The Liberation of Sound

  title={The Liberation of Sound},
  author={Edgard Var{\`e}se and Chou Wen-chung},
  journal={Perspectives of New Music},
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… 

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 true


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 physical

Channelisation of Noise through a Rhythmic Grid: Brutalist Mechatronic Sound-sculpture

The aim of this thesis is to provide accessibility and appreciation for sounds that are conventionally perceived as non-musical or “noise”. Ordering the noise on a grid of metric rhythms, and

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 to

The OREMA Project: A call for the liberation of sound analysis

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.

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, an

The Musical Force of the Magnetic Field: On the Latest Creative Phase in the Works of Jasna Veličković

  • I. Ilic
  • Art, Physics
    Contemporary Music Review
  • 2021
Since 2008, Jasna Veličković has been experimenting with and researching within the sound world of the magnetic field—the omnipresent, yet usually completely silent elements in human life. Her

A Liberated Sonic Sublime: Perspectives On The Aesthetics & Phenomenology Of Sound Synthesis

In this paper I will investigate the aesthetics of electronic sound synthesis, materiality and the contemporary sublime in an analysis and discussion of interrelated phenomenological, philosophical

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 general

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 understanding