Noise/music
Noise/Music is about the link between noise and music, as well as the various attempts to realize noise and music. Even if this combination is thought to be incompatible, unattainable, and doomed to failure. It is a history of how noise became a resource in the twentieth century, how it was assimilated into musicality and how it was rejected, all while taking place in musical spaces. While the book progresses through the history of movements, tactics, and practices, the question of whether we may do so legally pervades the whole work. What noise is or what it is meant to do alters the rough history, which implies that any noise narrative is interrupted and disrupted.
The entire is founded on the premise that noise is a negative (it can never be favorably, decisively, and forever positioned), a position of resistance, but also characterized by what society resists. In reality, this implies that detecting noise in a musical piece is merely the first step; the second step is to view noise as the first explicit link between noise and non-noise. This can be internal to the work, or it can refer to its relationship to institutional practices, musical conventions, society as a whole, or anything else that appears to be related to noise, but is always inextricably linked to it and it’s definition. The entire is founded on the premise that noise is a negative (it can never be favorably, decisively, and forever positioned), a position of resistance, but also characterized coteries by what society resists. In reality, this implies that detecting noise in a musical piece is merely the first step; the second step is to view noise as the first explicit link between noise and non-noise. This might be internal to the work, or it can refer to its relationship to institutional processes, musical norms, society as a whole, or anything else that appears to be connected to noise, but is always inextricably linked to it and it’s definition.
I didn’t read all the chapters because the book is so thick. ‘Japan’ and ‘Sound art’ these two chapters were informative and provided valuable information about the respective topics.
Japan
I think there is more noise in Japanese noise music, both in terms of volume and distortion, than in music that has a clear purpose. This type of music must be contrasted with music that is more musical and has a clear purpose. Therefore for me the non-musical and non-musical elements of Japanese noise music make it difficult to appreciate and understand.
For me Japanese noise music is more than just noise in music. It exists as a separate category from both noise and music. I think this is due to the fact that Japanese noise music is closer to real noise music, like it is what noise music was supposed to be. In other words, it is a unique type of noise music and I hope to be able to use this style in my project.
Japanese noise music is a loose, delightfully futile and simplistic genre that combines musicians with vastly different styles (many of whom vary enormously in their own recordings and performances, such as Keiji Ueno or Yoshitomo Otomo). With the massive growth of Japanese noise, eventually, Noise Musik: became a genre – a genre that wasn’t one, to paraphrase Luce lrigaray. In other words, it is not a genre, but it is also a genre with a multiplicity and characterized by that multiplicity. This means that, as a genre, it is neither arbitrary nor quasi-scientific, nor do we derive much definition from it. Japanese noise music can come in all sorts of styles, referring to all other genres, just as science fiction does, but the point is that the question of genre is raised – what does it mean to be categorized, to be categorizable, to be definable that’s what ties it together as a genre.
Sound art
In noise music, the art of sound is not limited to any one form of expression. Instead, noise elements and recordings can be used to create a unique listening experience. By being aware of the different ways noise can be used, I can create new and innovative ways to experience noise music.
Sound installations, performances, recordings, whether for direct public consumption or as purchasable objects to listen to at home, interactive pieces, works meant for headphone usage, sound transmission (often from other locations). Each of them has several vanants. The most essential aspect might be the sound source itself, or the listening process it establishes. Sound art is more than just sound used as art.
Sound art, like ‘noise music’, is a-noisy genre, something porous and very hard to define, but as I will argue below , follow ing Krauss ‘ take on minimalist sculpture, it is too self-contain ned , and sets up the list new as self-conte lined, in order to challenge not sufficiency, but only the way in which that has been constructed (i.e. it’s going to ‘make you think’, and In so doing reveal to the listening subject some part of a hitherto hidden sound reality).
In bridging the visual arts with the sonic arts, creating an interdisciplinary pracbce, sound art fosters the cultivation of sonic materiality in refation to the conceptualization of auditory potentiality. While at times Incorporating, refer- ring to, or drawing upon materials, ideas and concerns outstde of sound per se, sound art nonetheless seems to position such things in relation to aurality,
BrandonLaBelle
Hegarty, P. (2015) Noise/Music: A history. New York, US: Bloomsbury Academic.