跳至內容

使用者:Si Tao Yang/沙盒2

維基百科，自由的百科全書
噪音音樂
風格起源現代主義、電子音樂、未來主義、達達主義
文化起源20世紀初的歐洲
典型樂器電子樂器、效果器、數位音樂工作站、麥克風、擴音器
衍生形式故障音樂、噪音搖滾、工業電子、低保真音樂
地區樂壇
日本噪音
當地樂壇
日本、歐洲、北美洲
其他主題
氛圍音樂、前衛音樂、電子音樂、實驗音樂、激浪派、自由即興、隨機作曲、噪音藝術家列表、微聲、具象音樂、低保真音樂、表演藝術、聲音裝置、超現實主義

噪音音樂（英語：noise music）是音樂中的一個門類，擁有廣泛的風格類型。其特點是在音樂的語境中運用大量噪音作為表現方式。這種類型的音樂常常會挑戰傳統音樂實踐中樂音與非樂音的之間的分界線。[1]

噪音音樂的的聲音來源沒有具體的限定。不論是是電子設備或原聲樂器、傳統樂器或實驗性的樂器，都可能被用於創作做噪音音樂。具有噪音特徵的聲響可能源於現場演出的器械、特殊的人聲技巧、音頻設備的改裝、錄音文件的再處理、電腦合成、隨機生成程序、以及其他種種錯亂的信號例如失真、反饋、底噪等等。噪音音樂常用的手法有即興演奏、拓展技巧、不和諧音以及隨機作曲。在許多情況下，它規避了旋律、和聲、節奏等音樂傳統的束縛。[2][3][4][5]

在藝術史中，未來主義運動對噪音美學的發展有很大的影響，同時還有達達主義運動［其標誌性事件是1919年4月30日在柏林舉行的「反交響」（Antisymphony）音樂會］、[6][7] 以及之後的超現實主義運動和激浪派。尤其是激浪派的藝術家喬伊·瓊斯（Joe Jones）、刀根康尚（Yasunao Yone）、喬治·布萊希特（George Brecht）、羅伯特·沃茨（Robert Watts）、沃爾夫·福斯特爾 （Wolf Vostell）、迪特·羅特（Dieter Roth）、小野洋子（Yoko Ono）、白南准（Nam June Paik）、沃爾特·德·瑪利亞（Walter De Maria）、米蘭·克尼扎克（Milan Knížák）還有早年的拉蒙特·揚（LaMonte Young）以及小杉武久（Takehisa Kosugi）.[8]

當代噪音音樂常常與極端的音量與失真的相聯繫。[9] 在實驗搖滾領域中，盧·里德（Lou Reed）的作品《Metal Machine Music》和美國樂隊音速青年（Sonic Youth）都是很突出的例子。[10] 在其他領域中，作品以噪音為基本特徵的藝術家（或者作品）還有：伊阿尼斯·澤納基斯（Iannis Xenakis）、卡爾海因茨·施托克豪森（Karlheinz Stockhausen）、赫爾穆特·拉亨曼（Helmut Lachenmann）、科內利烏斯·卡迪尤（Cornelius Cardew）、恆音劇院（Theatre of Eternal Music）、葛林·布蘭卡（Glenn Branca）、瑞斯·崔瑟（Rhys Chatham）、池田亮司（Ryoji Ikeda）、生存研究實驗室（Survival Research Laboratories）、Whitehouse、Coil、秋田昌美（Merzbow）、伏爾泰小酒館（Cabaret Voltaire）、通靈頻道（Psychic TV）、 尚·丁格利（Jean Tinguely）的聲音雕塑的錄音(尤其是《Bascule VII》)、赫爾曼·尼特西（Hermann Nitsch）的音樂作品《Orgien Mysterien Theater》, 還有拉蒙特·揚在1960年代用琴弓拉鑼的手法創作的作品。[11] 類似工業音樂、工業科技舞曲、lo-fi音樂、黑金屬、污泥金屬（sludge metal）和故障音樂都以噪音為其基礎素材。[12][13]

定義

根據丹麥音樂與噪音理論家托本·桑吉爾（Torben Sangild）的看法，用一個孤立的定義來解釋音樂里的噪音是不現實的。桑吉爾特意給噪音提出了三種基本定義方式：第一種基於音樂聲學，第二種建立在通訊信號的失真和干擾意義之上的定義，第三種則根據人的主觀臆斷(一個人所認為的噪音對於其他人也許不是；過去令人不悅的聲音在今天也許不然).[14]

默里·謝弗（Murray Schafer）認為存在四種形態的噪音：無用的（令人厭惡的）噪音、非音樂的聲音、任何巨響、還有在任何傳輸信息的系統中的干擾（例如電話通信中的底噪）。[15] Definitions regarding what is considered noise, relative to music, have changed over time.[16] Ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethoven's Grosse Fuge (1825) "sounded like noise" to his audience at the time. Indeed, Beethoven's publishers persuaded him to remove it from its original setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro. They subsequently published it separately.[17]

In attempting to define noise music and its value, Paul Hegarty (2007) cites the work of noted cultural critics Jean Baudrillard, Georges Bataille and Theodor Adorno and through their work traces the history of "noise". He defines noise at different times as "intrusive, unwanted", "lacking skill, not being appropriate" and "a threatening emptiness". He traces these trends starting with 18th-century concert hall music. Hegarty contends that it is John Cage's composition 4'33", in which an audience sits through four and a half minutes of "silence" (Cage 1973), that represents the beginning of noise music proper. For Hegarty, "noise music", as with 4'33", is that music made up of incidental sounds that represent perfectly the tension between "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music from Erik Satie to NON to Glenn Branca. Writing about Japanese noise music, Hegarty suggests that "it is not a genre, but it is also a genre that is multiple, and characterized by this very multiplicity ... Japanese noise music can come in all styles, referring to all other genres ... but crucially asks the question of genre—what does it mean to be categorized, categorizable, definable?" (Hegarty 2007:133).

作家道格拉斯·卡恩（Douglas Kahn）在他1999年的著作《Noise, Water, Meat: A History of Sound in the Arts》討論了噪音作為一種媒介的使用，並探索了激浪派的理念以及一系列的藝術家，包括：Antonin Artaud, George Brecht, William Burroughs, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, 小野洋子, 傑克遜·波洛克（Jackson Pollock）, 路易吉·魯索洛（Luigi Russolo）, and Dziga Vertov.

雅克·阿塔利在他1985年的著作《噪音：音樂的政治經濟學》（Noise: The Political Economy of Music）中，他探討了噪音音樂與未來社會的關係。他指出音樂中的噪音蘊含著社會變革的預言，並論證了噪音為何是社會中流淌的潛意識——探測並證實著新的社會與政治現實。[18]

特徵

Like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in aesthetic and imaginative ways.[19]

白噪音
10秒鐘的白噪音（white noise）
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In common use, the word noise means unwanted sound or noise pollution.[20] In electronics noise can refer to the electronic signal corresponding to acoustic noise (in an audio system) or the electronic signal corresponding to the (visual) noise commonly seen as 'snow' on a degraded television or video image.[21] In signal processing or computing it can be considered data without meaning; that is, data that is not being used to transmit a signal, but is simply produced as an unwanted by-product of other activities. Noise can block, distort, or change the meaning of a message in both human and electronic communication. White noise is a random signal (or process) with a flat power spectral density.[22] In other words, the signal contains equal power within a fixed bandwidth at any center frequency. White noise is considered analogous to white light which contains all frequencies.[23]

In much the same way the early modernists were inspired by naïve art, some contemporary digital art noise musicians are excited by the archaic audio technologies such as wire-recorders, the 8-track cartridge, and vinyl records.[24] Many artists not only build their own noise-generating devices, but even their own specialized recording equipment and custom software (for example, the C++ software used in creating the viral symphOny by Joseph Nechvatal).[25][26]

1910至1960年代

《噪音的藝術》

Luigi Russolo ca. 1916

20世紀初義大利未來主義藝術家路易吉·魯索洛（Luigi Russolo），可能是歷史上第一位噪音藝術家[27][28] His 1913 manifesto, L'Arte dei Rumori, translated as The Art of Noises, stated that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds. Russolo found traditional melodic music confining and envisioned noise music as its future replacement. He designed and constructed a number of noise-generating devices called intonarumori and assembled a noise orchestra to perform with them. Works entitled Risveglio di una città (Awakening of a City) and Convegno d'aeroplani e d'automobili (The Meeting of Aeroplanes and Automobiles) were both performed for the first time in 1914.[29]

A performance of his Gran Concerto Futuristico (1917) was met with strong disapproval and violence from the audience, as Russolo himself had predicted. None of his intoning devices have survived, though recently some have been reconstructed and used in performances. Although Russolo's works bear little resemblance to contemporary noise music such as Japanoise, his efforts helped to introduce noise as a musical aesthetic and broaden the perception of sound as an artistic medium.[30][31]

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.

——Luigi Russolo The Art of Noises (1913)[32]

安東尼奧·魯索洛（Antonio Russolo）, Luigi's brother and fellow Italian Futurist composer, produced a recording of two works featuring the original intonarumori. The 1921 made phonograph with works entitled Corale and Serenata, combined conventional orchestral music set against the famous noise machines and is the only surviving sound recording.[33]

An early Dada-related work from 1916 by Marcel Duchamp also worked with noise, but in an almost silent way. One of the found object Readymades of Marcel Duchamp, A Bruit Secret (With Hidden Noise), was a collaborative work that created a noise instrument that Duchamp accomplished with Walter Arensberg.[34] What rattles inside when A Bruit Secret is shaken remains a mystery.[35]


現成品音樂

在未來主義運動的同一時期，人們開始探索將現成品（found object）的聲音作為音樂素材的創作方式。一個早期的例子是1917年5月18日在巴黎沙烏地爾劇院演出的《遊行》，這一作品由讓·科克圖構思，畢卡索設計，萊昂尼德·馬辛編舞，埃里克·薩蒂作曲。創作中使用的額外音樂材料被科克圖稱為「trompe l'oreille sounds」，包括發電機、摩爾斯電碼機、汽笛、蒸汽機、飛機發動機和打字機。Arseny Avraamov的《工廠汽笛交響曲》涉及海軍艦艇汽笛、公共汽車和汽車喇叭、工廠汽笛、大炮，霧號，大炮，機槍，水力飛機，還有一個特別設計的汽笛機，為1922年在巴庫市演出時使用旗幟和手槍的團隊演奏的一首曲子製造出國際歌和馬賽曲的嘈雜效果。1923年，阿瑟·洪格爾創作了模仿蒸汽機車聲音的現代主義音樂作品《231號太平洋交響曲》。另一個例子是奧托里諾·雷斯皮吉（Ottorino Respighi）1924年的管弦樂作品《羅馬的松樹》（Pines of Rome），其中包含了夜鶯錄音的留聲機回放。在1924年，喬治·安塞爾（George Anteil）創作了一部名為《機械芭蕾舞曲》的作品，其樂器包括16架鋼琴，3架飛機螺旋槳和7個電鈴。這部作品最初是由達德利·墨菲和費爾南多·萊格爾為同名達達電影構思的音樂，在1926年作為一首音樂會作品獨立首映。

1930年，保羅·辛德米特和恩斯特·托克通過回收唱片來製作聲音蒙太奇。1936年，埃德加·瓦雷澤對唱片進行了實驗，以不同的速度反向播放唱片。瓦雷澤早前曾用汽笛創作出他稱之為「連續流動曲線」的聲音，但並未通過聲音設備實現。1931年，瓦雷澤對13名演奏者進行了「電離」，其中包括2聲汽笛和一聲獅子吼，並使用37種打擊樂器創作了一組不癢的聲音，使之成為第一個完全由噪音素材構成的音樂作品。美國作曲家約翰·凱奇在評論瓦雷澤的貢獻時，說瓦雷澤已經「進入了純聲音創作的領域，而其他人仍在區分何為樂音和噪音」。

在1937年寫的一篇文章中，凱奇表示出對特殊音色素材的興趣，並開始區分現成的聲音（他稱之為噪音）和音樂性的聲音，這些聲音的例子包括：雨、無線電中的雜音和「時速50英里的卡車」。凱奇基本上沒有做任何區分，在他看來，所有的聲音都有可能被創造性地使用。他的目標是捕捉和控制聲音氛圍的元素，並採用一種聲音組織的方法，（這是從瓦雷澤那裡借用的一個術語）為聲音本身賦予意義。凱奇於1939年開始創作一系列探索他所述目標的作品，第一種是假想景觀1，用於包括兩個帶頻率記錄儀的變速留聲機。

1961年，詹姆斯丁尼用計算機合成的噪音和拼貼1號（藍色絨面革）（磁帶）通過採樣和操縱著名的貓王普雷斯利錄音，創作了《模擬1：噪音研究（磁帶）》

實驗音樂

I believe that the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.

——John Cage The Future of Music: Credo (1937)

In 1932, Bauhaus artists László Moholy-Nagy, Oskar Fischinger and Paul Arma experimented with modifying the physical contents of record grooves.[36]

Under the influence of Henry Cowell in San Francisco in the late 1940s,[37] Lou Harrison and John Cage began composing music for junk (waste) percussion ensembles, scouring junkyards and Chinatown antique shops for appropriately tuned brake drums, flower pots, gongs, and more.

In Europe, during the late 1940s, Pierre Schaeffer coined the term musique concrète to refer to the peculiar nature of sounds on tape, separated from the source that generated them initially.[38] Pierre Schaeffer helped form Studio d'Essai de la Radiodiffusion-Télévision Française in France during World War II. Initially serving the French Resistance, Studio d'Essai became a hub for musical development centered around implementing electronic devices in compositions. It was from this group that musique concrète was developed. A type of electroacoustic music, musique concrète is characterized by its use of recorded sound, electronics, tape, animate and inanimate sound sources, and various manipulation techniques. The first of Schaeffer's Cinq études de bruits, or Five Noise Etudes, consisted of transformed locomotive sounds.[39] The last étude, Étude pathétique, makes use of sounds recorded from sauce pans and canal boats.

Following musique concrète, other modernist art music composers such as Richard Maxfield, Karlheinz Stockhausen, Gottfried Michael Koenig, Pierre Henry, Iannis Xenakis, La Monte Young, and David Tudor, composed significant electronic, vocal, and instrumental works, sometimes using found sounds.[36] In late 1947, Antonin Artaud recorded Pour en Finir avec le Jugement de dieu (To Have Done with the Judgment of God), an audio piece full of the seemingly random cacophony of xylophonic sounds mixed with various percussive elements, mixed with the noise of alarming human cries, screams, grunts, onomatopoeia, and glossolalia.[40][41] In 1949, Nouveau Réalisme artist Yves Klein wrote The Monotone Symphony (formally The Monotone-Silence Symphony, conceived 1947–1948), a 40-minute orchestral piece that consisted of a single 20-minute sustained chord (followed by a 20-minute silence)[42] — showing how the sound of one drone could make music. Also in 1949, Pierre Boulez befriended John Cage, who was visiting Paris to do research on the music of Erik Satie. John Cage had been pushing music in even more startling directions during the war years, writing for prepared piano, junkyard percussion, and electronic gadgetry.[43]

In 1951, Cage's Imaginary Landscape #4, a work for twelve radio receivers, was premiered in New York. Performance of the composition necessitated the use of a score that contained indications for various wavelengths, durations, and dynamic levels, all of which had been determined using chance operations.[44][45] A year later in 1952, Cage applied his aleatoric methods to tape-based composition. Also in 1952, Karlheinz Stockhausen completed a modest musique concrète student piece entitled Etude. Cage's work resulted in his famous work Williams Mix, which was made up of some six hundred tape fragments arranged according to the demands of the I Ching. Cage's early radical phase reached its height that summer of 1952, when he unveiled the first art "happening" at Black Mountain College, and 4'33", the so-called controversial "silent piece". The premiere of 4'33" was performed by David Tudor. The audience saw him sit at the piano, and close the lid of the piano. Some time later, without having played any notes, he opened the lid. A while after that, again having played nothing, he closed the lid. And after a period of time, he opened the lid once more and rose from the piano. The piece had passed without a note being played, in fact without Tudor or anyone else on stage having made any deliberate sound, although he timed the lengths on a stopwatch while turning the pages of the score. Only then could the audience recognize what Cage insisted upon: that there is no such thing as silence. Noise is always happening that makes musical sound.[46] In 1957, Edgard Varèse created on tape an extended piece of electronic music using noises created by scraping, thumping and blowing titled Poème électronique.[47][48]

In 1960, John Cage completed his noise composition Cartridge Music for phono cartridges with foreign objects replacing the 'stylus' and small sounds amplified by contact microphones. Also in 1960, Nam June Paik composed Fluxusobjekt for fixed tape and hand-controlled tape playback head.[36] On May 8, 1960, six young Japanese musicians, including Takehisa Kosugi and Yasunao Tone, formed the Group Ongaku with two tape recordings of noise music: Automatism and Object. These recordings made use of a mixture of traditional musical instruments along with a vacuum cleaner, a radio, an oil drum, a doll, and a set of dishes. Moreover, the speed of the tape recording was manipulated, further distorting the sounds being recorded.[49] Canada's Nihilist Spasm Band, the world's longest-running noise act, was formed in 1965 in London, Ontario and continues to perform and record to this day, having survived to work with many of the newer generation which they themselves had influenced, such as Thurston Moore of Sonic Youth and Jojo Hiroshige of Hijokaidan. In 1967, Musica Elettronica Viva, a live acoustic/electronic improvisational group formed in Rome, made a recording titled SpaceCraft[50] using contact microphones on such "non-musical" objects as panes of glass and motor oil cans that was recorded at the Akademie der Kunste in Berlin.[51] At the end of the sixties, they took part in the collective noise action called Lo Zoo initiated by the artist Michelangelo Pistoletto.

The art critic Rosalind Krauss argued that by 1968 artists such as Robert Morris, Robert Smithson, and Richard Serra had "entered a situation the logical conditions of which can no longer be described as modernist."[52] Sound art found itself in the same condition, but with an added emphasis on distribution.[53] Antiform process art became the terms used to describe this postmodern post-industrial culture and the process by which it is made.[54] Serious art music responded to this conjuncture in terms of intense noise, for example the La Monte Young Fluxus composition 89 VI 8 C. 1:42–1:52 AM Paris Encore from Poem For Chairs, Tables, Benches, Etc. Young's composition Two Sounds (1960) was composed for amplified percussion and window panes and his Poem for Tables, Chairs and Benches, Etc. (1960) used the sounds of furniture scraping across the floor.

流行音樂

Freak Out!, the debut album by The Mothers of Invention made use of avant-garde sound collage—particularly the 1966 track The Return of the Son of Monster Magnet.[來源請求] The same year, art rock group The Velvet Underground made their first recording while produced by Andy Warhol, a track entitled "Noise".[55]

"Tomorrow Never Knows" is the final track of The Beatles' 1966 studio album Revolver; credited as a Lennon–McCartney song, it was written primarily by John Lennon with major contributions to the arrangement by Paul McCartney. The track included looped tape effects. For the track, McCartney supplied a bag of 1⁄4-inch audio tape loops he had made at home after listening to Stockhausen's Gesang der Jünglinge. By disabling the erase head of a tape recorder and then spooling a continuous loop of tape through the machine while recording, the tape would constantly overdub itself, creating a saturation effect, a technique also used in musique concrète.[56] The Beatles would continue these efforts with "Revolution 9", a track produced in 1968 for The White Album. It made sole use of sound collage, credited to Lennon–McCartney, but created primarily by John Lennon with assistance from George Harrison and Yoko Ono.[57]

In 1975, Ned Lagin released an album of electronic noise music full of spacey rumblings and atmospherics filled with burps and bleeps entitled Seastones on Round Records.[58] The album was recorded in stereo quadraphonic sound and featured guest performances by members of the Grateful Dead, including Jerry Garcia playing treated guitar and Phil Lesh playing electronic Alembic bass.[59] David Crosby, Grace Slick and other members of the Jefferson Airplane also appear on the album.[60]

1970年至今

噪音搖滾與無浪潮

主條目：噪音搖滾和無浪潮

Lou Reed's double LP Metal Machine Music (1975) is cited as containing the primary characteristics of what would in time become a genre known as noise music.[61] The album is an early, well-known example of commercial studio noise music[62] that the music critic Lester Bangs has sarcastically called the "greatest album ever made in the history of the human eardrum".[63] It has also been cited as one of the "worst albums of all time".[64] Reed was well aware of the drone music of La Monte Young.[65][66] Young's Theatre of Eternal Music was a minimal music noise group in the mid-60s with John Cale, Marian Zazeela, Henry Flynt, Angus Maclise, Tony Conrad, and others.[67] The Theatre of Eternal Music's discordant sustained notes and loud amplification had influenced Cale's subsequent contribution to The Velvet Underground in his use of both discordance and feedback.[68] Cale and Conrad have released noise music recordings they made during the mid-sixties, such as Cale's Inside the Dream Syndicate series (The Dream Syndicate being the alternative name given by Cale and Conrad to their collective work with Young).[69] The aptly named noise rock fuses rock to noise, usually with recognizable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of atonality, improvisation, and white noise. One notable band of this genre is Sonic Youth who took inspiration from the No Wave composers Glenn Branca and Rhys Chatham (himself a student of LaMonte Young).[70] Marc Masters, in his book on the No Wave, points out that aggressively innovative early dark noise groups like Mars and DNA drew on punk rock, avant-garde minimalism and performance art.[71] Important in this noise trajectory are the nine nights of noise music called Noise Fest that was organized by Thurston Moore of Sonic Youth in the NYC art space White Columns in June 1981[72][73] followed by the Speed Trials noise rock series organized by Live Skull members in May 1983.

工業音樂

主條目：工業音樂
參見：後工業音樂

In the 1970s, the concept of art itself expanded and groups like Survival Research Laboratories, Borbetomagus and Elliott Sharp embraced and extended the most dissonant and least approachable aspects of these musical/spatial concepts. Around the same time, the first postmodern wave of industrial noise music appeared with Throbbing Gristle, Cabaret Voltaire, and NON (aka Boyd Rice).[74] These cassette culture releases often featured zany tape editing, stark percussion and repetitive loops distorted to the point where they may degrade into harsh noise.[75] In the 1970s and 1980s, industrial noise groups like Current 93, Hafler Trio, Throbbing Gristle, Coil, Laibach, Steven Stapleton, Thee Temple ov Psychick Youth, Smegma, Nurse with Wound, Einstürzende Neubauten, The Haters, and The New Blockaders performed industrial noise music mixing loud metal percussion, guitars, and unconventional "instruments" (such as jackhammers and bones) in elaborate stage performances. These industrial artists experimented with varying degrees of noise production techniques.[76] Interest in the use of shortwave radio also developed at this time, particularly evident in the recordings and live performances of John Duncan. Other postmodern art movements influential to post-industrial noise art are Conceptual Art and the Neo-Dada use of techniques such as assemblage, montage, bricolage, and appropriation. Bands like Test Dept, Clock DVA, Factrix, Autopsia, Nocturnal Emissions, Whitehouse, Severed Heads, Sutcliffe Jügend, and SPK soon followed. The sudden post-industrial affordability of home cassette recording technology in the 1970s, combined with the simultaneous influence of punk rock, established the No Wave aesthetic, and instigated what is commonly referred to as noise music today.[76]

日本噪音音樂

主條目：日本噪音
Merzbow, prominent Japanoise musician, in 2007

Since the early 1980s,[77] Japan has produced a significant output of characteristically harsh bands, sometimes referred to as Japanoise, with perhaps the best known being Merzbow (pseudonym for the Japanese noise artist Masami Akita who himself was inspired by the Dada artist Kurt Schwitters's Merz art project of psychological collage).[78][79] In the late 1970s and early 1980s, Akita took Metal Machine Music as a point of departure and further abstracted the noise aesthetic by freeing the sound from guitar based feedback alone, a development that is thought to have heralded noise music as a genre.[80] According to Hegarty (2007), "in many ways it only makes sense to talk of noise music since the advent of various types of noise produced in Japanese music, and in terms of quantity this is really to do with the 1990s onwards ... with the vast growth of Japanese noise, finally, noise music becomes a genre".[81] Other key Japanese noise artists that contributed to this upsurge of activity include Hijokaidan, Boredoms, C.C.C.C., Incapacitants, KK Null, Yamazaki Maso's Masonna, Solmania, K2, The Gerogerigegege and Hanatarash.[79][82] Nick Cain of The Wire identifies the "primacy of Japanese Noise artists like Merzbow, Hijokaidan and Incapacitants" as one of the major developments in noise music since 1990.[83]

後數字時代的噪音音樂

主條目：故障音樂

Following the wake of industrial noise, noise rock, no wave, and harsh noise, there has been a flood of noise musicians whose ambient, microsound, or glitch-based work is often subtler to the ear.[84] Kim Cascone refers to this development as a postdigital movement and describes it as an "aesthetic of failure."[85] Some of this music has seen wide distribution thanks to peer-to-peer file sharing services and netlabels offering free releases. Steve Goodman characterizes this widespread outpouring of free noise based media as a "noise virus."[86][87]

噪音音樂合輯

  • An Anthology of Noise & Electronic Music, Volumes 1–7 Sub Rosa, Various Artists (1920–2012)
  • Bip-Hop Generation (2001–2008) Volumes 1–9, various artists, Paris
  • Independent Dark Electronics Volume #1 (2008) IDE
  • Japanese Independent Music (2000) various artists, Paris Sonore
  • Just Another Asshole #5 (1981) compilation LP (CD reissue 1995 on Atavistic #ALP39CD), producers: Barbara Ess & Glenn Branca
  • New York Noise, Vol. 1–3 (2003, 2006, 2006) Soul Jazz B00009OYSE, B000CHYHOG, B000HEZ5CC
  • Noise May-Day 2003, various artists, Coquette Japan CD Catalog#: NMD-2003
  • No New York (1978) Antilles, (2006) Lilith, B000B63ISE
  • Women take back the Noise Compilation (2006) ubuibi
  • "The Allegheny White Fish Tapes" (2009), Tobacco, Rad Cult
  • The Japanese-American Noise Treaty (1995) CD, Relapse

參見

注釋

  1. ^ Priest, Eldritch. "Music Noise" in Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure, p. 132. London: Bloomsbury Publishing; New York: Bloomsbury Academic, 2013.
  2. ^ Chris Atton, "Fan Discourse and the Construction of Noise Music as a Genre", Journal of Popular Music Studies 23, no. 3 (September 2011): 324–42. Citation on 326.
  3. ^ Torben Sangild, The Aesthetics of Noise (Copenhagen: Datanom, 2002):[頁碼請求]. ISBN 87-988955-0-8. Reprinted at UbuWeb.
  4. ^ Paul Hegarty, Noise/Music: A History (London: Continuum International Publishing Group, 2007): 3–19.
  5. ^ Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge, Ma.: MIT Press, 2009): 60–76.
  6. ^ Matthew Biro, The Dada Cyborg: Visions of the New Human in Weimar Berlin, 2009, p. 50.
  7. ^ Documents at The International Dada archive at The University of Iowa show that Antisymphonie was held at the Graphisches Kabinett, Kurfürstendamm 232, at 7:45 PM. The printed program lists 5 numbers: "Proclamation dada 1919" by Huelsenbeck, "Simultan-Gedicht" performed by 7 people, "Bruitistisches Gedicht" performed by Huelsenbeck (these latter 2 pieces grouped together under the category "DADA-machine"), "Seelenautomobil" by Hausmann, and finally, Golyscheff's Antisymphonie in 3 movements, subtitled "Musikalische Kriegsguillotine". The 3 movements of Golyscheff's piece are titled "provokatorische Spritze", "chaotische Mundhöhle oder das submarine Flugzeug", and "zusammenklappbares Hyper-fis-chendur".
  8. ^ Owen Smith, Fluxus: The History of an Attitude (San Diego: San Diego State University Press, 1998), pp. 7 & 82.
  9. ^ Piekut, Benjamin. Experimentalism Otherwise: The New York Avant-Garde and Its Limits. 2012. p. 193
  10. ^ Lou Reed and Amanda Petrusich "Interview: Lou Reed", Pitchfork Media (2007-09-17). (Archive from 23 November 2011, accessed 9 December 2013).
  11. ^ Such as 23 VIII 64 2:50:45 – 3:11 am The Volga Delta From Studies In The Bowed Disc from The Black Record (1969)
  12. ^ Paul Hegarty, Noise/Music: A History (London: Continuum International Publishing Group, 2007), pp. 189–92.
  13. ^ Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge, Massachusetts: MIT Press, 2009), pp. 6–10.
  14. ^ Sangild, Torben, The Aesthetics of Noise. Copenhagen: Datanom, 2002. pp. 12–13
  15. ^ Schafer 1994:182
  16. ^ Joseph Nechvatal, Immersion Into Noise (Ann Arbor: Open Humanities Press, 2012), p. 19.
  17. ^ Watson 2009, 109–10.
  18. ^ Allen S. Weiss, Phantasmic Radio (Durham, North Carolina: Duke University Press, 1995), p. 90.
  19. ^ Ctheory.net Paul Hegarty, "Full With Noise: Theory and Japanese Noise Music", in Life in the Wires, edited by Arthur Kroker and Marilouise Kroker, 86–98 (Victoria, Canada: NWP Ctheory Books, 2004).
  20. ^ Nonoise.org About Noise, Noise Pollution, and the Clearinghouse.
  21. ^ Noise generator to explore different types of noise.
  22. ^ white noise in wave(.wav) format.
  23. ^ Eugene Hecht, Optics, 4th edition (Boston: Pearson Education, 2001), p. [頁碼請求]
  24. ^ UBU.com, Torben Sangild, "The Aesthetics of Noise", Datanom, 2002.
  25. ^ UBU.com, Steven Mygind Pedersen, Joseph Nechvatal: viral symphOny (Alfred, New York: Institute for Electronic Arts, School of Art & Design, Alfred University, 2007).
  26. ^ Observatori A.C. (ed.), Observatori 2008: After The Future (Valencia, Spain: Museo de Bellas Artes de Valencia, 2008), p. 80.
  27. ^ In "Futurism and Musical Notes", Daniele Lombardi discusses the mysterious case of the French composer Carol-Bérard; a pupil of Isaac Albéniz. Carol-Bérard is said to have composed a Symphony of Mechanical Forces in 1910, but little evidence has emerged thus far to establish this assertion.
  28. ^ Unknown.nu Luigi Russolo, "The Art of Noises".
  29. ^ Benjamin Thorn,"Luigi Russolo (1885–1947)", in Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook, edited by Larry Sitsky, foreword by Jonathan Kramer, 415–19 (Westport and London: Greenwood Publishing Group, 2002). ISBN 0-313-29689-8. Citation on page 419.
  30. ^ Paul Hegarty, Noise/Music: A History (London: Continuum International Publishing Group, 2007), pp. 13–14.
  31. ^ László Moholy-Nagy in 1923 recognized the unprecedented efforts of the Italian Futurists to broaden our perception of sound using noise. In an article in Der Storm #7, he outlined the fundamentals of his own experimentation: "I have suggested to change the gramophone from a reproductive instrument to a productive one, so that on a record without prior acoustic information, the acoustic information, the acoustic phenomenon itself originates by engraving the necessary Ritchriftreihen (etched grooves)." He presents detailed descriptions for manipulating discs, creating "real sound forms" to train people to be "true music receivers and creators" (Rice 1994,[頁碼請求]).
  32. ^ Russolo, Luigi from The Art of Noises, March 1913.
  33. ^ Albright, Daniel (ed.) Modernism and Music: An Anthology of Source. Chicago: University Of Chicago Press, 2004. p. 174
  34. ^ Chilvers, Ian & Glaves-Smith, John eds., Dictionary of Modern and Contemporary Art, Oxford: Oxford University Press, 2009. pp. 587–588
  35. ^ Michel Sanouillet & Elmer Peterson (Eds.), The Writings of Marcel Duchamp, Da Capo Press, p. 135.
  36. ^ 36.0 36.1 36.2 引用錯誤：沒有為名為doornbusch.net的參考文獻提供內容
  37. ^ Henry Cowell, "The Joys of Noise", in Audio Culture: Readings in Modern Music (New York: Continuum, 2004), pp. 22–24.
  38. ^ D. Teruggi, "Technology and Musique Concrete: The Technical Developments of the Groupe de Recherches Musicales and Their Implication in Musical Composition", Organised Sound 12, no. 3 (2007): 213–31.
  39. ^ Alex Ross, The Rest Is Noise: Listening to the Twentieth Century (New York: Farrar, Straus and Giroux, 2007), p. 369.
  40. ^ Antonin Artaud Pour en finir avec le jugement de dieu, original recording, edited with an introduction by Marc Dachy. Compact Disc (Sub Rosa/aural documents, 1995).
  41. ^ Paul Hegarty, Noise/Music: A History, pp. 25–26.
  42. ^ An account and sound recording of The Monotone Symphony performed March 9, 1960 (Archive.org copy of 2001).
  43. ^ Alex Ross, The Rest Is Noise: Listening to the Twentieth Century(New York: Farrar, Straus and Giroux, 2007), p. 365.
  44. ^ Griffiths 1995，第25頁
  45. ^ John Cage, Silence: Lectures and Writings (Middletown, Connecticut: Wesleyan University Press, 1961), p. 59.
  46. ^ Alex Ross, The Rest Is Noise: Listening to the Twentieth Century (New York: Farrar, Straus and Giroux, 2007), p. 401.
  47. ^ "OHM- The Early Gurus of Electronic Music: Edgard Varese's "Poem Electronique" 網際網路檔案館的存檔，存檔日期2004-06-03.", Perfect Sound Forever website (accessed 20 October 2009).
  48. ^ Albright, Daniel (ed.) Modernism and Music: An Anthology of Source. Chicago: University Of Chicago Press, 2004. p. 185.
  49. ^ Charles Mereweather (ed.), Art Anti-Art Non-Art (Los Angeles: Getty Research Institute, 2007), pp. 13 & 16.
  50. ^ Spacecraft was recorded in Cologne in 1967 by Bryant, Curran, Rzewski, Teitelbaum and Vandor
  51. ^ [1] Liner Notes for Musica Elettronica Viva recording set MEV 40 (1967–2007) 80675-2 (4CDs)
  52. ^ Rosalind E. Krauss, The Originality of the Avant Garde and Other Modernist Myths: Sculpture in the Expanded Field (Cambridge, Massachusetts: MIT Press, 1986), pp. 30–44.
  53. ^ Joseph Nechvatal & Carlo McCormick essays in TellusTools liner notes (New York: Harvestworks ed., 2001).
  54. ^ Rosalind Krauss, "Sculpture in the Expanded Field" 網際網路檔案館的存檔，存檔日期2011-04-09., October 8 (Spring 1979), pp. 30–44.
  55. ^ [2] Warhol Live: Music and Dance in Andy Warhol's Workat the Frist Center for the Visual Arts by Robert Stalker
  56. ^ Spitz 2005，第601頁.
  57. ^ from Rolling Stone issues # 74 & 75 (21 Jan & 4 Feb, 1971). "John Lennon: The Rolling Stone Interview" by editor Jann Wenner
  58. ^ Grateful Dead Family Discography: Seastones. 
  59. ^ "Grateful Dead Biography", Rolling Stone. Retrieved June 23, 2012.
  60. ^ Seastones was re-released in stereo on CD by Rykodisc in 1991. The CD version includes the original nine-section "Sea Stones" (42:34) from February 1975, and a live, previously unreleased, six-section version (31:05) from December 1975.
  61. ^ Atton (2011:326)
  62. ^ [3][永久失效連結] Metal Machine Music 8-Track Hall of Fame.
  63. ^ Lester Bangs, Psychotic Reactions and Carburetor Dung: The Work of a Legendary Critic, Greil Marcus, ed. (1988) Anchor Press, p. 200.
  64. ^ Charlie Gere, Art, Time and Technology: Histories of the Disappearing Body, (2005) Berg, p. 110.
  65. ^ Reed mentions (and misspells) Young's name on the cover of Metal Machine Music: "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music".
  66. ^ Asphodel.com 網際網路檔案館的存檔，存檔日期2008-02-22. Zeitkratzer Lou ReedMetal Machine Music.
  67. ^ "Minimalism (music)", Encarta (Accessed 20 October 2009). 網際網路檔案館的存檔，存檔日期April 29, 2009，. 2009-11-01.
  68. ^ Steven Watson, Factory Made: Warhol and the Sixties (2003) Pantheon, New York, p. 157.
  69. ^ Watson, Factory Made, p. 103.
  70. ^ "Rhys Chatham", Kalvos-Damien website. (Accessed 20 October 2009).
  71. ^ Marc Masters, No Wave (London: Black Dog Publishing, 2007), pp. 42–44.
  72. ^ Rob Young (ed.), The Wire Primers: A Guide To Modern Music (London: Verso, 2009), p. 43.
  73. ^ Marc Masters, No Wave (London: Black Dog Publishing, 2007), pp. 170–71.
  74. ^ Media.hyperreal.org, Prehistory of Industrial Music 1995 Brian Duguid, esp. chapter "Access to Information".
  75. ^ Rob Young (ed.), The Wire Primers: A Guide To Modern Music (London: Verso, 2009), p. 29.
  76. ^ 76.0 76.1 Media.hyperreal.org, Prehistory of Industrial Music 1995 Brian Duguid, esp. chapter "Organisational Autonomy / Extra-Musical Elements".
  77. ^ Hegarty 2007, p. 133
  78. ^ Paul Hegarty, "Full With Noise: Theory and Japanese Noise Music", Ctheory.net.
  79. ^ 79.0 79.1 Young, Rob (ed.), The Wire Primers: A Guide To Modern Music (London: Verso, 2009), p. 30.
  80. ^ Van Nort (2006:177)
  81. ^ Hegarty (2007:133)
  82. ^ Japanoise.net, japanoise noisicians profiled at japnoise.net.
  83. ^ Nick Cain, "Noise" The Wire Primers: A Guide to Modern Music, Rob Young, ed., London: Verso, 2009, p. 29.
  84. ^ Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge, Massachusetts: MIT Press, 2009), pp. 6–24.
  85. ^ Cascone, Kim. "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music". Computer Music Journal 24, no. 4 (Winter 2002): pp. 12–18.
  86. ^ Goodman, Steve. "Contagious Noise: From Digital Glitches to Audio Viruses", in Parikka, Jussi and Sampson, Tony D. (eds.) The Spam Book: On Viruses, Porn and Other Anomalies From the Dark Side of Digital Culture. Cresskill, New Jersey: Hampton Press. 2009. pp. 128.
  87. ^ Goodman, Steve. "Contagious Noise: From Digital Glitches to Audio Viruses", in Parikka and Sampson (eds.) The Spam Book: On Viruses, Porn and Other Anomalies From the Dark Side of Digital Culture. Cresskill, New Jersey: Hampton Press. 2009. pp. 129–130.

參考文獻

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延伸閱讀

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外部連結

維基共享資源上的相關多媒體資源：Si Tao Yang/沙盒2
前衛運動
視覺藝術
前衛音樂
文學與詩歌
電影院和劇院
共通
當代古典音樂相關
相對流行的
實驗音樂類型
根據風格
根據相關性
延伸技巧（英語：Extended technique）
相關概念
事件與人物
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