Experimental noise, noise music in general, is characterised by music that is outside the mainstream and often utilises unconventional sounds, song structures and instrumentation. If there are lyrics, they are often abstract and open to interpretation, rather than telling a concrete story. Experimental music can sound challenging at first, but for many people that is part of its appeal. For me experimental, noisy music is lyric-less, devoid of the pop melodies I was used to, full of current sounds and disorderly murmurs. These descriptions are somewhat stereotypical, but listening to the noise music that has been produced is for the most part similar. The music produced by noise artists is often harsh and crude, making it difficult for the listener to appreciate. However, many noise artists use their music to explore different textures and timbres, creating unique and interesting soundscapes. Some noise artists are more concerned with creating an atmosphere or mood, while others focus on creating rhythms and patterns. Regardless of their approach, noise artists often push the boundaries of what is considered music, and their work is often highly experimental. Noise artists attempt to disrupt the status quo and try to push the boundaries of sound art. There is a great deal of creativity and diversity in noise art, as artists are constantly pushing the boundaries of what is possible in this medium. This can be seen in the work of artists who use unusual or unconventional sources of sound, or in those who explore new ways of creating sound. These artists are constantly trying to find new ways to create noise music that is both innovative and accessible to a wider audience.
Wang Furei is an artist who is very good at exploring new situations in noise music. And I really like Wang Furei’s quote about how noise appears in all parts of life and want to explore more ways of using noise music.
“To me making noise is diverse, and even if it is noise, I wouldn’t want to just stick to that noise.”
Wang Furei
https://www.youtube.com/watch?v=j-ES3BkXZHQ
Noise is the New Silence
Noise is the New Silence
Noise is the New Silence is an immersive sound installation, using omnidirectional speakers dispersing the noises recorded from the artist’s own body during dialysis treatment. The continuous, multi-layered, reverberating sound creates a borderless closeness, yet infinitely distant immersive soundscape, capturing mind and body to awaken a deep inner consciousness.
(就在藝術空間 Project Fulfill Art Space, n.d.)
Body Noise
Body Noise is based on the internal sounds during Wang Fujui’s regular kidney dialysis treatment, captured into a custom-made record. The artist was diagnosed with acute late stage kidney disease in 2019. To maintain normal functioning of the body, the artist underwent vascular access surgery, where a fistula connecting an artery and vein in the arm, allows the body’s blood to flow out and filtered through an external dialysis machine, then re-enters the body having been cleaned of toxins. The rapid flow of blood that the artist heard was a soft low-frequency rustle, like wind blowing. For this artwork Wang used a highly sensitive contact microphone and piezoelectric sensor to record the body’s vibrations, recording his own blood vessels, the sound of an internal disturbance and the body’s will to survive.
(就在藝術空間 Project Fulfill Art Space, n.d.)
The first time I heard about the concept of body noise, I was really inspired. It’s a great way to think about the sounds our bodies make and how they can be used to create music. I’m excited to learn more about this concept and explore its potential. I can put the noise inside the body in the subject of ‘the body’.
I wrote all the keyboards on the cards and drew notes at random and put the notes together. I also have 78 cards, 61 of which belong to keyboards and 17 of which are about rests and rhythms. Here is a video demonstration of the first vignette.
Merzbow’s music is known for its intricate and detailed soundscapes. His compositions are full of subtle nuances, layers of texture, and often complex patterns that create a unique soundscape. This level of detail is a trademark of his work and is something that sets him apart from other noise artists. Listening to Merzbow’s music can be a captivating experience, as one is able to pick up on the many layers of detail within the music. In comparison to other noise music artists, Merzbow’s music stands out for its level of detail. His compositions are often much more intricate and complex than those of other noise artists. This level of detail allows listeners to pick up on the many layers of sound present in his music and appreciate the intricate soundscapes that he creates. Merzbow’s music is truly a testament to the power of noise music and its ability to create captivating soundscapes. Merzbow has a long history of collaborating with other artists to create innovative and experimental sounds. His collaborations have spanned genres, from rock and metal to techno and electronic. He has also worked with experimental jazz, classical, and avant-garde musicians, creating a unique mix of sounds that can only be described as Merzbow-style noise music.
Merzbow’s music is highly adaptable, able to be used in a wide range of contexts. It has been used in experimental installations, such as audio-visual collaborations with visual artists, and in live performances, as a form of experimental electronic music. His music is often described as harsh and abrasive, but it can also be used to create surprisingly beautiful sounds and textures. The use of Merzbow’s music in different contexts allows for a great degree of creativity and experimentation. Merzbow’s music is also highly accessible. It is often performed with traditional instruments, such as synthesizers and drum machines, but can also be used with software and hardware, or even acoustic instruments. This makes it easy for musicians to use Merzbow’s music in their own work, regardless of their level of skill or experience. The range of possibilities for creating music with Merzbow’s music is vast, allowing for a great deal of creative freedom.
Merzbow’s noise music is a great source of inspiration for any aspiring musician. The level of detail in Merzbow’s music, his willingness to collaborate with other artists, and his adaptability to a wide range of contexts are all aspects that we can learn from. Merzbow’s work is a testament to the power of experimentation and creativity in music, and a reminder that music should never be seen as a static art form. By looking to Merzbow’s music, we can explore new and innovative ways of creating sound and pushing the boundaries of music.
Since project 1 is in the form of an album I wanted to showcase a little bit more genre music. I already have a preliminary idea of what I want to do with the music in project 1, I want to make noise music and experimental music (vocals). First of all, I researched experimental vocal in great detail during my last semester and found it to be extremely fascinating. Consequently, I decided to continue investigating it further and expanding my knowledge on the subject. I firmly believe that this type of music is important and warrants further exploration. Here I will briefly introduce the vocal experiment. The Vocal Experiment is a recording that is designed to investigate vocal technique. The recording features a range of different vocal techniques being explored in a variety of different ways. The hope is that by investigating these techniques, we can learn more about the potential of the voice and how to best use it. The Vocal Experiment is an ongoing project, and we invite anyone who is interested in exploring their vocal potential to join us. This kind of research is more respectable than that of a faceless singer, and there is no such thing as listening to or enjoying experimental music, it’s just about exploring the nature of sound. I think the vocal lab is very difficult because it tests the emotion and state of mind of the player at the time of the recording. As a result there are so many defective pieces and so few good ones. For more information on vocal experimental music and artists, see my previous blog at:
I think I have a general idea about noise music, but I’d still like to continue investigating.
Turning back to sound in project 1, as it’s an album there can’t be just one song so I’ve divided the sound themes into four based on the theme – the male gaze. The four themes were: body, looks, middle-aged women and Spiders
For the body theme I needed to record sounds such as: the sound of high heels, zips, fabric rubbing/tearing, running or panting from exercise. As this is noise music I can’t use the recorded sounds directly I will distort them in the plugin and select the sounds I need to create.
For the figure theme, I will record skin care sounds and plastic surgery sounds. I will use a variety of sounds to create an interesting and realistic recording. I will pay attention to detail when recording, to ensure that the final product is of the highest quality. I will make sure to capture all the necessary sounds for the figure theme, so that the listener can fully immerse themselves in the experience. I believe that these recordings will add a unique and professional touch to the figure theme.
For the middle-aged woman theme I needed to record sounds such as: sweeping, rice cooker sounds, middle-aged woman sounds and walking sounds. I wanted to do this theme because when I was picking out a gift for my mum I noticed that a lot of people on the internet were recommending me to buy a floor sweeper, a rice cooker and a dishwasher. I really thought it was strange that I didn’t think these were suitable gifts. A floor sweeper, rice cooker and dishwasher can be collectively referred to as household items and I can buy them whenever I want rather than giving them to my mum as a birthday present. It’s as if they (mums) do the housework and take care of the family as a matter of course. And it’s interesting that when you go to watch TV shows or movies (especially Asian movies), middle-aged women are portrayed as bulky, unrefined and housebound. This stereotype of masculinity makes me feel very uncomfortable. So here I will include some life experiments to vent (to fight) some emotions. I can also add some female voices. I didn’t actually know what to do at the beginning until I saw this video. I think I have found my creative direction.
For the Spiders theme I need to record : Eating sounds, knitting sounds and experimental vocals.
I chose to read this book because of the chapter ‘HEBREW CANTILLATION AS AN INFLUENCE ON COMPOSITION (1982)’, in which Steve Reich talks about the culture and structure of chant. The word anthem derived from songs with the meaning of praise. Today, chant is often used to describe religious singing or simply any type of singing that is done in a group. I find the history of chanting and its place in various religions and cultures fascinating, and I am eager to learn more about the mechanics of how chanting works. The chant is religious and mystical to me, and I hope to gain some structure and knowledge of occult music from within this chapter. Ultimately, I hope I can write music with religious overtones.
Steve Reich
Steve Reich has been called “the most original musical thinker of our time” (The New Yorker) and “among the great composers of the century” (The New York Times). Starting in the 1960s, his pieces It’s Gonna Rain, Drumming, Music for 18 Musicians, Tehillim, Different Trains, and many others helped shift the aesthetic center of musical composition worldwide away from extreme complexity and towards rethinking pulsation and tonal attraction in new ways. He continues to influence younger generations of composers and mainstream musicians and artists all over the world.
Reich, S. (2022). Biography. [online] Steve Reich. Available at: https://stevereich.com/biography/ [Accessed 20 Nov. 2022].
Writings on Music 1965–2000
ta’amim
In technical terms, the ta’amim are classified as “ecphonetic notation” or “early neumes.” They are defined as follows: Ecphonetic notation: Originally they were simply signs added to the text in order to clarify its sentence structure, comparable to present-day punctuation marks. Later these signs adopted a musical significance. . . . Ecphonetic signs occur in Syrian, Jewish, Byzantine and Coptic manuscripts from c. 600 to 1000 and later. In Jewish chant they developed into fuller musical notation, the ta’amim which is used to the present day. (Reich, 2022)
Major and minor keys
While the melodic structure of Torah accentuation is basically in major, the Prophets are basically in minor. In the case of the Song of Songs, some of the accents are in major, others in minor, and some in the Phrygian mode. (Reich, 2022 )There is no definitive answer to this question. However, there are certain characteristics that are often associated with carols. These include a focus on the Nativity, a joyful or triumphant mood, and a simple melody that is easy to sing. There are a variety of factors that contribute to a piece of music being considered a carol. The key may have an influence, but it is not the primary reason. Other elements, such as the melody, lyrics, and overall tone of the piece, are typically more important in determining whether a piece of music is a carol.
pan-Asiatic
Dr. Avigdor Herzog, in his article on the biblical accents in the Encyclopedia Judaica, (1972) observes as follows: A comparison with practices of scriptural reading in other religious traditions such as Vedic recitation in India or Buddhist recitation in Japan and other countries reveals that none is spoken or sung but they are cantillated; that this cantillation is based upon strict conventions handed down by oral tradition (which were described explicitly only in the respective Middle Ages of each culture): and, most important, that a basic similarity of constructive principles, not of melodic content, 13 can still be recognized in all such practices throughout the Asian continent, including all Jewish traditions throughout the Diaspora. This “pan-Asiatic” style must already have been present in cantillated Bible reading in the synagogue preceding the period in which the system of written accents began to be developed. (Reich, 2022 ) I found the religious chanting both intriguing and moving. Many people singing in unison is powerful and moving. I found myself drawn to explore further the structure of the chanting, the melodies and the instruments. As I do not know much about Jewish chanting, I cannot go into the specifics of this practice. I do, however, have some knowledge of Buddhist cantillation, influenced by Asian culture. I can start by analysing Buddhist cantillation.
Eight Lines
This is Steve Reich’s music based on HEBREW CANTILLATION particularly of the flute and piccolo melodies (Reich, 2022, 113–14, 118).
Eight Lines
Reference
Reich, S., Hillier, P. and Oxford University Press (2018). Writings on music : 1965-2000. New York: Oxford University Press, Druk.
Tarot – sound art legacy, chance operations, John Cage – Use of I Ching – Inderterminacy
Artist：
John Milton Cage Sharon gal
Artwork：
Brian Eno Oblique Strategies
Artist
John Milton Cage
This is where I need to learn, the randomness that comes with the occult. The phrase “Music of Changes” has a number of different connotations. The Chinese oracle book I Ching, often known as the Book of Changes, is one of them. The alteration in Cage’s compositional vocabulary is another, more intimate allusion. To build several charts for the music’s numerous parameters—tempo, dynamics, sounds and silences, durations, and superimpositions—Cage used I Ching chance operations. Using these charts, he produced a piece that is fully notated and uses the traditional notation system of staves and bars. In addition to using the keys, the piano can also be performed by slamming the keyboard lid, playing cymbal beaters on the strings, plucking the strings with the fingernails, and more. Additionally, pedalling is fully noted. In the proportional notation, 1 inch equals a quarter note. The 3-5-634-634-5-31/8 rhythmic structure is represented by varying tempos, including the usage of accellerandos and ritards.
Sharon gal
My work relates to sound, architecture, live performance and participatory art. It explores embodiment, presence, listening, the psychology of sound and the relationship between people, sound and space. Past performances include; The V&A, Science Museum, ICA, The Whitechapel Gallery, Arnolfini Gallery, Tate Modern & Tate Britain, MACBA, and Colour Out of Space, Borealis, Supernormal ,Supersonic and TUSK festivals.
Gal, S. (2012). About Sharon Gal. [online] sharongal. Available at: https://www.sharon-gal.com/about-test [Accessed 2 Nov. 2022].
Sharon Gal says that the card game Etudes is inspired by the Tarot. The number of cards in Etudes (78) is the same as the number of cards in a Tarot deck. Etudes is played in a similar way to Tarot, with players using the cards to explore their music style. Etudes is a website that contains music scores and propositions that can help stimulate a person’s imagination and creativity. It is a great way for anyone who loves music or is looking for new and interesting ways to create it. There are scores and propositions for groups and phrases, so anyone can find something that will work for them. Etudes is a great way to explore music and create something new and exciting.
Artwork
Brian Eno Oblique Strategies
This one is very similar to Etudes in that they are both card-based games with a lot of random elements. In both games, players draw cards and use them to perform actions.
This tutorial provided a lot of new ideas and research directions.
Artists to focus on: Evicshen Aja Ireland James Merry
Evicshen
Evicshen
Victoria Shen is a San Francisco-based sound artist, experimental music performer, and instrument maker.
Shen’s sound practise is concerned with the spatiality/physicality of sound and its relationship to the human body. Her music incorporates analogue modular synthesisers, vinyl/resin records, and custom electronics. Shen uses what she calls “chaotic sound” to oppose signal and information, eluding traditionally embedded meaning by eschewing harmony and rhythm conventions in favour of extreme textures and gestural tones.
s h e n, v i c t o r i a (2019) E V I C S H E N, e v i c s h e n. Available at: https://evicshen.com/ (Accessed: November 1, 2022).
The first time I listened to her music it gave me an eerie feeling. She has a very unique way of thinking about music, the way it is made. She uses these different sound elements to create an original and atmospheric soundscape. By using her special compositional techniques this allows her to create a more personal and intimate experience for her listeners. Her “materiality, value, and mass production” integrates and re-contextualizes readymade and assembly techniques. In addition, her use of her body as a sound space allows her to create a more unique and personal experience for her listeners.
What I can learn：
Victoria Shen makes small handcrafted items, has unusual noises, and so on as part of a vast and inventive repertory of sound enhancement design. The combination of matter and sound as one allows the audience to see the sound.
Aja Ireland
Aja Ireland
AJA’s industrial rhythms and distorted drone, paired with a psycho-visceral, dramatic performance, pushes the audience by breaking down barriers and pushing limits musically and visually, using unnerving sounds, anguished cries, hand constructed electronics, and odd objects driven through pedals. AJA’s music has been performed at Berlin Alternative Fashion Week for designer LU LA LOOP, live on NTS Radio, and she was nominated for the Oram Award supported by the PRS foundation after creating the sound soundtrack for artist Joey Holder’s piece “Ophiux.” Her most recent release “Pageant Crack” is available on Opal Tapes, and she also appears on Perc’s new album “Bitter Music” on the tune “Spit.”
AJA. (2018) About, ajamusicblog.wordpress.com. Available at: https://ajamusicblog.wordpress.com/about/ (Accessed: November 1, 2022).
I listened to her music album ‘OPAL TAPES’. The album has an electronic and repetitive quality. I liked the album because it was different from anything else I had heard before. The album was also well-produced and had a lot of variety. Overall, I thought it was a great album.
Her music is interesting because it is unique. It is not like anything else that is out there. It has a certain quality that makes it stand out. It is this quality that makes her music so interesting.
What I can learn：
By using field recordings, I can create a soundscape that is interesting and unique. This can be a great way to explore different sounds and create a piece that is truly my own. 1.Don’t be afraid to try new things and explore different possibilities in terms of production, branding, and visual performance. 2. Keep an open mind and be willing to experiment with different production, branding, and visual performance methods and approaches.
James Merry
James Merry
James Merry is a visual artist from the UK, now based in Iceland where he has worked with Björk since 2009 as a frequent collaborator and co-creative director on her visual output. He is primarily known for his hand embroidery and mask-making, and has collaborated with institutions such as the V&A, Gucci, The Royal School of Needlework, Tim Walker, Tilda Swinton ShowStudio and Opening Ceremony.
M E R R Y, J.A.M.E.S. (2022) A B O U T, jtmerry. Available at: https://www.jtmerry.com/about (Accessed: November 1, 2022).
5. exaggerating everyday sounds as the main melody of the music
6. Noise Music
Project 2:
1. The conceptualisation phase （3 ideas）
What are the key areas of interest for your portfolio?
Composing, different forms and types of creative music, preferably visually related.
Process：
Project 1: Album
Topic：Male gaze.
Male gaze means to the act of depicting women and reality from a heterosexual male perspective in visual art and in literary composition, objectifying female sexuality to please a heterosexual male audience, i.e. representing or reproducing women as sexual objects from a masculine, heterosexual point of view, for the pleasure of the heterosexual male viewer.
This is a collaborative project between me and my friends who study GMD. We have had two rounds of discussions so far. In the first discussion we had a prototype of how the work would be presented and the idea was to make it into an album combining audio and visuals. It could be a reflection on the appearance of women, the workplace and even married life. I also have a preliminary idea for the sound section, I want to use Zoom H5 to record some ambient sounds. For example, the female appearance in Male gaze, under this theme I would record the sound of fabrics rubbing together, zips, heels, male criticism when the female appearance doesn’t match Male gaze, etc.
I saw these headphones before the second discussion and they gave me a lot of inspiration.
YugxlYugxl
So I made some sketches of the headphone design, of which I like the spider the best. The spider is placed at the back of the head and looks like it is connected to the central nervous system. This is because I think that the spider represents in some way the current situation of women in society. Women need to have eight hands and eight eyes to have a chance of getting a break in the workplace, and need to work more than men to get the same or maybe a little less in return. The spider’s web is also a cage in which women are trapped in their own lives giving me the feeling of living in reality but being completely isolated. Finally, in the course of my research I have also investigated that female spiders eat male spiders after mating, and putting this in the context of females I think it could be a case of widowhood parenting (a significant absence of one parent in the family. For example, if one parent is away for a long time, or if both parents are present with the children, but there is a lack of emotional support from one of them (e.g. leaving early and returning late, children hardly see each other, no verbal communication, etc.). This form of parenting is very common in Asia and I have seen many examples of it. The most common example is when the child is with the father but the first thing they do is to blame the mother for not taking care of the child after the child has fallen and cried. Many fathers blame women for not taking care of their children by saying that they are too busy working outside the home, when in reality most women in a marriage also have to work outside the home and are not full time wives.
So I told my friend about this idea during the second discussion and she agreed, although she said she preferred to put the spider in front.
10.24
‘A Poetry of Reality Composing with Recorded Sound’
In week 5 we were asked to go to the library to find reference material and when we got back I read one of the books called ‘A Poetry of Reality Composing with Recorded Sound’. I read this article “Real-World Sounds and Simulacra in my Computer Music” by Jean-Claude RISSET, the content of it gave me a lot of new knowledge and it opened my mind to the work. It opened my mind to the work.
“This work was commissioned by the French Ministry of Culture from a project initiated by GRM and was produced between about 1984 and 1985. The work uses mainly sounds recorded in the Massif des Calanques, south of Marseille, and sounds synthesised by computer (also in Marseille). These sounds were then processed at GRM through another computer. The natural and synthesised sounds are first presented separately. As a result, real birdsong, as well as synthetic bird-like or insect-like sounds, have been spatialised. In the third movement the filtering of bird calls appears first as coloured echoes and later as a real bird ‘raga’ using defective scales. The origin of many of the sounds inferred from the embryonic material can be attributed to a ‘family tree’, showing a diffusion of sounds , similar to a rhizome.”
This is one of the pieces that I saw in there and inspired me. Using computer production to create real sounds, I felt a lightbulb moment when I saw this. It made me realise that I was really confined to my own ideas before. I could replace the sound with a specific chord or melody, for example a zip sound I could replace with a melody that climbs upwards or an interval. Not all the sounds in the piece are real, and it might be more interesting to intersperse them with real sounds and scale confrontations. It would have been too monotonous and uninteresting to just record, and I’ve tried that before. For this work I didn’t want to limit myself to what I had created before and I wanted to explore new directions.
10.25
When I was looking at the documentation I was drawn to this question “How do your proposed projects build on your previous work?”. It reminded me of my previous audio paper on experimental vocals, in which I also mentioned gender issues. The human voice is, in my opinion, the best instrument to feel emotions from. It can be the sound of a woman breaking down in the face of Male gaze, or it can be the sound of defiance.
10.28
“A Poetry of Reality Composing with Recorded Sound”.
‘Our ordinary listening is itself In going about our everyday listening lives we take-I suggest In going about our everyday listening lives we take-I suggest-several different, but interdependent, stances, which amount to a dynamic construct. -Rather than deprive us of this activity, the realworld composer can treat it as a creative force, one which may be influenced by the way we listen. Rather than deprive us of this activity, the realworld composer can treat it as a creative force, one which may be influenced, changed or subtly directed to give us an enriched understanding of real-world sounds: listening is as much a ‘material’ for the composer as the sounds themselves.”
‘Real-World Music as Composed Listening’ by Katharine NORMAN
This got me thinking about everyday neglected sounds, such as the sound of jewellery clashing together, or the sound of the palm of the foot rubbing against the inside of a high heel when wearing high heels, etc. Katharine NORMAN gives an example,
“Work Trans makes judicious use of our propensity to give ‘presence’ to loud sounds. ‘ to loud sounds.engendered by a mundane object-a weaving shuttle-is transmuted by amplification into an enlarged and alarming entity, Here, the absence of visual stimulus aids the effectiveness of a sound whose role is to momentarily confound our understanding of temporal flow.”
The mundane sound is exaggerated/distorted and distorted, even when it appears as the main theme in the piece. This is when its place cannot be ignored.
Project two ：
Idea 1:
Collaborate with film and television or animation students. Composing
Idea 2:
Start with an element I like or am interested in: the Tarot
I know a lot about the occult because I have friends and family around me who have studied astrology or the five elements of gossip. I understand that there is a musical expression of the occult called inspired music.
I read a lot of comments from listeners and they all said there were variations and had comparison charts. This struck me as shocking. So I started to think about whether this was real or just a trick of the human body on itself. Can I make the same music and record the changes in myself or in the friends around me?
Similarly I thought of，the artist I was interested in at the online sound arts guest lecture a few years ago.
She has studied the human brain and sound and has documented the state of the brain.
Is it possible to make this project into an installation? For example, observing the reactions and changes in different areas of the human brain while listening to music. Or perhaps it could just be a display of pictures of changes in the brain.
Idea 3:
(A musical tarot?) Anxiety?
This idea is sort of a derivative of idea2, all based on the occult
The influence of people around me, and the Chinese tradition of feng shui fortune telling. I live in a world surrounded by the occult. So I would subconsciously seek answers from the Tarot or the Five Elements and Eight Trigrams, which would make me feel very secure. It’s more like soothing my anxiety than being superstitious. I want to see the outcome before it happens, I want to see my finality when everything is just getting started. Seeing the future through the guidance of the tarot cards, I would have a lot of fantasies in the process. The times when reality and illusion intermingle are also the times when I can escape reality and relieve my anxiety the most.
How the work is presented
Method 1: Interaction design A random tarot card appears when a person is sensed to appear in front of the screen.
78 Tarot cards 22 core cards : a continuous piece of music divided into 22 parts 56 smaller cards (divided into four groups) : each group has a different form of music
Method 2: When the person appears in front of the screen is drawn idle, realistic and virtual sounds can be heard
The definition of noise and experimental noise is a perplexing, discordant sound that fluctuates in pitch and intensity. It is necessary for the listener to have the desire to listen to it as well as the impatience to be the natural adversary. Noise Music No. 2 Noise music is a musical school that can be traced back to the 1913 manifesto of futurist painter Luigi Russolo, who published the “Art of Noise.” It is further classified as electronic acoustic, ambient, and figurative music. The following are some of the more noisy music I like/am interested in.
Experimental noise is broadly divided into the following sections: violent sampling/pastiche, neo-psychedelic/neo-improvisation, avant-garde electro/computer music, noise music, sound art, and contemporary serious music. Avant-garde electro/computer music refers to non-disco pop dance music represented by Japanese artists such as Ryoji Ikeda and Nobukazu Takemura. The compositions are either a quiet current dance with micro waveforms, or a vivid mixture of electric objects colliding and mutating, again without any melodic tonality, again without any rhythmic elements, but so new that you would think you were on an alien planet! The listener needs to have the will to listen to it, and the impetuousness is the enemy.
Experimental noise
Sound Art “Sound art” is the art of stripping away the melodic, instrumental and vocal elements that are so commonplace and traditional that they seem inevitable for the production of “music”, and making something that is fully convincing and “artistic”, suitable for a sound biennial, not necessarily for the human ear, and extremely original and fresh in its motivation. It can also be subdivided into electronic soundtracks, ambient music, figurative music, etc. They are represented by Japanese artists such as Koji Marutani and Toru Yamanaka. Their work often permeates the fields of visuals, sound, performance, dance, video, installation, technology, etc.
Sound Art
Violent Sampling/Patchwork Ryoei Otomo / Sachiko Matsubara Otomo’s work is very diverse and has been heavily involved in the creation of film soundtracks and modern dance scores, in addition to radical noise-sampling collages.
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.
Noise music is made up of noises. There is no fixed pitch, and the vibrations of the tones are irregular. The music is made by creating a noise, and then shaping it into a desired sound. The sound can be created by any means, including electronic or natural means. It seems to me that noise music is very young in the history of music in general. Even though it has been around for almost 100 years since its origins, the system of noise music is still being explored. In fact, in the course of my research I had confused experimental music with noise music, thinking that they were the same genre. In fact, they are not. Noise music is (partly) a subset of experimental music. Music artists refer to noise in experimental music as experimental noise.
It was the first noise music I ever heard, because the genre was so specific that I can still remember how I felt. My first feeling was that I didn’t have a clue and my second feeling was that my ears hurt. To be honest the genre of noise music really hit home and piqued my curiosity the sounds inside were fresh. Noise music genres are often self-conscious in a way that doesn’t need to be understood by others. This can be seen in the way that noise music often relies on unusual or abstract sounds to communicate its messages, as well as the way that noise music often features lyrics that are intended to be interpreted in multiple ways. These self-conscious tendencies can make noise music difficult to enjoy for those who are not familiar with it, and can sometimes lead to the genre being seen as over- intellectualized or artificial.
This is one of the noise tracks I really like, compared to the high frequency noise of Pulse Demon this one has a hazy feel to it. It’s very much like listening to this music underwater and the frequency makes me feel very comfortable.
