Sound art and music: philosophy, composition, performance
- Submitting institution
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Middlesex University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 1404
- Type
- B - Edited book
- DOI
-
-
- Publisher
- Cambridge Scholars Publishing
- ISBN
- 9781527557819
- Open access status
- -
- Month of publication
- November
- Year of publication
- 2020
- URL
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http://eprints.mdx.ac.uk/31155/
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- As an artist, performer and researcher who straddles both visual art practices and music, my own chapter in this volume, Sound Art and Music, Philosophy, Composition, Performance, opens the book. My role throughout this editing process has been to solicit, collect, edit and shape the twelve chapters within the volume and to co-write the foreword. The contributions come from an international selection of both practitioners and theoreticians, who seek to explore the mutually beneficial relationships between sound art and music. The chapters had their origins in the Music and Sonic Art Conferences held in 2014 and 2015 at the Institut für Musickinformatik and Musikwissenschaft in Karlsruhe, Germany and include the interrogation of compositional methods, consider materiality in sound, explore collaborative practices, reflect on the body, the gestural and embodiment, and question our expectations of spaces and audiences.
In the case of my own chapter, Introducing a Compositional Model for Live, Site-Specific Sound Art Performance, I introduce a new, tripartite model for live, site specific, sound art performance (the so-called AAA method). The research methodology stems in part, from a reflection on a body of twenty sound art works that took place in non ‘white cube’ or ‘black box’ art or performance spaces, to consider what a more guerrilla style or ‘encountered’ approach to sound making in a specific environment brings to the experience for the listener/experiencer. Informed also by the listening practices of Michel Chion (the causal, reduced and semantic), the site-specific works of Max Neuhaus, the writings of John Cage, the improvisational and text score practices of Cornelius Cardew and his ‘Scratch Orchestra,’ I seek to suggest that here lies a wholly new mode of practice or art form perhaps, that serves to interrogate the disciplines and expectations of both music and art.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -