Translating Transformations: Object-Based Sound Installations

2013 ◽  
Vol 23 ◽  
pp. 65-69 ◽  
Author(s):  
Ethan Rose
Keyword(s):  
Musical Instruments ◽  
Sound Art ◽  
Musical Performance ◽  
Recording Studio ◽  
Sound Installation ◽  
Sound Reproduction ◽  
Recorded Sound ◽  
Absolute Music ◽  
Object Based ◽  
Distinct Category

This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in order to elucidate the ways in which object-based sound installations introduce embodied visibility into the transformative gestures of sound reproduction.

scholarly journals Click::RAND. A Minimalist Sound Sculpture

2020 ◽  
Author(s):  
Paul Dunham ◽  
Mo Zareei ◽  
Dugal McKinnon ◽  
Dale Carnegie
Keyword(s):  
Sound Art ◽  
Random Numbers ◽  
Research Approach ◽  
Archaeological Research ◽  
Deterministic Approach ◽  
History Of Computing ◽  
Sound Installation ◽  
Object Based ◽  
History Of ◽  
Sound Sculpture

Discovering outmoded or obsolete technologies and appropriating them in creative practice can uncover new relationships between those technologies. Using a media archaeological research approach, this paper presents the electromechanical relay and a book of random numbers as related forms of obsolete media. Situated within the context of electromechanical sound art, the work uses a non-deterministic approach to explore the non-linear and unpredictable agency and materiality of the objects in the work. Developed by the first author, Click::RAND is an object-based sound installation. The work has been developed as an audio- visual representation of a genealogy of connections between these two forms of media in the history of computing.

scholarly journals Click::RAND. A Minimalist Sound Sculpture

2020 ◽  
Author(s):  
Paul Dunham ◽  
Mo Zareei ◽  
Dugal McKinnon ◽  
Dale Carnegie
Keyword(s):  
Sound Art ◽  
Random Numbers ◽  
Research Approach ◽  
Archaeological Research ◽  
Deterministic Approach ◽  
History Of Computing ◽  
Sound Installation ◽  
Object Based ◽  
History Of ◽  
Sound Sculpture

Discovering outmoded or obsolete technologies and appropriating them in creative practice can uncover new relationships between those technologies. Using a media archaeological research approach, this paper presents the electromechanical relay and a book of random numbers as related forms of obsolete media. Situated within the context of electromechanical sound art, the work uses a non-deterministic approach to explore the non-linear and unpredictable agency and materiality of the objects in the work. Developed by the first author, Click::RAND is an object-based sound installation. The work has been developed as an audio- visual representation of a genealogy of connections between these two forms of media in the history of computing.

scholarly journals Assembling Music

2020 ◽  
pp. 89-94
Author(s):  
Yoichi Nagashima
Keyword(s):  
Human Body ◽  
Interaction Design ◽  
Computer Music ◽  
Music Performance ◽  
Musical Instruments ◽  
Musical Performance ◽  
Musical Composition ◽  
Sound Installation ◽  
Body Activity ◽  
The Common

In this paper, I report on my three projects - sound installation, new musical instruments and new platform of computer music - the common key concept is "assembling music". Musical performance is a kind of expansion of human-body activity. I have been developing many kinds of musical instruments as a part of my composition, and I focused essentially on human "assembling" action in music performance in these projects. Of course, musical composition is an assembling process of musical parts. However, I want to expand the concept of "assembly" - not only for composition but also for performance. I hope this report expands the possibilities in interaction design for media art, and hope to discuss the technological detail and artistic approach.

Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art

2021 ◽  
pp. 1-26
Author(s):  
G. DOUGLAS BARRETT
Keyword(s):  
Contemporary Art ◽  
Contemporary Music ◽  
Conceptual Art ◽  
Social Process ◽  
Theoretical Concept ◽  
Sound Art ◽  
Art Theory ◽  
Avant Garde ◽  
Absolute Music ◽  
Art Form

Abstract This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

Prosthetic Abilities: Conceptualizing Sound Machines for Amplified Elephants

Leonardo ◽  
2016 ◽  
Vol 49 (2) ◽  
pp. 148-155
Author(s):  
James Hullick
Keyword(s):  
Intellectual Disabilities ◽  
Musical Instruments ◽  
Human Condition ◽  
Sound Art ◽  
Art Form ◽  
The Human Condition

This article discusses how an understanding of prosthetic imagining has influenced the making of sound machines for the Amplified Elephants—a group of sound artists living with intellectual disabilities. This research is contextualized through the discussion of relevant precedent artists: performance artist Stelarc and sound artist Ernie Althoff. The article presents the point that sound art (including music) is a predominantly prosthetic art form; sound-making devices (including traditional musical instruments) can be conceived of as prosthetic audio devices. Investigating notions of prosthesis can inform us further on the human condition.

The Biography of the Sample: Notes on the Hidden Contexts of Acousmatic Art

2008 ◽  
Vol 18 ◽  
pp. 71-75 ◽  
Author(s):  
Joe Milutis
Keyword(s):  
Sound Art ◽  
Raw Material ◽  
Recorded Sound ◽  
Art Production

Acousmatic sound art production has as its goal a transformation of recognizable recorded sound samples into new relations, effectively hiding the origin of the raw material so as to focus on an experience of pure sound. The author defines the “live” as the “life” from which these samples are pulled, and considers the ways in which the biography of the sample troubles acousmatic art.

scholarly journals SUGRA: TOKOH PERINTIS DAN DINAMIKA TARLING INDRAMAYU (1930-1997)

2020 ◽  
Vol 12 (2) ◽  
pp. 261
Author(s):  
Lasmiyati Lasmiyati
Keyword(s):  
Field Studies ◽  
Musical Instruments ◽  
Musical Performance ◽  
Art Galleries ◽  
Historical Approach ◽  
Historical Methods

Penelitian tentang Sugra dilakukan dengan tujuan untuk mengenang tokoh perintis tarling di Indramayu yang selama ini kurang dikenal di kalangan luas. Penelitian ini menggunakan metode sejarah dengan pendekatan sejarah biografi. Pengumpulan data dilakukan dengan wawancara, studi lapangan, dan studi pustaka. Hasil yang diperoleh dari penelitian ini menunjukkan bahwa  tokoh tarling di Indramayu  dibedakan menjadi dua: tokoh perintis dan tokoh pengembang. Tokoh perintis adalah Sugra. Ia hanya menekuni kesenian tarling di wilayah Indramayu, walaupun  pernah bermain tarling di Cirebon. Tokoh pengembang adalah  mereka yang mampu mengembangkan kesenian tarling ke Cirebon, walaupun mereka berasal dari Indramayu. Walaupun Sugra hanya bermain tarling di Indramayu, masyarakat Indramayu tetap menganggap Sugra sebagai perintis tarling. Sugra juga mampu mengajak pemuda Kepandean untuk bermain tarling, walaupun peralatannya masih sederhana. Tugu tarling didirikan di tempat Sugra merintis kesenian tarling. Nama Sugra pun diabadikan menjadi nama gedung kesenian Mama Soegra dan rumah seni  Griya Sugra.The study on Sugra was carried out with the aim of perpetuating the existence of the Indramayu tarling music pioneer for the reason of his less well-known. It used the historical methods with a biographical historical approach. The data was collected by means of interviews, field studies, and literature studies. Studies have shown that the leading figures of tarling music in Indramayu involved the pioneer and the settlers. The pioneer was Sugra. He devoted himself to his work as a tarling musician in Indramayu. Furthermore, he also promoted tarling music in Cirebon. Moreover, settlers were generally those originating from Indramayu and were considered as the key musicians in the development of tarling music in Cirebon. Despite Sugra’s stage was limited in Indramayu, the locals still consider him as the pioneer of tarling.  With his simple musical instruments, he visited a group of youths in Kepandean sub-district, playing music, and conducting sing-alongs. A monument forming tarling musical performance was erected in Indramayu to his memory. His name was even continued in that of two art galleries Mama Soegra and Griya Sugra.

Sharing John Blacking

2018 ◽  
pp. 214-238
Author(s):  
Andrea Emberly ◽  
Jennifer C. Post
Keyword(s):  
Case Studies ◽  
Western Australia ◽  
Historical Data ◽  
Musical Instruments ◽  
Musical Performance ◽  
Children's Music ◽  
Field Recordings ◽  
Performance Context ◽  
The University ◽  
Supporting Materials

As ethnomusicological collections become accessible to individuals, communities, and institutions beyond the scope of the original collector, their contents are often repurposed, reimagined, and reinformed. With the growing engagement with repatriation by archives, individuals, and institutions, field recordings, fieldnotes, images, and other supporting materials offer tangible and intangible records of musical performance, context, and historical data to scholars and the communities that first offered their music for scholarly research. Drawing from the Vhavenda materials in the John Blacking collection housed at the University of Western Australia, this chapter uses two case studies, on children’s music and musical instruments, to explore some of the myriad issues surrounding the repatriation of a historical ethnomusicological collection. The goal is to help shape how future archivists, scholars, and communities engage with archiving and repatriating ethnomusicological collections.

Semiotic approaches to “traditional music”, musical/poetic structures, and ethnographic research

Semiotica ◽  
2019 ◽  
Vol 2019 (229) ◽  
pp. 123-150
Author(s):  
Irene Theodosopoulou
Keyword(s):  
Field Research ◽  
Traditional Music ◽  
Musical Instruments ◽  
Musical Performance ◽  
Ethnographic Research ◽  
Analysis Tool ◽  
Musical Analysis ◽  
Semiotic Approach ◽  
Modal Systems

AbstractThis text is a first attempt of approaching traditional music, musical/poetic structures and ethnographic research semiotically. The basic elements of traditional music (motives, rhythms, phonetics, performance speeds, modal systems, musical instruments, repertoire), the musical/poetic structures with morphological types and formulas (musical and poetic), musical and non-musical codes (verbal and nonverbal) during a musical performance (nods, movements, etc.) as well as the ethnographic research itself with its own “performances” (discussions with musicians, recordings, transcriptions, analyses) constitute groups of “signs” and codes that, combined together, create complex frames of meanings and re-definitions not only among musicians and revelers but also among ethnographers and their interlocutors and among ethnographic “texts” and their representations after multiple readings. This text presents elements that emerged after an enduring field research in Crete (1998–2008). The use of semiotics in the study of traditional music and musical analysis can constitute a useful analysis tool for ethnographic research from planning to composing ethnographic “texts” (texts, transcriptions, analyses). This text highlights the necessity of initiating a dialogue concerning the aspects and perspectives of a semiotic approach to musicology and music ethnography.

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