Introduction to Sound Art
As humans we live in a visually dominated world. Through music and sound we develop our listening skills which enhances our imagination and the world in which we exist.
There is a difference between sound and music. Music is often played by conventional instruments following traditional forms of scales, harmony and rhythm. Often the focus is on the instrument rather than the sound that is made. Musical sounds are deemed limited by sound artists.
Sound
Sound art uses unconventional sounds not usually associated with music.
Sound cannot be seen, touched or felt – unlike other art media. It has no body. It is a process of movement, vibration and energy. When the sound is removed, only a fading memory is left with the listener.
Listening
As the focus is often on the instrument as opposed to the sound we should strive to develop a concentration on the process of listening. There is a big difference between hearing and listening. Hearing is often passive and we tend to block out much of what we hear. Listening is active and requires concentration, curiosity and connection with the sounds. We can ask questions of these sounds and how they relate to other sounds. This can mean that we are in fact act as the composer and this helps us to perceive, understand and raise our consciousness via emotions and meaning. Listening is a creative process and has helped lead to the development of the sound art field.
Process of Sound Art
Sound artists use sound as an integral part of their creative process.
Sound art can be expressed in a variety of ways – through performance, recording, installations – examples – sound sculpture, collage, interaction, architectural space, acoustics, electronics, field and found recordings, architecture, film or video. Some sound artists investigate the political / cultural implications of sound.
My personal focus is on using natural sounds and samples and manipulating them often down to the microsonic level using appropriate electronic devices. To do this I often record in the field with a variety of microphones and techniques. I also utilize found sound. Ecology, noise pollution, nature and urban spaces and all play a part in my sound expression.
History of Sound Art
Artists worked with sound through the 1900s but the term ‘sound art’ was first used in 1983 and really came into prominence in the late 1900s, early 2000s.
Archaeoacoustics - the study of sound at the archaeological sites. Clapping at pyramids – bird sounds - the call of the Quetzal bird. Built with sound in mind.
Edison invention of audio recording in the late 1800s.
Italian Futurists led to Luigi Russolo‘The Art Of Noises’ manifesto in 1913 using new technology such as automobiles and industry.
Dadaists in Switzerland 1916 developed theatrical presentations of sounds.
From 1922 to 1932 Kurt Schwitters a Dadaist composed the Ursonate, a piece for solo voice that is neither singing nor speaking.
1948 Pierre Schaeffer records Panorama of Musique Concrete - the art of recorded sound.
1952 John Cage composes ‘4’ 33”’ of silence. The focus is away from the musicians and on to the listeners and what they hear.
Fluxus an art movement from the 1960s influenced by art movements such as Futurism, Dada, Surrealism as well as contemporary practice in music, theater and poetry.
1966 - 1968 Max Neuhaus develops Field Trips Thru Found Sound Environments a precursor to sound walks.
1960s La Monte Young pioneered drone music with the Theater of Eternal Music and worked with artists including Tony Conrad, Pandit Pran Nath, John Cale, Terry Riley, and Marian Zazeela (Dream House).
1961 Conceptual Art - based on Marcel Duchamp who developed the art of ideas rather than the art of visual images (1917 – The Fountain). Sound was part of this movement.
1969 Alvin Lucier - I am Sitting in a Room. Narrated text rerecorded over and over – exploring resonant frequencies.
1970s R. Murray Schafer devised The World Soundscape Project - listening to our environment.
January 1 2000 Longplayer a sound composition by Jem Finer started to play. It will continue to play for 1000 years
1977 John Cage staged one of his versions of a piece called Empty Words. Removing and redistributing silence while speaking text. Abstract language.
1979 La Monte Young and Marian Zazeela made a sound and light piece as an installation that was just going to exist in the room. "Work that would be played continuously and ultimately exist as a 'living organism with a life and tradition of its own'".
Sound Art’s expansion during the late 1990s/2000s
Sound Recording
The invention of sound recording devices has greatly expanded the development of sound art. Sound no longer just lives on in the memory but becomes part of a physical medium. It enables greater examination and analysis of sound. It can also be processed and manipulated to offer new and unique sounds.
Electronic Sounds
Composers such as Karlheinz Stockhausen and Iannis Xenakis started to use electronic sound in compositions during the 1950s.
Digital Technology and Electronic Instruments
The development of digital technology in the late 1900s and easy access means that sound art is now open to more practitioners and artists have the option to use media such as visual images which respond to sound - or make pieces where the audience manipulates via pressure pads, sensors and voice activation.
Acoustic Ecology
Artists started using recording devices to document nature and urban soundscapes. This is often referred to as field recording. These recordings can be manipulated to produce new variations of the original recordings.
Diversity of Sound Art
Sound art is a very diverse field. Sound artists have their roots in many different forms of art/media and many work across these boundaries utilizing different forms of multimedia. Many artists refuse to accept these boundaries – or even the use of the term sound art.
Music
Fine arts
Sculpture
Installation
Performance art
Conceptual art
Spoken word
Text
Voice
Environment
Noise pollution
Ecology
Places
Broadcasting
Film
Video
Photography
© 2019 Jimmy Peggie