
In vocal music, noisy nonsense syllables were used to imitate battle drums and cannon fire long before
Machine music
In the 1920s a fashion emerged for composing what was called "machine music"—the depiction in music of the sounds of factories, locomotives, steamships, dynamos, and other aspects of recent technology that both reflected modern, urban life and appealed to the then-prevalent spirit of objectivity, detachment, and directness. Representative works in this style, which features motoric and insistent rhythms, a high level of dissonance, and often large percussion batteries, are
Percussion ensembles
Following Varèse's example, a number of other important works for
Experimental and avant-garde music
Use of noise was central to the development of experimental music and avant-garde music in the mid 20th century. Noise was used in important, new ways.
Edgard Varèse challenged traditional conceptions of musical and non-musical sound and instead incorporated noise based sonorities into his compositional work, what he referred to as "organised sound."[43] Varèse stated that "to stubbornly conditioned ears, anything new in music has always been called noise", and he posed the question, "what is music but organized noises?".[44]
In the years immediately following the First World War, Henry Cowell composed a number of piano pieces featuring tone clusters and direct manipulation of the piano's strings. One of these, titled The Banshee (1925), features sliding and shrieking sounds suggesting the terrifying cry of the banshee from Irish folklore.[45]
In 1938 for a dance composition titled Bacchanale,
Karlheinz Stockhausen employed noise in vocal compositions, such as Momente (1962–1964/69), in which the four choirs clap their hands, talk, and shuffle their feet, in order to mediate between instrumental and vocal sounds as well as to incorporate sounds normally made by audiences into those produced by the performers.[48]
Robert Ashley used audio feedback in his avant-garde piece The Wolfman (1964) by setting up a howl between the microphone and loudspeaker and then singing into the microphone in way that modulated the feedback with his voice.[49]
Electronic music
Noise is used as basic tonal material in electronic music.
When pure-frequency
In the 1980s, electronic
Rock music
While the electric guitar was originally designed to be simply amplified in order to reproduce its sound at a higher volume,[56] guitarists quickly discovered the creative possibilities of using the amplifier to modify the sound, particularly by extreme settings of tone and volume controls.[57]
Distortion was at first produced by simply overloading the amplifier to induce
As well as distortion, rock musicians have used
Jazz
In the mid-1960s, jazz began incorporating elements of rock music,[69] and began using distortion and feedback,[66][70] partially due to the efforts of Jimi Hendrix,[71][72] who had strong links with jazz.[73] The proto-punk band MC5 also used feedback and loudness and was inspired by the avant-garde jazz movement.[69] Jazz musicians who have incorporated noise elements, feedback and distortion include Bill Frisell,[74] David Krakauer[75] Cecil Taylor,[76] Gábor Szabó,[77] Garnett Brown,[78] Grachan Moncur III,[78] Jackie McLean,[79] John Abercrombie,[80][81] John McLaughlin,[82] Joseph Bowie,[78] Larry Coryell,[81] McCoy Tyner,[76] Ornette Coleman,[78] Pat Metheny,[83] Phil Minton,[78] Roswell Rudd,[78] and Scott Henderson.[80]
Hip hop
Since its origins in the Bronx during the 1970s, hip hop music has been associated with noise. According to author Mark Katz techniques such as scratching are an expression of transgression where scratching, like the visual art of graffiti, is a form of vandalism.[84] "It is a celebration of noise," writes Katz, "and no doubt part of the pleasure it brought to DJs came from the knowledge that it annoyed the older generation."[84] Scholar William Jelani Cobb states that "though the genre will always be dismissed by many as brash, monotonous noise, the truth is that hip hop has undergone an astounding array of lyrical and musical transformations."[85] Scholar Ronald Radano writes that "no term in the modern lexicon conveys more vividly African-American music's powers of authenticity and resistance than the figure of 'noise'. In hip-hop parlance, 'noise,' specifically 'black noise', is that special insight from the inside, the anti-philosophy that emerges front and center through the sound attack of rap."[86] Radano finds the appearance of "black noise" nearly everywhere in the "transnational repetitions of rap opposition," but stresses that despite its global nature, black noise still conforms to American racial structures. Radano states that "rather than radicalizing the stable binaries of race, noise inverts them; it transforms prior signs of European musical mastery — harmony, melody, song — into all that is bitchin', kickin', and black."[86]
The hip hop group
Noise as a type of music
Noise music (also referred to simply as noise) has been represented by many genres during the 20th century and subsequently. Some of its proponents reject the attempt to classify it as a single overall genre,[91] preferring to call noise music a non-genre, an aesthetic, or a collection of genres. Even among those who regard it as a genre, its scope is unclear.[92] Some commentators use the phrase "noise music" (or "noise") to refer specifically to Japanese noise music, while others instead use the term Japanoise.[93][94]
While noise music is often nowadays associated with extreme volume and distortion[95] and produced by electronic amplification, the tradition dates back at least to the Futurist Luigi Russolo,[96] who rejected melody, constructed original instruments known as intonarumori and assembled a "noise orchestra" in 1917. It was not well received.[97] In his 1913 manifesto The Art of Noises he observes:
At first the art of music sought purity, limpidity and sweetness of sound. Then different sounds were amalgamated, care being taken, however, to caress the ear with gentle harmonies. Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to noise-sound.[96]
Some types of noise music
- Noise music, abandoning melody, harmony, and sometimes even pulse and rhythm
- Industrial music (1970s)
- Noise rock and noise pop (1980s)
- Japanoise (late 1970s – current)
- Glitch (1990s)
Noise reduction
Most often, musicians are concerned not to produce noise, but to minimise it.
In both recording and in live musical
Noise created by mobile phones has become a particular concern in live performances, particularly those being recorded. In one notable incident, maestro Alan Gilbert halted the New York Philharmonic in a performance of Gustav Mahler's Symphony No. 9 until an audience member's iPhone was silenced.[103]
Noise as excessive volume
Music played at excessive volumes is often considered a form of noise pollution.[104] Governments such as that of the United Kingdom have local procedures for dealing with noise pollution, including loud music.[105]
Noise as high volume is common for musicians from
In 2008 Trygve Nordwall, the manager of the Bavarian Radio Symphony Orchestra, invoked new EU rules forbidding more than 85 decibels in the workplace, as a reason for dropping the planned world premiere of Dror Feiler's composition Halat Hisar (State of Siege) because it was "adverse to the health" of the musicians. The twenty-minute composition "starts with the rattle of machine-gun fire and gets louder"[111] ("Das Stück beginnt mit Schüssen aus Maschinengewehren, die vom Band zugespielt werden, und das ist noch die leiseste Stelle.")[112] Orchestra manager Trygve Nordwall reported that "readings were taken during rehearsals and even when toned down, Halat Hisar measured about 130 decibels, equivalent to hearing a jet aircraft taking off",[111] and one member of the orchestra reported suffering headaches and permanent tinnitis after sustained exposure for three hours during rehearsals ("Ein Orchestermusiker habe nach der Probe des Stückes drei Stunden lang permanente Ohrgeräusche (Tinnitus) gehabt").[112] Headphones for the musicians were suggested, but they objected they could not hear each other and the composer also rejected the idea, adding that his composition was "no louder than anything by Shostakovich or Wagner".[111]
Many bands, primarily in the
See also
Noise in general
- Noise (disambiguation) for a list of other articles related to noise
- Noise (electronics)
Relating noise to music
- The definition of music, detailed discussions
- cacophony
- Aesthetics of music
- unpitched
- Consonance and dissonance#Dissonance for discussion of the nature and usage of discords in melody and harmony and similar devices in rhythm and metre
- Timbral listening
Related types
Related types of music
- Category:Noise music for an automated list of articles related to noise as a type of music
Notes
- ^ Attali 1985, 27.
- ^ Scholes 1970, 10, 686.
- ^ Reddy, Badami, Balasubramanian 1994, 206.
- ^ Kosko 2006, 3.
- ^ Hegarty 2006.
- ^ Kouvaras 2013, 54.
- ^ Fink 1981, 25.
- ^ Nattiez 1990, 48, 55.
- ^ Helmholtz 1885, 67–68.
- ^ Maconie 2005, 84.
- ^ Hopkin 1996, 2, 92.
- ^ Mathiesen 2001; West 1992, 122.
- ^ Athenaeus 1854, 3:1015.
- ^ Livy 1823, 5:297–298.
- ^ Stillman 2001.
- ^ Jones 2001.
- ^ Provine 2001.
- ^ Qureshi, et al. 2001, §I, 2 (i)
- ^ Qureshi, et al. 2001, §VII, 1, (d)
- ^ Qureshi, et al. 2001, §VII, 2, (ii), (a).
- ^ Pirker 2001.
- ^ Blades 1996, 265.
- ^ Meyer 1974, 484–485.
- ^ Blades 1996, 266–267.
- ^ Montagu 2002, 108–110.
- ^ Sachs 2010, 65.
- ^ Meyer 1974, 486–487.
- ^ Henck 2004, 32–50.
- ^ Gates and Higginbotham 2004, 85.
- ^ Henck 2004, 41–45.
- ^ Henck 2004, 56; Kimbell 1991, 606.
- ^ Walls 2001, §2 xi.
- ^ Newman 1972, 207; Pyron and Bianco 2001.
- ^ Arnold 1994, 54.
- ^ Arnold 1994, 56–57.
- ^ a b Hast, Cowdery, and Scott 1999, 149.
- ^ Arnold 1994, 53.
- ^ Griffiths 2001.
- ^ Kennedy 2006.
- ^ Oechsler 2001.
- ^ Machlis 1979, 154–156, 357.
- ^ Miller and Hanson 2001; Holland and Page 2001.
- ^ Goldman 1961.
- ^ Varèse and Chou 1966, 18.
- ^ Simms 1986, 317.
- ^ Simms 1986, 319–320.
- ^ Rhodes and Westwood 2008, 184.
- ^ Simms 1986, 374.
- ^ a b c Madden 1999, 92.
- ^ Stockhausen 1963b, 142 and 144.
- ^ Stockhausen 1963b, 144–145.
- ^ Anon. n.d.
- ^ a b Heller 2003, 197.
- ^ Fast 2004, 233.
- ^ Hessler and Lehner 2008, 72.
- ^ Bacon 1981, 142.
- ^ a b Bacon 1981, 119
- ^ Piccola 2009.
- ^ Maserati 2012.
- ^ a b Bennett 2002, 43.
- ^ Holmes 2008, 186.
- ^ MacDonald 2005, 136–137.
- ^ Shea and Rodriguez 2007, 173.
- ^ Gross, Joe (April 2007). "Essentials: Noise Rock". Spin. 23 (4).
- ^ Coelho 2003, 116.
- ^ a b Martin and Waters 2011, 323.
- ^ Stubbs 2003, 6.
- ^ Candelaria and Kingman 2011, 130.
- ^ a b Kirchner 2005, 505.
- ^ Dunscomb and Hill 2002, 233.
- ^ Alexander 2003, 132–133.
- ^ Bush 2005, 72.
- ^ Sallis 1996, 155.
- ^ Ake 2002, 169–170.
- ^ Berendt, Huesmann 2009, 1881.
- ^ a b Dicaire 2006, 233.
- ^ Tiegal 1967.
- ^ a b c d e f Berendt, Huesmann 2009
- ^ Dicaire 2006, 103.
- ^ a b Bush 2005, 6, 28, 74.
- ^ a b Martin, Waters 2013, 201.
- ^ Martin, Waters 2013, 203.
- ^ Alexander 2003, 98.
- ^ a b Katz 2012, 66.
- ^ Cobb 2007, 84.
- ^ a b Radano 2000, 39.
- ^ Cobb 2007, 57.
- ^ Strong 2002, 854.
- ^ Dyson 1993, 13.
- ^ a b c Buel 2013, 118, 120.
- ^ "With the vast growth of Japanese noise, finally, noise music becomes a genre—a genre that is not one, to paraphrase Luce Irigaray" (Hegarty 2007, 133).
- ^ Wolf 2009, 67: "The genre noise music does not have a proper definition".
- ^ Minor 2004, 291.
- ^ Gottlieb and McLelland 2003, 60.
- ^ Piekut 2011, 193.
- ^ a b Russolo 1913.
- ^ Hegarty 2007, 13–14.
- ^ Dolby Laboratories n.d.
- ^ Amyes 1998, 60.
- ^ a b Self 2011, 417.
- ^ Self 2011, 411–429, 510–511.
- ^ Kosko, Mitaim 1998, 2152.
- ^ Wakin 2012.
- ^ Avison 1989, 469.
- ^ Directgov
- ^ Jansson and Karlsson 1983.
- ^ Maia and Russo 2008, 49.
- ^ Anon. 2006.
- ^ Ostri, Eller, Dahlin, and Skylv 1989, pp. 243–249
- ^ a b Morata 2007.
- ^ a b c Connolly 2008.
- ^ a b Anon. 2008
- ^ Ankeny.
- ^ a b Cohen 1986, 36.
- ^ Anon. 2009.
- ^ Kreps 2009.
- ^ Dan 2007.
- ^ Unterberger 2002, xiii.
- ^ James 1999, 30.
- ^ De la Parra 2000, [page needed].
- ^ McCreadie 2009, 153.
- ^ Hughey 2009.
- ^ Turner 2009.
- ^ Battaglia 2009.
- ^ Economy 2004.
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Further reading
Perception and use of noise in music
- ISBN 978-0-8511-5940-9.
- Demers, Joanna. 2010. Listening through the Noise: The Aesthetics of Experimental Electronic Music. ISBN 978-0-1997-7448-7.
- ISBN 978-0-2621-1243-7.
- Moravcsik, Michael J. 2001. Musical Sound: An Introduction to the Physics of Music. New York: ISBN 978-0-3064-6710-3.
- Priest, Gail. 2009. Experimental Music: Audio Explorations in Australia. ISBN 978-1-9214-1007-9.
- ISBN 978-0-8223-9415-0.
- Voegelin, Salome. 2010. Listening to Noise and Silence: Towards a Philosophy of Sound Art. London: Bloomsbury Publishing. 978-1-4411-6207-6.
- Waksman, Steve. 1999. Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience. Cambridge, Massachusetts: ISBN 978-0-6740-0547-1.
- Washburne, Christopher, Maiken Derno. 2004. Bad Music: The Music We Love to Hate. New York: ISBN 978-0-4159-4365-9.
Noise reduction
- Collins, Mike. 2004. Pro Tools for Music Production: Recording, Editing and Mixing. ISBN 978-0-2405-1943-2.
- Hurtig, Brent. 1988. Multi-Track Recording for Musicians. ISBN 978-1-4574-2484-7.
- Ingard, Uno. 2010. Noise Reduction Analysis. ISBN 978-1-9340-1531-5.
- Snoman, Rick. 2012. The Dance Music Manual: Tools, Toys and Techniques. Waltham, Massachusetts: Focal Press. ISBN 978-1-1361-1557-8.
- ISBN 978-0-4707-4016-3.