According to Danish noise and music theorist Torben Sangild, no single definition of noise in music is possible. Sangild instead provides three basic definitions of noise: amusical acoustics definition, a second communicative definition based ondistortion or disturbance of a communicative signal, and a third definition based insubjectivity (what is noise to one person can be meaningful to another; what was considered unpleasant sound yesterday is not today).[13]
In common use, the wordnoise means unwanted sound ornoise pollution.[14]Inelectronics, 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.[15] Insignal processing orcomputing 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.White noise is a randomsignal (or process) with a flatpower spectral density.[16] In other words, the signal contains equal power within a fixedbandwidth at any center frequency. White noise is considered analogous towhite light which contains all frequencies.[17][18]
According toMurray 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).[19] Definitions regarding what is considered noise, relative to music, have changed over time.[20]Ben Watson, in his articleNoise as Permanent Revolution, points out thatLudwig van Beethoven'sGrosse 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 sparklingAllegro. They subsequently published it separately.[21]
In the 1920s, the French composerEdgard Varèse was influenced by the ideals ofNew York Dada associated viaMarcel Duchamp andFrancis Picabia's magazine391. He conceived of the elements of his music in terms ofsound-masses. This resulted in his compositionsOffrandes,Hyperprism,Octandre, andIntégrales of the early 1920s.[22] Varèse declared that "to stubbornly conditioned ears, anything new in music has always been callednoise", and he posed the question: "What is music but organized noises?"[23]
In attempting to define noise music and its value, Paul Hegarty (2007) cites the work of noted cultural criticsJean Baudrillard,Georges Bataille andTheodor Adorno and through their work traces the history of "noise". He defines noise at different times as "intrusive, unwanted", "lacking skill, not being appropriate" and "a threatening emptiness". He traces these trends starting with 18th-century concert hall music. Hegarty contends thatJohn Cage's composition4'33", in which an audience and performer sit through four and a half minutes of "silence" (Cage 1973), represents the beginning of noise music proper. For Hegarty, "noise music", as with4'33", 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.[24][25]
Like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them inaesthetic and imaginative ways.[26]
Noise music can feature acoustically or electronically generated noise, and both traditional and unconventional musical instruments. It may incorporate live machine sounds, non-musicalvocal techniques, physically manipulated audio media,processed sound recordings,field recording,computer-generated noise, noise produced bystochastic processes, and other randomly produced electronic signals such asdistortion,feedback,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 asimprovisation,extended technique,cacophony andindeterminacy. In many instances, conventional use of melody, harmony, rhythm or pulse is dispensed with.[27][28][29][30]
In much the same way the earlymodernists were inspired bynaïve art, some contemporarydigital art noise musicians are excited by the archaic audio technologies such as wire-recorders, the8-track cartridge, andvinyl records.[31] Many artists not only build their own noise-generating devices, but even their own specialized recording equipment and customsoftware (for example, theC++ software used in creating theviral symphOny byJoseph Nechvatal).[32][33]
During the 14th century, thecharivari, a European and North American folk custom designed to shame a member of the community, made use of a mockparade aimed to make as much noise as possible by beating on pots and pans or anything that came to hand, these parades were often referred to as "rough music".[39][40] By the 19th century, theclassical period led to one of the earliest examples of non-musical sounds being used in contemporary western music such asBeethoven’sWellington’s Victory (1813), which included sounds ofmuskets andcannons to represent battle. Later,Tchaikovsky’s1812 Overture (1880) went further by writing real cannon fire directly into the score.[41][42]
French composer Carol-Bérard born in 1885 was a pupil ofIsaac Albéniz. Bérard studied and was influenced by primitive music and instruments. During the late 1900s, he experimented with noises as music, developed a notation system for them, and wrote on the challenges of instrumenting noise music. In 1910, Bérard composed aSymphony of Mechanical Force. His work made the connection between music and noise publicly visible years beforeFuturism.[41]
By 1913,Italian Futurist artistLuigi Russolo wrote his manifesto,L'Arte dei Rumori, translated asThe Art of Noises,[43] stating that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds: "We must break this restricted circle of pure sounds and conquer the infinite variety of noise-sounds".[43] Russolo found traditional melodic music confining and envisioned noise music as its future replacement. He designed and constructed a number of noise-generating devices calledintonarumori and assembled a noiseorchestra to perform with them. Works entitledRisveglio di una città (Awakening of a City) andConvegno d'aeroplani e d'automobili (The Meeting of Aeroplanes and Automobiles) were both performed for the first time in 1914.[44]
A performance of hisGran 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, his efforts helped to introduce noise as an intentional musicalaesthetic and broaden the perception of traditionallyunwanted sound as an artistic medium.[45][46]
Luigi Russolo and his assistantUgo Piatti in their Milan studio in 1913 with the Intonarumori (noise machines)
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 tonoise-sound.
Antonio Russolo, Luigi's brother and fellow ItalianFuturist composer, produced a recording of two works featuring the originalintonarumori. The 1921 madephonograph with works entitledCorale andSerenata, combined conventional orchestral music set against the famous noise machines and is the only surviving sound recording.[48]
TheDada art movement'sAntisymphony concert performed on April 30, 1919, in Berlin would also be an early influence and progenitor of noise music.[49][50][51] The Dada-related work from 1916 byMarcel Duchamp also worked with noise, but in an almost silent way. One of thefound objectReadymades of Marcel Duchamp,A Bruit Secret (With Hidden Noise), was a collaborative work that created a noise instrument that Duchamp accomplished withWalter Arensberg.[52] What rattles inside whenA Bruit Secret is shaken remains a mystery.[53]
In the same period the utilisation offound sound as a musical resource was starting to be explored. In 1931,Edgard Varèse'sIonisation for 13 players featured 2 sirens, alion'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.[54][55] In remarking on Varese's contributions the American composerJohn 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".[56]
In an essay written in 1937, Cage expressed an interest in using extra-musical materials[57] 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.[58] Cage began in 1939 to create a series of works that explored his stated aims, the first beingImaginary Landscape #1 for instruments including two variable speed turntables with frequency recordings.[59]
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.
During the late 1940s, French composerPierre Schaeffer theorized and coined a type ofelectroacoustic music known as "musique concrète".[60] Schaeffer's 1948 compositionsCinq études de bruits (Five Noise Studies), that began withEtude aux Chemins de Fer (Railway Study) which consisted of locomotive sounds made at the Paris train station Gare des Batignolles.[61] Which premiered via a radio broadcast on October 5, 1948, calledConcert de bruits (Noise Concert).[61]
Under the influence ofHenry Cowell in San Francisco in the late 1940s,Lou Harrison and John Cage began composing music forjunk (waste) percussion ensembles, scouring junkyards and Chinatown antique shops for appropriately tuned brake drums, flower pots, gongs, and more.[62] Music journalist Paul Hegarty retrospectively remarked thatAntonin Artaud's 1947 compositionPour en Finir avec le Jugement de dieu (To Have Done with the Judgment of God) as "a great example of how literal noise becomes a more interesting threat."[63][64] In 1957, Edgard Varèse created on tape an extended piece of electronic music using noises created by scraping, thumping and blowing titledPoème électronique.[65][66]
In 1960, John Cage completed his noise compositionCartridge Music for phono cartridges with foreign objects replacing the 'stylus' and small sounds amplified by contact microphones. That same year, Nam June Paik composedFluxusobjekt for fixed tape and hand-controlled tape playback head.[67] On May 8, six young Japanese musicians, includingTakehisa Kosugi andYasunao Tone, who later joined the Japanese branch of theFluxus art movement, formed the early noise music collective,Group Ongaku, recordingAutomatism andObject. 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.[68] Tone later became an early pioneer of "glitch" music in the 1990s.[69]
In 1961,James Tenney composedAnalogue #1: Noise Study (for tape) using computer synthesized noise andCollage No.1 (Blue Suede) (for tape) by manipulatingElvis Presley's recording of "Blue Suede Shoes".[67][70][71] By 1964, composerRobert Ashley released the composition "The Wolfman", in a retrospectivethe Wire stated, "he [Robert Ashley] played his own vocals through loudspeakers simultaneously with a tape composition and controlled the feedback by putting his mouth up against the mic. The avalanche of noise was so overpowering to the listener that no one ever understands how the sound is made".[5] In 1965, Londonfree improvisation groupAMM was founded byKeith Rowe,Lou Gare andEddie Prévost, their work has been considered as presaging noise music, withAllMusic's Brian Olewnick stating, "noise bands owe it to themselves to check out their primary source."[72][73][74] In Canada,Nihilist Spasm Band, the world's longest-running self-described "noise band", was formed that same year, they later worked with artists they influenced such asThurston Moore ofSonic Youth andJojo Hiroshige ofHijokaidan in the 1990s.[75]
In 1975,Lou Reed released the double albumMetal Machine Music, which has been cited as containing the primary characteristics of contemporary noise music and inspiring artists such asMerzbow.[6][7][91] The album, recorded on a three speedUher machine and mastered/engineered byBob Ludwig,[77] is an early, well-known example of commercial studio noise music that the music criticLester Bangs sarcastically called the "greatest album ever made in the history of the humaneardrum".[92] It has also been cited as one of the "worst albums of all time".[93] At the time, RCA also released aQuadrophonic version of theMetal Machine Music recording that was produced by playing the master tape back both forward and backward, and by flipping the tape over.[94]
Outside of the Western and Japanese scenes, noise music has also developed in Southeast Asia, where a number of experimental artists and groups emerged from the 1990s onward. Indonesian duoSenyawa combines traditional instruments with harsh, abrasive sounds, blending local cultural elements with noise experimentation. Thailand'sMongoose and Filipino project Children of Cathode Ray are also noted as pioneers in their respective countries, gaining recognition through international performances and underground networks.[95]
During the 2000s and 2010s, the popularity of the harsh noise genre expanded with regional scenes emerging internationally in Japan, England, Canada, Indonesia and America.[96][97] By the 2020s, some harsh noise artists would gain notoriety and attention on theinternet throughsocial media, due to their unconventional sound.[98]
InNoise: 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 pre-figurative of social transformations. He indicates that noise in music is a predictor of social change and demonstrates how noise acts as thesubconscious of society—validating and testing new social and political realities.[99] His alternative view of the standard history of music, with his emphasis on noise, theorized culture in a way that influenced many noise music theoretical studies to follow, such asBrandon LaBelle'sBackground Noise: Perspectives on Sound Art (2006),Alan Licht'sSound Art: Beyond Music, between Categories (2007), Thomas Bey William Bailey'sMicro Bionic: Radical Electronic Music and Sound Art in the 21st Century (2009),Caleb Kelly'sCracked Media: The Sound of Malfunction (2009),Joseph Nechvatal'sImmersion Into Noise (2011), and Mark Delaere'sNoise as a Constructive Element in Music Theoretical and Music-Analytical Perspectives (2022).
In 2008, independent filmmaker Adam Cornelius released a documentary on the contemporary noise music scene titledPeople Who Do Noise, the film featured avant-garde noise artists such asSmegma, Oscillating Innards,Yellow Swans, andDaniel Menche.[101]
Since the early 1980s,[103] Japan has produced a significant output of characteristically harsh artists and bands, sometimes referred to asJapanoise, with names such asGovernment Alpha, Alienlovers in Amagasaki and Koji Tano, and perhaps the best known beingMerzbow (pseudonym for the Japanese noise artistMasami Akita who himself was inspired by theDada artistKurt Schwitters'sMerz art project ofpsychologicalcollage).[104][105] In the late 1970s and early 1980s, Akita tookMetal Machine Music as a point of departure and further abstracted the noise aesthetic by freeing the sound from guitar based feedback alone. According to Hegarty (2007), "in many ways it only makes sense to talk of noise music since the advent of various types of noise produced in Japanese music, and in terms of quantity this is really to do with the 1990s onwards ... with the vast growth of Japanese noise, finally, noise music becomes a genre".[106] Other key Japanese noise artists that contributed to this upsurge of activity includeHijokaidan,Boredoms,C.C.C.C.,Incapacitants,KK Null,Yamazaki Maso'sMasonna,Solmania, K2,the Gerogerigegege andHanatarash.[105][107] Nick Cain ofThe Wire identifies the "primacy of Japanese Noise artists like Merzbow, Hijokaidan and Incapacitants" as one of the major developments in noise music since 1990.[108]
Power noise (also known asrhythmic noise,rhythm 'n' noise anddistorted beat music) is asubgenre of noise andpost-industrial music, that originated predominantly in Europe during the 1990s.[109] It draws primary influence from various styles ofelectronic dance music.
Harsh noise is a subgenre of noise music that emerged in the early 1980s, originating from theJapanese noise music scene and the Europeanpower electronics movement.[9]
^Priest, Eldritch. "Music Noise" inBoring Formless Nonsense: Experimental Music and The Aesthetics of Failure, p. 132. London: Bloomsbury Publishing; New York: Bloomsbury Academic, 2013.
^Schafer, R. Murray (2006).The soundscape: our sonic environment and the tuning of the world. Rochester, Vt: Destiny Books [u.a.] p. 182.ISBN978-0-89281-455-8.
^Joseph Nechvatal,Immersion Into Noise (Ann Arbor: Open Humanities Press, 2012), p. 19.
^Hegarty, Paul (2007).Noise/music: a history. New York: Continuum. p. 133.ISBN978-0-8264-1726-8.
^Alex Ross,The Rest Is Noise: Listening to the Twentieth Century (New York: Farrar, Straus and Giroux, 2007), p. 401.
^Ctheory.netArchived 2007-03-13 at theWayback Machine Paul Hegarty, "Full With Noise: Theory and Japanese Noise Music", inLife in the Wires, edited by Arthur Kroker and Marilouise Kroker, 86–98 (Victoria, Canada: NWPCTheory Books, 2004).
^Chris Atton, "Fan Discourse and the Construction of Noise Music as a Genre",Journal of Popular Music Studies 23, no. 3 (September 2011): 324–42. Citation on 326.
^Paul Hegarty,Noise/Music: A History (London: Continuum International Publishing Group, 2007), pp. 13–14.
^László Moholy-Nagy in 1923 recognized the unprecedented efforts of the Italian Futurists to broaden our perception of sound using noise. In an article inDer Storm #7, he outlined the fundamentals of his own experimentation: "I have suggested to change the gramophone from a reproductive instrument to a productive one, so that on a record without prior acoustic information, the acoustic information, the acoustic phenomenon itself originates by engraving the necessary Ritchriftreihen (etched grooves)." He presents detailed descriptions for manipulating discs, creating "real sound forms" to train people to be "true music receivers and creators" (Rice 1994,[page needed]).
^Matthew Biro,The Dada Cyborg: Visions of the New Human in Weimar Berlin, 2009, p. 50.
^Documents at The International Dada archive at The University of Iowa show thatAntisymphonie was held at the Graphisches Kabinett, Kurfürstendamm 232, at 7:45 PM. The printed program lists five numbers: "Proclamation dada 1919" by Huelsenbeck, "Simultan-Gedicht" performed by seven people, "Bruitistisches Gedicht" performed by Huelsenbeck (these latter two pieces grouped together under the category "DADA-machine"), "Seelenautomobil" by Hausmann, and finally,Golyscheff's Antisymphonie in 3 movements, subtitled "Musikalische Kriegsguillotine". The three movements of Golyscheff's piece are titled "provokatorische Spritze", "chaotische Mundhöhle oder das submarine Flugzeug", and "zusammenklappbares Hyper-fis-chendur".
^Chilvers, Ian & Glaves-Smith, John eds.,Dictionary of Modern and Contemporary Art, Oxford:Oxford University Press, 2009. pp. 587–588
^D. Teruggi, "Technology and Musique Concrete: The Technical Developments of the Groupe de Recherches Musicales and Their Implication in Musical Composition",Organised Sound 12, no. 3 (2007): 213–31.
^abAlex Ross,The Rest Is Noise: Listening to the Twentieth Century (New York: Farrar, Straus and Giroux, 2007), p. 369.
^Henry Cowell, "The Joys of Noise", inAudio Culture: Readings in Modern Music (New York: Continuum, 2004), pp. 22–24.
^Antonin ArtaudPour en finir avec le jugement de dieu, original recording, edited with an introduction by Marc Dachy. Compact Disc (Sub Rosa/aural documents, 1995).
^[2] Warhol Live: Music and Dance inAndy Warhol's Workat the Frist Center for the Visual Arts by Robert Stalker
^abAlan Licht,Common Tones: Selected Interviews with Artists and Musicians 1995-2020,Blank Forms Edition,Interview with Lou Reed, p. 163
^Indeed, Reed mentions (and misspells) Young's name on the cover ofMetal Machine Music: "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music".
^Allen S. Weiss,Phantasmic Radio (Durham, North Carolina: Duke University Press, 1995), p. 90.
^Kahn, Douglas (2001).Noise, water, meat: a history of sound in the arts (1st MIT Press paperback ed.). Cambridge, Massachusetts London, England: The MIT Press.ISBN978-0-262-61172-5.
^Nick Cain, "Noise"The Wire Primers: A Guide to Modern Music, Rob Young, ed., London: Verso, 2009, p. 29.
^Emily Benjamin, "Whitehouse Asceticists Susan Lawly".The Johns Hopkins News-Letter. 14 February 2006."Whitehouse Asceticists Susan Lawly – Arts". Archived fromthe original on 5 April 2009. Retrieved15 March 2009. Access date: 8 August 2008.
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