Noise music

Source: Wikipedia, the free encyclopedia.
"Noise (music)" redirects here. For the general occurrence of noise in music, see Noise in music.
Noise music
Stylistic origins

Noise music is a genre of music that is characterised by the expressive use of

aspect
.

Noise music can feature acoustically or electronically generated noise, and both traditional and unconventional musical instruments. It may incorporate live machine sounds, non-musical

static, hiss and hum. There may also be emphasis on high volume levels and lengthy, continuous pieces. More generally noise music may contain aspects such as improvisation, extended technique, cacophony and indeterminacy. In many instances, conventional use of melody, harmony, rhythm or pulse is dispensed with.[5][6][7][8]

The Futurist art movement (with most notably Luigi Russolo's Intonarumori and L'Arte dei Rumori (The Art of Noises) manifesto) was important for the development of the noise aesthetic, as was the Dada art movement (a prime example being the Antisymphony concert performed on April 30, 1919, in Berlin).[9][10] In the 1920s, the French composer Edgard Varèse, when New York Dada associated via Marcel Duchamp and Francis Picabia's magazine 391, conceived of the elements of his music in terms of sound-masses; writing in the first half of the 1920s, Offrandes, Hyperprism, Octandre, and Intégrales.[11][12] Varèse thought 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?"[13]

Pierre Schaeffer's musique concrète 1948 compositions Cinq études de bruits (Five Noise Studies), that began with Etude aux Chemins de Fer (Railway Study) are key to this history.[14] Etude aux Chemins de Fer consisted of a set of recordings made at the train station Gare des Batignolles in Paris that included six steam locomotives whistling and trains accelerating and moving over the tracks. The piece was derived entirely from recorded noise sounds that were not musical, thus a realization of Russolo's conviction that noise could be an acceptable source of music. Cinq études de bruits premiered via a radio broadcast on October 5, 1948, called Concert de bruits (Noise Concert).[14]

Later in the 1960s, the

Joe Jones, Yasunao Tone, George Brecht, Robert Watts, Wolf Vostell, Dieter Roth, Yoko Ono, Nam June Paik, Walter De Maria's Ocean Music, Milan Knížák's Broken Music Composition, early La Monte Young, Takehisa Kosugi,[15] and the Analog #1 (Noise Study) (1961) by Fluxus-related composer James Tenney.[16][17]

Contemporary noise music is often associated with extreme volume and distortion.

sound sculpture (specifically Bascule VII), the music of Hermann Nitsch's Orgien Mysterien Theater, and La Monte Young's bowed gong works from the late 1960s.[22]

Definitions

According to Danish noise and music theorist Torben Sangild, one single definition of noise in music is not possible. Sangild instead provides three basic definitions of noise: a

subjectivity (what is noise to one person can be meaningful to another; what was considered unpleasant sound yesterday is not today).[23]

According to

Murray Schafer there are four types of noise: unwanted noise, unmusical sound, any loud sound, and a disturbance in any signaling system (such as static on a telephone).[24] Definitions regarding what is considered noise, relative to music, have changed over time.[25] Ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethoven's Grosse Fuge (1825) "sounded like noise" to his audience at the time. Indeed, Beethoven's publishers persuaded him to remove it from its original setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro. They subsequently published it separately.[26]

In attempting to define noise music and its value, Paul Hegarty (2007) cites the work of noted cultural critics

4'33", in which an audience sits through four and a half minutes of "silence" (Cage 1973), that represents the beginning of noise music proper. For Hegarty, "noise music", as with 4'33", is that music made up of incidental sounds that represent perfectly the tension between "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music from Erik Satie to NON to Glenn Branca
. Writing about Japanese noise music, Hegarty suggests that "it is not a genre, but it is also a genre that is multiple, and characterized by this very multiplicity ... Japanese noise music can come in all styles, referring to all other genres ... but crucially asks the question of genre—what does it mean to be categorized, categorizable, definable?" (Hegarty 2007:133).

Writer

William Burroughs, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov
.

In Noise: The Political Economy of Music (1985), Jacques Attali explores the relationship between noise music and the future of society by considering noise music as not merely reflective of, but importantly prefigurative of social transformations. He indicates that noise in music is a predictor of social change and demonstrates how noise acts as the subconscious of society—validating and testing new social and political realities.[27] His disruption of the standard history of music and his inclusion of noise in an attempt to theorize culture cleared the way for many noise music theoretical studies.

Characteristics

Like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in

aesthetic and imaginative ways.[28]

White noise
10 second sample of white sound.
Problems playing this file? See media help.

In common use, the word noise means unwanted sound or noise pollution.[29] In electronics noise can refer to the electronic signal corresponding to acoustic noise (in an audio system) or the electronic signal corresponding to the (visual) noise commonly seen as 'snow' on a degraded television or video image.[30] In signal processing or computing it can be considered data without meaning; that is, data that is not being used to transmit a signal, but is simply produced as an unwanted by-product of other activities. Noise can block, distort, or change the meaning of a message in both human and electronic communication.

power spectral density.[31] In other words, the signal contains equal power within a fixed bandwidth at any center frequency. White noise is considered analogous to white light which contains all frequencies.[32][33]

In much the same way the early

vinyl records.[34] Many artists not only build their own noise-generating devices, but even their own specialized recording equipment and custom software (for example, the C++ software used in creating the viral symphOny by Joseph Nechvatal).[35][36]

1910s–1960s

Origins

In "Futurism and Musical Notes", Daniele Lombardi discussed the French composer Carol-Bérard; a pupil of Isaac Albéniz, who composed a Symphony of Mechanical Forces in 1910, wrote on the problems of the instrumentation of noise music. and developed a notation system.[37]

Luigi Russolo ca. 1916

In 1913 Futurist artist Luigi Russolo wrote his manifesto, L'Arte dei Rumori, translated as The Art of Noises,[38] stating that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds. Russolo found traditional melodic music confining and envisioned noise music as its future replacement. He designed and constructed a number of noise-generating devices called intonarumori and assembled a noise orchestra to perform with them. Works entitled Risveglio di una città (Awakening of a City) and Convegno d'aeroplani e d'automobili (The Meeting of Aeroplanes and Automobiles) were both performed for the first time in 1914.[39]

A performance of his Gran Concerto Futuristico (1917) was met with strong disapproval and violence from the audience, as Russolo himself had predicted. None of his intoning devices have survived, though recently some have been reconstructed and used in performances. Although Russolo's works bear little resemblance to contemporary noise music such as

aesthetic and broaden the perception of sound as an artistic medium.[40][41]

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.

— Luigi Russolo The Art of Noises (1913)[42]

Antonio Russolo, Luigi's brother and fellow Italian Futurist composer, produced a recording of two works featuring the original intonarumori. The 1921 made phonograph with works entitled Corale and Serenata, combined conventional orchestral music set against the famous noise machines and is the only surviving sound recording.[43]

An early

Walter Arensberg.[44] What rattles inside when A Bruit Secret is shaken remains a mystery.[45]

Found sound

In the same period the utilisation of

phonographic playback of a nightingale recording.[46] Also in 1924, George Antheil created a work titled Ballet Mécanique with instrumentation that included 16 pianos, 3 airplane propellers, and 7 electric bells. The work was originally conceived as music for the Dada film of the same name, by Dudley Murphy and Fernand Léger, but in 1926 it premiered independently as a concert piece.[49][50]

In 1930

Ionisation for 13 players featured 2 sirens, a lion's roar, and used 37 percussion instruments to create a repertoire of unpitched sounds making it the first musical work to be organized solely on the basis of noise.[52][53] In remarking on Varese's contributions the American composer John Cage stated that Varese had "established the present nature of music" and that he had "moved into the field of sound itself while others were still discriminating 'musical tones' from noises".[54]

In an essay written in 1937, Cage expressed an interest in using extra-musical materials[55] and came to distinguish between found sounds, which he called noise, and musical sounds, examples of which included: rain, static between radio channels, and "a truck at fifty miles per hour". Essentially, Cage made no distinction, in his view all sounds have the potential to be used creatively. His aim was to capture and control elements of the sonic environment and employ a method of sound organisation, a term borrowed from Varese, to bring meaning to the sound materials.[56] Cage began in 1939 to create a series of works that explored his stated aims, the first being Imaginary Landscape #1 for instruments including two variable speed turntables with frequency recordings.[57]

In 1961, James Tenney composed Analogue #1: Noise Study (for tape) using computer synthesized noise and Collage No.1 (Blue Suede) (for tape) by sampling and manipulating a famous Elvis Presley recording.[58]

Experimental music

I believe that the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.

— John Cage The Future of Music: Credo (1937)

In 1932, Bauhaus artists László Moholy-Nagy, Oskar Fischinger and Paul Arma experimented with modifying the physical contents of record grooves.[58]

Under the influence of

Henry Cowell in San Francisco in the late 1940s,[59] Lou Harrison and John Cage began composing music for junk (waste
) percussion ensembles, scouring junkyards and Chinatown antique shops for appropriately tuned brake drums, flower pots, gongs, and more.

In Europe, during the late 1940s, Pierre Schaeffer coined the term musique concrète to refer to the peculiar nature of sounds on tape, separated from the source that generated them initially.[60] Pierre Schaeffer helped form Studio d'Essai of the Radiodiffusion-Télévision Française in Paris during World War II. Initially serving the French Resistance, Studio d'Essai became a hub for musical development centered around implementing electronic devices in compositions. It was from this group that musique concrète was developed. A type of electroacoustic music, musique concrète is characterized by its use of recorded sound, electronics, tape, animate and inanimate sound sources, and various manipulation techniques. The first of Schaeffer's Cinq études de bruits (Five Noise Etudes), called Étude aux chemins de fer (1948) consisted of transformed locomotive sounds.[14] The last étude, Étude pathétique (1948), makes use of sounds recorded from sauce pans and canal boats. Cinq études de bruits was premiered via a radio broadcast on October 5, 1948, titled Concert de bruits.

Following musique concrète, other modernist

drone could make music. Also in 1949, Pierre Boulez befriended John Cage, who was visiting Paris to do research on the music of Erik Satie. John Cage had been pushing music in even more startling directions during the war years, writing for prepared piano, junkyard percussion, and electronic gadgetry.[64]

In 1951, Cage's Imaginary Landscape #4, a work for twelve radio receivers, was premiered in New York. Performance of the composition necessitated the use of a score that contained indications for various wavelengths, durations, and dynamic levels, all of which had been determined using chance operations.[65][66] A year later in 1952, Cage applied his

4'33" was performed by David Tudor. The audience saw him sit at the piano, and close the lid of the piano. Some time later, without having played any notes, he opened the lid. A while after that, again having played nothing, he closed the lid. And after a period of time, he opened the lid once more and rose from the piano. The piece had passed without a note being played, in fact without Tudor or anyone else on stage having made any deliberate sound, although he timed the lengths on a stopwatch while turning the pages of the score. Only then could the audience recognize what Cage insisted upon: that there is no such thing as silence. Noise is always happening that makes musical sound.[67] In 1957, Edgard Varèse created on tape an extended piece of electronic music using noises created by scraping, thumping and blowing titled Poème électronique.[68][69]

In 1960, John Cage completed his noise composition Cartridge Music for phono cartridges with foreign objects replacing the 'stylus' and small sounds amplified by contact microphones. Also in 1960, Nam June Paik composed Fluxusobjekt for fixed tape and hand-controlled tape playback head.[58] On May 8, 1960, six young Japanese musicians, including Takehisa Kosugi and Yasunao Tone, formed the Group Ongaku with two tape recordings of noise music: Automatism and Object. These recordings made use of a mixture of traditional musical instruments along with a vacuum cleaner, a radio, an oil drum, a doll, and a set of dishes. Moreover, the speed of the tape recording was manipulated, further distorting the sounds being recorded.[70] Canada's Nihilist Spasm Band, the world's longest-running noise act, was formed in 1965 in London, Ontario, and continues to perform and record to this day, having survived to work with many of the newer generation which they themselves had influenced, such as Thurston Moore of Sonic Youth and Jojo Hiroshige of Hijokaidan. In 1967, Musica Elettronica Viva, a live acoustic/electronic improvisational group formed in Rome, made a recording titled SpaceCraft[71] using contact microphones on such "non-musical" objects as panes of glass and motor oil cans that was recorded at the Akademie der Kunste in Berlin.[72] At the end of the sixties, they took part in the collective noise action called Lo Zoo initiated by the artist Michelangelo Pistoletto.

The

post-industrial culture and the process by which it is made.[75] Serious art music responded to this conjuncture in terms of intense noise, for example the La Monte Young Fluxus composition 89 VI 8 C. 1:42–1:52 AM Paris Encore from Poem For Chairs, Tables, Benches, Etc. Young's composition Two Sounds (1960) was composed for amplified percussion and window panes and his Poem for Tables, Chairs and Benches, Etc. (1960) used the sounds of furniture scraping across the floor. AllMusic assessed 1960s English experimental group AMM as originators of electronica, free improvisation and noise music, writing that "noise bands owe it to themselves to check out their primary source."[76]

Popular music

Freak Out!, the 1966 debut album by the Mothers of Invention made use of avant-garde sound collage—particularly the closing track "The Return of the Son of Monster Magnet".[77] The same year, art rock group the Velvet Underground made their first recording while produced by Andy Warhol, a track entitled "Noise".[78] AllMusic assessed the Godz as an early noise band: "the three squalling bits of avant-garde noise/junk they recorded from 1966–1968.[79]

"

overdub itself, creating a saturation effect, a technique also used in musique concrète.[80] The Beatles would continue these efforts with "Revolution 9", a track produced in 1968 for The White Album. It made sole use of sound collage, credited to Lennon–McCartney, but created primarily by John Lennon with assistance from George Harrison and Yoko Ono.[81]

In 1975,

Round Records.[82] The album was recorded in stereo quadraphonic sound and featured guest performances by members of the Grateful Dead, including Jerry Garcia playing treated guitar and Phil Lesh playing electronic Alembic bass.[83] David Crosby, Grace Slick and other members of the Jefferson Airplane also appear on the album.[84]

1970s–present

Noise rock and no wave

Main articles:
No Wave

Angus Maclise, Tony Conrad, and others.[92] The Theatre of Eternal Music's discordant sustained notes and loud amplification had influenced Cale's subsequent contribution to the Velvet Underground in his use of both discordance and feedback.[93] Cale and Conrad have released noise music recordings they made during the mid-sixties, such as Cale's Inside the Dream Syndicate series (The Dream Syndicate being the alternative name given by Cale and Conrad to their collective work with Young).[94]Krautrock bands such as Neu![95] and Faust[96] would incorporate noise into their compositions. Roni Sarig, author of The Secret History of Rock called Can's sophomore album Tago Mago "as close as it ever got to avant-garde noise music."[97]

The aptly named

No Wave composers Glenn Branca and Rhys Chatham (himself a student of La Monte Young).[98] Marc Masters, in his book on the No Wave, points out that aggressively innovative early dark noise groups like Mars and DNA drew on punk rock, avant-garde minimalism and performance art.[99] Important in this noise trajectory are the nine nights of noise music called Noise Fest that was organized by Thurston Moore of Sonic Youth in the NYC art space White Columns in June 1981[100][101] followed by the Speed Trials noise rock series organized by Live Skull
members in May 1983.

Industrial music

Main article:
Post-industrial music

In the 1970s, the concept of art itself expanded and groups like

Conceptual Art and the Neo-Dada use of techniques such as assemblage, montage, bricolage, and appropriation. Bands like Test Dept, Clock DVA, Factrix, Autopsia, Nocturnal Emissions, Whitehouse, Severed Heads, Sutcliffe Jügend, and SPK
soon followed. The sudden post-industrial affordability of home cassette recording technology in the 1970s, combined with the simultaneous influence of
No Wave aesthetic, and instigated what is commonly referred to as noise music today.[105]

Japanese noise music

Main article: Japanoise
Merzbow, prominent Japanoise musician, in 2007

Since the early 1980s,

Masonna, Solmania, K2, the Gerogerigegege and Hanatarash.[108][110] Nick Cain of The Wire identifies the "primacy of Japanese Noise artists like Merzbow, Hijokaidan and Incapacitants" as one of the major developments in noise music since 1990.[111]

Post-digital music

Main article: Glitch (music)

Following the wake of industrial noise, noise rock, no wave, and harsh noise, there has been a flood of noise musicians whose

microsound, Vaporwave, or glitch-based work is often subtler to the ear.[112] Kim Cascone refers to this development as a postdigital movement and describes it as an "aesthetic of failure".[113] Some of this music has seen wide distribution thanks to peer-to-peer file sharing services and netlabels offering free releases. Steve Goodman characterizes this widespread outpouring of free noise based media as a "noise virus".[114][115]

Compilations

See also

References

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  92. ^ "Minimalism (music)", Encarta (Accessed 20 October 2009). Archived April 29, 2009, at the Wayback Machine 2009-11-01.
  93. ^ Steven Watson, Factory Made: Warhol and the Sixties (2003) Pantheon, New York, p. 157.
  94. ^ Watson, Factory Made, p. 103.
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  96. ^ "Bureau B". www.bureau-b.com. Retrieved 2023-05-05.
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  98. ^ "Rhys Chatham", Kalvos-Damien website. (Accessed 20 October 2009).
  99. ^ Marc Masters, No Wave (London: Black Dog Publishing, 2007), pp. 42–44.
  100. Rob Young
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  101. ^ Marc Masters, No Wave (London: Black Dog Publishing, 2007), pp. 170–71.
  102. ^ Gehr, Richard (7 November 2014). "The Oral History of the Pop Group: The Noisy Brits Who Were Too Punk for the Punks". Rolling Stone. Retrieved 29 December 2021.
  103. ^ Media.hyperreal.org, Prehistory of Industrial Music 1995 Brian Duguid, esp. chapter "Access to Information".
  104. Rob Young
    (ed.), The Wire Primers: A Guide To Modern Music (London: Verso, 2009), p. 29.
  105. ^ a b Media.hyperreal.org, Prehistory of Industrial Music 1995 Brian Duguid, esp. chapter "Organisational Autonomy / Extra-Musical Elements".
  106. ^ Hegarty 2007, p. 133
  107. ^ Paul Hegarty, "Full With Noise: Theory and Japanese Noise Music" Archived 2007-03-13 at the Wayback Machine, Ctheory.net.
  108. ^
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  109. ^ Hegarty (2007:133)
  110. ^ Japanoise.net Archived 2012-03-26 at the Wayback Machine, japanoise noisicians profiled at japnoise.net.
  111. ^ Nick Cain, "Noise" The Wire Primers: A Guide to Modern Music, Rob Young, ed., London: Verso, 2009, p. 29.
  112. ^ Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge, Massachusetts: MIT Press, 2009), pp. 6–24.
  113. ^ Cascone, Kim. "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music". Computer Music Journal 24, no. 4 (Winter 2002): pp. 12–18.
  114. ^ Goodman, Steve. "Contagious Noise: From Digital Glitches to Audio Viruses", in Parikka, Jussi and Sampson, Tony D. (eds.) The Spam Book: On Viruses, Porn and Other Anomalies From the Dark Side of Digital Culture. Cresskill, New Jersey: Hampton Press. 2009. pp. 128.
  115. ^ Goodman, Steve. "Contagious Noise: From Digital Glitches to Audio Viruses", in Parikka and Sampson (eds.) The Spam Book: On Viruses, Porn and Other Anomalies From the Dark Side of Digital Culture. Cresskill, New Jersey: Hampton Press. 2009. pp. 129–130.

Sources

Further reading

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