The Liberation of Sound

@article{Varse1966TheLO,
  title={The Liberation of Sound},
  author={Edgard Var{\`e}se and Chou Wen-chung},
  journal={Perspectives of New Music},
  year={1966},
  volume={5},
  pages={11}
}
W H E N new instruments will allow me to write music as I conceive it, taking the place of the linear counterpoint, the movement of soundmasses, of shifting planes, will be clearly perceived. When these sound-masses collide the phenomena of penetration or repulsion will seem to occur. Certain transmutations taking place on certain planes will seem to be projected onto other planes, moving at different speeds and at different angles. There will no longer be the old conception of melody or… Expand
Atomisation of Sound
The following paper seeks to draw attention to the significant and increasing amount of creative enquiry—over the last two decades or so—converging about the fulcrum of microsound. This is as trueExpand
PUSHPULL : REFLECTIONS ON BUILDING A MUSICAL INSTRUMENT PROTOTYPE
The ‘liberation of sound’ by means of electronics, as anticipated by Edgard Varèse (1966), amongst many others, released musical instruments and musical instrument making from the physicalExpand
The composition and performance of spatial music
and complex spatial designs can perhaps therefore be effective when used indirectly in this fashion. This approach is somewhat reminiscent of other abstract processes which have been used toExpand
The OREMA Project: A call for the liberation of sound analysis
  • M. Gatt
  • Computer Science
  • Organised Sound
  • 2015
TLDR
The concept of an analytical community (a community that accepts multiple analyses whilst encouraging practitioners to find new and innovative ways to analyse such works) will be raised as a means to address the issues facing electroacoustic music analysis, using the OREMA (Online Repository for Electroacoustic Music Analysis) project as an example of such an initiative. Expand
Against the tyranny of musical form: glitch music, affect, and the sound of digital malfunction
ABSTRACT This essay provides a model of how to critically read non-representational sound by attending carefully to its material elements. It presents a novel conceptualization of glitch music, anExpand
Theremin in the Press: Construing ‘Electrical Music’
This paper is not directly about the theremin as a musical instrument nor about its creator Leon Theremin. It is rather about the reactions that the person and the instrument provoked in the generalExpand
Lyrics not Available. Listening to Voice in Peter Ablinger’s ‘The Real as Imaginary’
In a video on Youtube, Peter Ablinger can be seen and heard performing his 2012 piece The Real as Imaginary (Das Wirkliche als Vorgestelltes). Loud static noise greatly complicates our understandingExpand
Textons and the Propagation of Space in Acousmatic Music
The concepts introduced by Smalley in the context of space-form (2007) have firmly put acousmatic music on a discourse of spatial exploration, holding much potential for the developing of aestheticsExpand
‘Atomic’ Music: Navigating experimental electronica and sound art through microsound
  • S. Hofer
  • Computer Science
  • Organised Sound
  • 2014
This paper looks at microsound – an emergent term, corresponding concept and associated genre of experimental electronica appearing in the late 1990s – which animates the idea of sound as materialExpand
Spatial sound movement in the instrumental music of Iannis Xenakis
TLDR
Xenakis's original use of spatial sound movement in music juxtaposes technical sophistication with an overwhelming forcefulness of expression. Expand
...
1
2
3
4
5
...