Cobussen / Meelberg / Truax The Routledge Companion to Sounding Art

Erscheinungsjahr 2016
ISBN: 978-1-317-67276-0
Verlag: CRC Press
Format: EPUB
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 502 Seiten

The Routledge Companion to Sounding Art presents an overview of the issues, methods, and approaches crucial for the study of sound in artistic practice. Thirty-six essays cover a variety of interdisciplinary approaches to studying sounding art from the fields of musicology, cultural studies, sound design, auditory culture, art history, and philosophy. The companion website hosts sound examples, links to further resources, and a blog for further discussion.

The collection is organized around six main themes:

- Sounding Art: The notion of sounding art, its relation to sound studies, and its evolution and possibilities.

- Acoustic Knowledge and Communication: How we approach, study, and analyze sound and the challenges of writing about sound.

- Listening and Memory: Listening from different perspectives, from the psychology of listening to embodied and technologically mediated listening.

- Acoustic Spaces, Identities and Communities: How humans arrange their sonic environments, how this relates to sonic identity, how music contributes to our environment, and the ethical and political implications of sound.

- Sonic Histories: How studying sounding art can contribute methodologically and epistemologically to historiography.

- Sound Technologies and Media: The impact of sonic technologies on contemporary culture, electroacoustic innovation, and how the way we make and access music has changed.

With contributions from leading scholars and cutting-edge researchers, The Routledge Companion to Sounding Art is an essential resource for anyone studying the intersection of sound and art.

Autoren/Hrsg.

Cobussen, Marcel

Meelberg, Vincent

Truax, Barry

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein

Inhaltsverzeichnis

Table of Contents

List of Illustrations

Notes on Contributors

General Introduction

Marcel Cobussen, Vincent Meelberg and Barry Truax

Part 1: Sounding Art

Introduction to Part 1: Writing in the Margins

Marcel Cobussen

1. But is it (also) music?

Leigh Landy

2. Defining Sound Art

Laura Maes and Marc Leman

3. Sound Leads Elsewhere

Douglas Kahn

4. Dams, Weirs, and Damn Weird Ears: Post-Ergonal Sound

Seth Kim-Cohen

5. Sound Words and Sonic Fictions: Writing the Ephemeral

Salomé Voegelin

6. Field Recording Centered Composition Practices: Negotiating the "out-there" with the "in-here"

John Levack Drever

7. Soundwalking, Sonification and Activism

Andrea Polli

Part 2: Acoustic Knowledge and Communication

Introduction to Part 2

Marcel Cobussen

8. Why I Make Music With Natural Sounds

David Rothenberg

9. > image > memory > sound > text >

John Wynne

10. Institutionalized Sound

Frances Dyson

11. Sonification and Music, Music and Sonification

Paul Vickers

12. String Theory. Denis Diderot’s Philosophy of Sound and Everything

Veit Erlmann

13. Music to the Eyes: Intersensoriality, Culture and the Arts

David Howes

Part 3: Listening and Memory

Introduction

Barry Truax

14. That passing glance — sounding paths between memory and familiarity

Katharine Norman

15. The Art and Science of Sensory Memory Walking

Helmi Järviluoma

16. Postphenomenology: Sound beyond Sound

Don Ihde

17. Auditory Capital, Media Publics and the Sounding Arts

Kate Lacey

18. Sonic Subjectivities

Ruth Herbert

19. Pieces of Music as Memory Capsules

Tiina Männistö-Funk

Part 4: Acoustic Spaces, Identities and Communities

Introduction
Vincent Meelberg

20. Acoustic Space, Community and Virtual Soundscapes

Barry Truax

21. Towards an Art of Impregnation

Jean-Paul Thibaud

22. Restless Acoustics, Emergent Publics

Brandon LaBelle

23. Sounding Art Climate Change

Matthew Burtner

24. Unsettling Performances, Soundwalks and Loudspeakers: Gender in Electroacoustic Music and other Sounding Arts

Hannah Bosma

25. Developing a Cognitive Heuristic Model of Sound Art

Linda-Ruth Salter and Barry A. Blesser

Part 5: Sonic Histories

Introduction
Vincent Meelberg

26. Whistling for the Hell of It

Hillel Schwartz

27. Shakespeare as Sound Artist

Bruce R. Smith

28. History, Archaeology, and De-anthropocentrism in Sound Art

Mandy-Suzanne Wong

29. Weimar Activism: Walter Benjamin’s Work for Radio

Erik Granly Jensen

30. Mapping Sounding Art: Affect, Place, Memory

Norie Neumark

Part 6: Sound Technologies and Media

Introduction
Barry Truax

31. What Would Be a Digital Sound?

Aden Evens

32. Algorithms, Affect, and Aesthetic Listening

David Cecchetto

33. Performance with Technology: Extending the Instrument – from Prosthetic to Aesthetic

Simon Emmerson

34. Distributed Sounding Art – Practices in Distributing Sound

Franziska Schroeder and Pedro Rebelo

35. The Art of a New Technology: Early Synthesizer Sounds

Trevor Pinch

36. The Privatization of Sound Space

Mark Grimshaw

Über Autor(innen)

Marcel Cobussen is Professor in Music Philosophy and Auditory Culture at Leiden University, the Netherlands, and the Orpheus Institute in Ghent, Belgium. He is co-founding editor of the open access online Journal of Sonic Studies.

Vincent Meelberg is Senior Lecturer and researcher in the Department of Cultural Studies at Radboud University Nijmegen, the Netherlands, and at the Academy for Creative and Performing Arts in Leiden and The Hague. He is co-founding editor of the Journal of Sonic Studies.

Barry Truax is a Professor Emeritus in the School of Communication at Simon Fraser University, where he taught courses in acoustic communication and electroacoustic composition, specializing in soundscape composition.