Noise music is a genre of music that is characterised by the expressive use of noise . This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound. Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect .
129-611: Tim Hecker is a Canadian electronic musician , producer, composer, and sound artist . His work, spanning albums such as Harmony in Ultraviolet (2006), Ravedeath, 1972 (2011) and Virgins (2013), has been widely critically acclaimed. He has released eleven albums and a number of EPs in addition to a number of film scores and collaborations with artists such as Arca , Ben Frost , Jóhann Jóhannsson , Daniel Lopatin , and Aidan Baker . Born in Vancouver , British Columbia , Hecker
258-405: A PA system , several turntables, and mixers. The performance did not go well, as creating live montages with turntables had never been done before." Later that same year, Pierre Henry collaborated with Schaeffer on Symphonie pour un homme seul (1950) the first major work of musique concrete. In Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for
387-674: A Quadrophonic version of the Metal Machine Music recording that was produced by playing the master tape back both forward and backward, and by flipping the tape over. Reed was well aware of the drone music of La Monte Young and cites him as a major influence on Metal Machine Music . Young's Theatre of Eternal Music was a proto- minimal music noise group in the mid-60s with John Cale , Marian Zazeela , Henry Flynt , Angus Maclise , Tony Conrad , and others. The Theatre of Eternal Music's discordant sustained notes and loud amplification had influenced Cale's subsequent contribution to
516-466: A slide show synchronized with a recorded soundtrack. Composers outside of the Jikken Kōbō, such as Yasushi Akutagawa , Saburo Tominaga, and Shirō Fukai , were also experimenting with radiophonic tape music between 1952 and 1953. Musique concrète was introduced to Japan by Toshiro Mayuzumi , who was influenced by a Pierre Schaeffer concert. From 1952, he composed tape music pieces for a comedy film,
645-493: A "continuous flowing curve" of sound that he could not achieve with acoustic instruments. In 1931, Varese's Ionisation for 13 players featured 2 sirens, a lion's roar , and used 37 percussion instruments to create a repertoire of unpitched sounds making it the first musical work to be organized solely on the basis of noise. In remarking on Varese's contributions the American composer John Cage stated that Varese had "established
774-552: A City) and Convegno d'aeroplani e d'automobili (The Meeting of Aeroplanes and Automobiles) were both performed for the first time in 1914. 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
903-465: A common household item, and by the 1920s composers were using them to play short recordings in performances. The introduction of electrical recording in 1925 was followed by increased experimentation with record players. Paul Hindemith and Ernst Toch composed several pieces in 1930 by layering recordings of instruments and vocals at adjusted speeds. Influenced by these techniques, John Cage composed Imaginary Landscape No. 1 in 1939 by adjusting
1032-407: A communicative signal, and a third definition based in subjectivity (what is noise to one person can be meaningful to another; what was considered unpleasant sound yesterday is not today). According to Murray Schafer there are four types of noise: unwanted noise, unmusical sound, any loud sound, and a disturbance in any signaling system (such as static on a telephone). Definitions regarding what
1161-433: A famous Elvis Presley recording. 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. In 1932, Bauhaus artists László Moholy-Nagy , Oskar Fischinger and Paul Arma experimented with modifying the physical contents of record grooves. Under
1290-417: A genre known as noise music. The album, recorded on a three speed Uher machine and mastered/engineered by Bob Ludwig , is an early, well-known example of commercial studio noise music that the music critic Lester Bangs has sarcastically called the "greatest album ever made in the history of the human eardrum ". It has also been cited as one of the " worst albums of all time ". In 1975, RCA also released
1419-437: 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
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#17330860047201548-681: A live acoustic/electronic improvisational group formed in Rome, made a recording titled SpaceCraft 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. 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
1677-498: 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"
1806-527: A musical aesthetic and broaden the perception of sound as an artistic medium. 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. Antonio Russolo , Luigi's brother and fellow Italian Futurist composer, produced
1935-990: A number of musicians, ranging from Neil Rolnick , Charles Amirkhanian and Alice Shields to rock musicians Frank Zappa and The West Coast Pop Art Experimental Band . Following the emergence of differences within the GRMC (Groupe de Recherche de Musique Concrète) Pierre Henry, Philippe Arthuys, and several of their colleagues, resigned in April 1958. Schaeffer created a new collective, called Groupe de Recherches Musicales (GRM) and set about recruiting new members including Luc Ferrari , Beatriz Ferreyra , François-Bernard Mâche , Iannis Xenakis , Bernard Parmegiani , and Mireille Chamass-Kyrou . Later arrivals included Ivo Malec , Philippe Carson, Romuald Vandelle, Edgardo Canton and François Bayle . These were fertile years for electronic music—not just for academia, but for independent artists as synthesizer technology became more accessible. By this time,
2064-425: A piece conducted by a team using flags and pistols when performed in the city of Baku in 1922. In 1923, Arthur Honegger created Pacific 231 , a modernist musical composition that imitates the sound of a steam locomotive. Another example is Ottorino Respighi 's 1924 orchestral piece Pines of Rome , which included the phonographic playback of a nightingale recording. Also in 1924, George Antheil created
2193-876: A professional career outside music and worked as a policy analyst for the Canadian Government in the early 2000s. After leaving his employment in 2006 he enrolled at McGill University to study for a PhD, with a thesis on urban noise that was published in 2014. He has also worked there as a lecturer in sound culture in the Art History and Communications department. Hecker occasionally makes sound installations and has collaborated with visual artists such as Stan Douglas and Charles Stankievech . Hecker, along with other musicians Ben Frost and Steve Goodman ( Kode9 ) and artists Piotr Jakubowicz, Marcel Weber (MFO) and Manuel Sepulveda (Optigram), provided music for Unsound Festival 's sensory installation, Ephemera. Hecker composed
2322-688: A public concert in New York together with other compositions I had written for conventional instruments." Otto Luening, who had attended this concert, remarked: "The equipment at his disposal consisted of an Ampex tape recorder . . . and a simple box-like device designed by the brilliant young engineer, Peter Mauzey, to create feedback, a form of mechanical reverberation. Other equipment was borrowed or purchased with personal funds." Just three months later, in August 1952, Ussachevsky traveled to Bennington, Vermont, at Luening's invitation to present his experiments. There,
2451-465: A radio broadcast, and a radio drama. However, Schaeffer's concept of sound object was not influential among Japanese composers, who were mainly interested in overcoming the restrictions of human performance. This led to several Japanese electroacoustic musicians making use of serialism and twelve-tone techniques , evident in Yoshirō Irino 's 1951 dodecaphonic piece "Concerto da Camera", in
2580-466: 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. 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),
2709-777: A score. In 1955, more experimental and electronic studios began to appear. Notable were the creation of the Studio di fonologia musicale di Radio Milano , a studio at the NHK in Tokyo founded by Toshiro Mayuzumi , and the Philips studio at Eindhoven , the Netherlands, which moved to the University of Utrecht as the Institute of Sonology in 1960. "With Stockhausen and Mauricio Kagel in residence, [Cologne] became
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#17330860047202838-532: A set of recordings made at the train station Gare des Batignolles in Paris that included six steam locomotives whistling and trains accelerating and moving over the tracks. The piece was derived entirely from recorded noise sounds that were not musical, thus a realization of Russolo's conviction that noise could be an acceptable source of music. Cinq études de bruits premiered via a radio broadcast on October 5, 1948, called Concert de bruits ( Noise Concert ). Later in
2967-454: A significant influence on popular music , with the adoption of polyphonic synthesizers , electronic drums , drum machines, and turntables , through the emergence of genres such as disco , krautrock , new wave , synth-pop , hip hop , and EDM . In the early 1980s mass-produced digital synthesizers , such as the Yamaha DX7 , became popular, and MIDI (Musical Instrument Digital Interface)
3096-456: A single 20-minute sustained chord (followed by a 20-minute silence) — 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. In 1951, Cage's Imaginary Landscape #4 ,
3225-409: A situation the logical conditions of which can no longer be described as modernist." Sound art found itself in the same condition, but with an added emphasis on distribution . Antiform process art became the terms used to describe this postmodern post-industrial culture and the process by which it is made. Serious art music responded to this conjuncture in terms of intense noise, for example
3354-567: A strong community of composers and musicians working with new sounds and instruments was established and growing. 1960 witnessed the composition of Luening's Gargoyles for violin and tape as well as the premiere of Stockhausen's Kontakte for electronic sounds, piano, and percussion. This piece existed in two versions—one for 4-channel tape, and the other for tape with human performers. "In Kontakte , Stockhausen abandoned traditional musical form based on linear development and dramatic climax. This new approach, which he termed 'moment form', resembles
3483-590: 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. 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 ,
3612-403: 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 . A year later in 1952, Cage applied his aleatoric methods to tape-based composition. Also in 1952, Karlheinz Stockhausen completed
3741-602: A work titled Ballet Mécanique with instrumentation that included 16 pianos , 3 airplane propellers , and 7 electric bells . The work was originally conceived as music for the Dada film of the same name, by Dudley Murphy and Fernand Léger , but in 1926 it premiered independently as a concert piece. In 1930 Paul Hindemith and Ernst Toch recycled records to create sound montages and in 1936 Edgard Varèse experimented with records, playing them backwards, and at varying speeds. Varese had earlier used sirens to create what he called
3870-450: A year-round hive of charismatic avant-gardism." on two occasions combining electronically generated sounds with relatively conventional orchestras—in Mixtur (1964) and Hymnen, dritte Region mit Orchester (1967). Stockhausen stated that his listeners had told him his electronic music gave them an experience of "outer space", sensations of flying, or being in a "fantastic dream world". In
3999-537: Is Sonic Youth , who took inspiration from the No Wave composers Glenn Branca and Rhys Chatham (himself a student of La Monte Young ). 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 . Important in this noise trajectory are the nine nights of noise music called Noise Fest that
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4128-406: Is a predictor of social change and demonstrates how noise acts as the subconscious of society—validating and testing new social and political realities. His disruption of the standard history of music and his inclusion of noise in an attempt to theorize culture cleared the way for many noise music theoretical studies. Like much of modern and contemporary art, noise music takes characteristics of
4257-479: Is alone, a world of mystery and essential loneliness." In Cologne, what would become the most famous electronic music studio in the world, was officially opened at the radio studios of the NWDR in 1953, though it had been in the planning stages as early as 1950 and early compositions were made and broadcast in 1951. The brainchild of Werner Meyer-Eppler , Robert Beyer, and Herbert Eimert (who became its first director),
4386-427: 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 ( Five Noise Etudes ), called Étude aux chemins de fer (1948) consisted of transformed locomotive sounds. The last étude, Étude pathétique (1948), makes use of sounds recorded from sauce pans and canal boats. Cinq études de bruits
4515-466: Is considered analogous to white light which contains all frequencies. 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 . Many artists not only build their own noise-generating devices, but even their own specialized recording equipment and custom software (for example,
4644-539: Is considered noise, relative to music, have changed over time. 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. In attempting to define noise music and its value, Paul Hegarty (2007) cites
4773-656: Is dispensed with. The Futurist art movement (with most notably Luigi Russolo 's Intonarumori and L'Arte dei Rumori ( The Art of Noises ) manifesto) was important for the development of the noise aesthetic, as was the Dada art movement (a prime example being the Antisymphony concert performed on April 30, 1919, in Berlin). In the 1920s, the French composer Edgard Varèse , when New York Dada associated via Marcel Duchamp and Francis Picabia 's magazine 391 , conceived of
4902-468: Is most recognizable in its 4/4 form and more connected with the mainstream than preceding forms which were popular in niche markets. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments . These initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for
5031-473: 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). Writer Douglas Kahn , in his work Noise, Water, Meat: A History of Sound in the Arts (1999), discusses
5160-413: 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 . In other words, the signal contains equal power within a fixed bandwidth at any center frequency. White noise
5289-767: Is often associated with extreme volume and distortion. Notable genres that exploit such techniques include noise rock and no wave , industrial music , Japanoise , and postdigital music such as glitch . In the domain of experimental rock , examples include Lou Reed 's Metal Machine Music and Sonic Youth . Other notable examples of composers and bands that feature noise based materials include works by Iannis Xenakis , Karlheinz Stockhausen , Helmut Lachenmann , Cornelius Cardew , Theatre of Eternal Music , Glenn Branca , Rhys Chatham , Ryoji Ikeda , Survival Research Laboratories , Whitehouse , Coil , Merzbow , Cabaret Voltaire , Psychic TV , Jean Tinguely 's recordings of his sound sculpture (specifically Bascule VII ),
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5418-481: 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
5547-403: Is the son of two art teachers. During his high school years, he played in rock bands with friends, before acquiring a sampler and working on solo material. He moved to Montreal , Quebec in 1998 to study at Concordia University and explore his artistic interests further. He initially performed internationally as a DJ and techno producer under the name Jetone, releasing three albums under
5676-701: Is to be realized as a magnetic tape. According to Otto Luening, Cage also performed Williams Mix at Donaueschingen in 1954, using eight loudspeakers, three years after his alleged collaboration. Williams Mix was a success at the Donaueschingen Festival , where it made a "strong impression". The Music for Magnetic Tape Project was formed by members of the New York School ( John Cage , Earle Brown , Christian Wolff , David Tudor , and Morton Feldman ), and lasted three years until 1954. Cage wrote of this collaboration: "In this social darkness, therefore,
5805-539: The C++ software used in creating the viral symphOny by Joseph Nechvatal ). In "Futurism and Musical Notes", Daniele Lombardi discussed the French composer Carol-Bérard; a pupil of Isaac Albéniz , who composed a Symphony of Mechanical Force s in 1910, wrote on the problems of the instrumentation of noise music, and developed a notation system. In 1913 Futurist artist Luigi Russolo wrote his manifesto, L'Arte dei Rumori , translated as The Art of Noises , stating that
5934-752: The Columbia-Princeton Electronic Music Center in the late 1950s. Following his work with Studio d'Essai at Radiodiffusion Française (RDF), during the early 1940s, Pierre Schaeffer is credited with originating the theory and practice of musique concrète. In the late 1940s, experiments in sound-based composition using shellac record players were first conducted by Schaeffer. In 1950, the techniques of musique concrete were expanded when magnetic tape machines were used to explore sound manipulation practices such as speed variation ( pitch shift ) and tape splicing . On 5 October 1948, RDF broadcast Schaeffer's Etude aux chemins de fer . This
6063-498: The Ensemble of electro-musical instruments [ ru ] , which used theremins, electric harps, electric organs, the first synthesizer in the USSR "Ekvodin", and also created the first Soviet reverb machine. The style in which Meshcherin's ensemble played is known as " Space age pop ". In 1957, engineer Igor Simonov assembled a working model of a noise recorder (electroeoliphone), with
6192-631: 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. AllMusic assessed 1960s English experimental group AMM as originators of electronica , free improvisation and noise music, writing that "noise bands owe it to themselves to check out their primary source." Freak Out! ,
6321-842: The Sundance Film Festival . Electronic music Electronic music broadly is a group of music genres that employ electronic musical instruments , circuitry-based music technology and software, or general-purpose electronics (such as personal computers ) in its creation. It includes both music made using electronic and electromechanical means ( electroacoustic music ). Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an electronic oscillator , theremin , or synthesizer . Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including magnetic pickups , power amplifiers and loudspeakers . Such electromechanical devices include
6450-706: 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 . 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 . 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 . The album
6579-432: The telharmonium , Hammond organ , electric piano and electric guitar . The first electronic musical devices were developed at the end of the 19th century. During the 1920s and 1930s, some electronic instruments were introduced and the first compositions featuring them were written. By the 1940s, magnetic audio tape allowed musicians to tape sounds and then modify them by changing the tape speed or direction, leading to
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#17330860047206708-1126: The 'cinematic splice' techniques in early twentieth-century film." The theremin had been in use since the 1920s but it attained a degree of popular recognition through its use in science-fiction film soundtrack music in the 1950s (e.g., Bernard Herrmann 's classic score for The Day the Earth Stood Still ). Noise music Noise music can feature acoustically or electronically generated noise, and both traditional and unconventional musical instruments. It may incorporate live machine sounds, non-musical vocal techniques , physically manipulated audio media, processed sound recordings, field recording , computer-generated noise, stochastic process , and other randomly produced electronic signals such as distortion , feedback , static , hiss and hum. There may also be emphasis on high volume levels and lengthy, continuous pieces. More generally noise music may contain aspects such as improvisation , extended technique , cacophony and indeterminacy . In many instances, conventional use of melody, harmony, rhythm or pulse
6837-499: 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. 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
6966-544: The 15th century choral works by Josquin des Prez birthed the foundations of the album. In February 2016, it was announced that Hecker had joined 4AD while Love Streams (2016) was released in April of that year. In addition to touring with Godspeed You! Black Emperor and Sigur Rós and recording with the likes of Fly Pan Am , Hecker has also collaborated with the likes of Arca and Aidan Baker . He has also contributed remixes to other artists, including Ellen Allien , John Cale , Isis , and Interpol . Hecker pursued
7095-445: The 1950s and algorithmic composition with computers was first demonstrated in the same decade. During the 1960s, digital computer music was pioneered, innovation in live electronics took place, and Japanese electronic musical instruments began to influence the music industry . In the early 1970s, Moog synthesizers and drum machines helped popularize synthesized electronic music. The 1970s also saw electronic music begin to have
7224-598: The 1960s, the Fluxus art movement played an important role, specifically the Fluxus artists Joe Jones , Yasunao Tone , George Brecht , Robert Watts , Wolf Vostell , Dieter Roth , Yoko Ono , Nam June Paik , Walter De Maria 's Ocean Music , Milan Knížák 's Broken Music Composition , early La Monte Young , Takehisa Kosugi , and the Analog #1 (Noise Study) (1961) by Fluxus-related composer James Tenney . Contemporary noise music
7353-680: The 1966 debut album by the Mothers of Invention made use of avant-garde sound collage —particularly the closing track " The Return of the Son of Monster Magnet ". The same year, art rock group the Velvet Underground made their first recording while produced by Andy Warhol , a track entitled "Noise". AllMusic assessed the Godz as an early noise band: "the three squalling bits of avant-garde noise/junk they recorded from 1966–1968. " Tomorrow Never Knows "
7482-467: 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. Since the early 1980s, Japan has produced a significant output of characteristically harsh artists and bands, sometimes referred to as Japanoise , with names such as Government Alpha , Alienlovers in Amagasaki and Koji Tano, and perhaps
7611-531: The Austrian drama and horror film Luzifer , which won the Best Actor Award for Franz Rogowski at Fantastic Fest in 2021 and Best Actress Award for Susanne Jensen and Best Actor Award for Franz Rogowski at the 2021 Sitges Film Festival . Hecker composed the score for Infinity Pool , the 2023 film by Canadian director Brandon Cronenberg , starring Alexander Skarsgård and Mia Goth , which premiered at
7740-482: 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 . 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
7869-659: The Louisville Symphony and A Poem in Cycles and Bells , both for orchestra and tape. Because he had been working at Schaeffer's studio, the tape part for Varèse's work contains much more concrete sounds than electronic. "A group made up of wind instruments, percussion and piano alternate with the mutated sounds of factory noises and ship sirens and motors, coming from two loudspeakers." At the German premiere of Déserts in Hamburg, which
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#17330860047207998-525: The Mafia, Coil , Laibach , Thee Temple ov Psychick Youth , Smegma , Nurse with Wound and Einstürzende Neubauten 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. Interest in the use of shortwave radio also developed at this time, particularly evident in
8127-467: The Philips studio in the Netherlands. The public remained interested in the new sounds being created around the world, as can be deduced by the inclusion of Varèse's Poème électronique , which was played over four hundred loudspeakers at the Philips Pavilion of the 1958 Brussels World Fair . That same year, Mauricio Kagel , an Argentine composer, composed Transición II . The work was realized at
8256-446: The Poet , a 1959 series of electronic compositions that stood out for its immersion and seamless fusion of electronic and folk music , in contrast to the more mathematical approach used by serial composers of the time such as Babbitt. El-Dabh's Leiyla and the Poet , released as part of the album Columbia-Princeton Electronic Music Center in 1961, would be cited as a strong influence by
8385-589: The United States following the end of World War II. These were the basis for the first commercially produced tape recorder in 1948. In 1944, before the use of magnetic tape for compositional purposes, Egyptian composer Halim El-Dabh , while still a student in Cairo , used a cumbersome wire recorder to record sounds of an ancient zaar ceremony. Using facilities at the Middle East Radio studios El-Dabh processed
8514-454: The United States, electronic music was being created as early as 1939, when John Cage published Imaginary Landscape, No. 1 , using two variable-speed turntables, frequency recordings, muted piano, and cymbal, but no electronic means of production. Cage composed five more "Imaginary Landscapes" between 1942 and 1952 (one withdrawn), mostly for percussion ensemble, though No. 4 is for twelve radios and No. 5, written in 1952, uses 42 recordings and
8643-884: The Velvet Underground in his use of both discordance and feedback. 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). Krautrock bands such as Neu! and Faust would incorporate noise into their compositions. Roni Sarig, author of The Secret History of Rock called Can's sophomore album Tago Mago "as close as it ever got to avant-garde noise music." 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
8772-577: The WDR studio in Cologne. Two musicians performed on the piano, one in the traditional manner, the other playing on the strings, frame, and case. Two other performers used tape to unite the presentation of live sounds with the future of prerecorded materials from later on and its past of recordings made earlier in the performance. In 1958, Columbia-Princeton developed the RCA Mark II Sound Synthesizer ,
8901-470: 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". 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,
9030-733: The ancestor of the ORTF . Karlheinz Stockhausen worked briefly in Schaeffer's studio in 1952, and afterward for many years at the WDR Cologne's Studio for Electronic Music . 1954 saw the advent of what would now be considered authentic electric plus acoustic compositions—acoustic instrumentation augmented/accompanied by recordings of manipulated or electronically generated sound. Three major works were premiered that year: Varèse's Déserts , for chamber ensemble and tape sounds, and two works by Otto Luening and Vladimir Ussachevsky : Rhapsodic Variations for
9159-486: 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 ). 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. According to Hegarty (2007), "in many ways it only makes sense to talk of noise music since
9288-637: The borrowed equipment in the back of Ussachevsky's car, we left Bennington for Woodstock and stayed two weeks. . . . In late September 1952, the travelling laboratory reached Ussachevsky's living room in New York, where we eventually completed the compositions." Two months later, on 28 October, Vladimir Ussachevsky and Otto Luening presented the first Tape Music concert in the United States. The concert included Luening's Fantasy in Space (1952)—"an impressionistic virtuoso piece" using manipulated recordings of flute—and Low Speed (1952), an "exotic composition that took
9417-412: The composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music (1907). Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery . They predicted expansions in timbre allowed for by electronics in
9546-552: The development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète , created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced solely from electronic generators was first produced in Germany in 1953 by Karlheinz Stockhausen . Electronic music was also created in Japan and the United States beginning in
9675-597: The development of music technology several decades later. Following the foundation of electronics company Sony in 1946, composers Toru Takemitsu and Minao Shibata independently explored possible uses for electronic technology to produce music. Takemitsu had ideas similar to musique concrète , which he was unaware of, while Shibata foresaw the development of synthesizers and predicted a drastic change in music. Sony began producing popular magnetic tape recorders for government and public use. The avant-garde collective Jikken Kōbō (Experimental Workshop), founded in 1950,
9804-402: The direction of electronic music. Another associate of Schaeffer, Edgard Varèse , began work on Déserts , a work for chamber orchestra and tape. The tape parts were created at Pierre Schaeffer's studio and were later revised at Columbia University . In 1950, Schaeffer gave the first public (non-broadcast) concert of musique concrète at the École Normale de Musique de Paris . "Schaeffer used
9933-569: The elements of his music in terms of sound-masses ; writing in the first half of the 1920s, Offrandes , Hyperprism , Octandre , and Intégrales . Varèse thought that "to stubbornly conditioned ears, anything new in music has always been called noise ", and he posed the question: "what is music but organized noises?" Pierre Schaeffer 's musique concrète 1948 compositions Cinq études de bruits ( Five Noise Studies ), that began with Etude aux Chemins de Fer ( Railway Study ) are key to this history. Etude aux Chemins de Fer consisted of
10062-721: The end of the 1960s, musical groups playing light electronic music appeared in the USSR. At the state level, this music began to be used to attract foreign tourists to the country and for broadcasting to foreign countries. In the mid-1970s, composer Alexander Zatsepin designed an "orchestrolla" – a modification of the mellotron. The Baltic Soviet Republics also had their own pioneers: in Estonian SSR — Sven Grunberg , in Lithuanian SSR — Gedrus Kupriavicius, in Latvian SSR — Opus and Zodiac . The world's first computer to play music
10191-438: The first complete work of computer-assisted composition using algorithmic composition. "... Hiller postulated that a computer could be taught the rules of a particular style and then called on to compose accordingly." Later developments included the work of Max Mathews at Bell Laboratories , who developed the influential MUSIC I program in 1957, one of the first computer programs to play electronic music. Vocoder technology
10320-539: The first programmable synthesizer. Prominent composers such as Vladimir Ussachevsky, Otto Luening, Milton Babbitt , Charles Wuorinen , Halim El-Dabh, Bülent Arel and Mario Davidovsky used the RCA Synthesizer extensively in various compositions. One of the most influential composers associated with the early years of the studio was Egypt's Halim El-Dabh who, after having developed the earliest known electronic tape music in 1944, became more famous for Leiyla and
10449-516: The flute far below its natural range." Both pieces were created at the home of Henry Cowell in Woodstock, New York. After several concerts caused a sensation in New York City, Ussachevsky and Luening were invited onto a live broadcast of NBC's Today Show to do an interview demonstration—the first televised electroacoustic performance. Luening described the event: "I improvised some [flute] sequences for
10578-617: The future)." Word quickly reached New York City. Oliver Daniel telephoned and invited the pair to "produce a group of short compositions for the October concert sponsored by the American Composers Alliance and Broadcast Music, Inc., under the direction of Leopold Stokowski at the Museum of Modern Art in New York. After some hesitation, we agreed. . . . Henry Cowell placed his home and studio in Woodstock, New York, at our disposal. With
10707-575: The help of which it was possible to extract various timbres and consonances of a noise nature. In 1958, Evgeny Murzin designed ANS synthesizer , one of the world's first polyphonic musical synthesizers. Founded by Murzin in 1966, the Moscow Experimental Electronic Music Studio became the base for a new generation of experimenters – Eduard Artemyev , Alexander Nemtin [ ru ] , Sándor Kallós , Sofia Gubaidulina , Alfred Schnittke , and Vladimir Martynov . By
10836-403: 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
10965-492: The influence of Henry Cowell in San Francisco in the late 1940s, 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
11094-547: The influential manifesto The Art of Noises (1913). Developments of the vacuum tube led to electronic instruments that were smaller, amplified , and more practical for performance. In particular, the theremin , ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger and Maria Schuppel to adopt them. They were typically used within orchestras, and most composers wrote parts for
11223-467: The instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of several orchestral instruments with reasonable precision. It achieved viable public interest and made commercial progress into streaming music through telephone networks . Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged
11352-511: 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. In 1957, Edgard Varèse created on tape an extended piece of electronic music using noises created by scraping, thumping and blowing titled Poème électronique . In 1960, John Cage completed his noise composition Cartridge Music for phono cartridges with foreign objects replacing
11481-533: The moniker. By 2001 he became disenchanted with the musical direction of the Jetone project. In 2001, Hecker released the album Haunt Me, Haunt Me Do It Again , under his own name through the label Alien8 . He followed with Radio Amor (2003) and Mirages (2004). In 2006 he moved to Kranky where he released his fourth album Harmony in Ultraviolet . He subsequently incorporated the use of pipe organ sounds which were digitally processed and distorted. The album
11610-408: The music of Hermann Nitsch 's Orgien Mysterien Theater , and La Monte Young 's bowed gong works from the late 1960s. According to Danish noise and music theorist Torben Sangild, one single definition of noise in music is not possible. Sangild instead provides three basic definitions of noise: a musical acoustics definition, a second communicative definition based on distortion or disturbance of
11739-799: The organization of electronic sounds in Mayuzumi's "X, Y, Z for Musique Concrète", and later in Shibata's electronic music by 1956. Modelling the NWDR studio in Cologne, established an NHK electronic music studio in Tokyo in 1954, which became one of the world's leading electronic music facilities. The NHK electronic music studio was equipped with technologies such as tone-generating and audio processing equipment, recording and radiophonic equipment, ondes Martenot, Monochord and Melochord , sine-wave oscillators , tape recorders, ring modulators , band-pass filters , and four- and eight-channel mixers . Musicians associated with
11868-516: The perceived negative traits of noise mentioned below and uses them in aesthetic and imaginative ways. In common use, the word noise means unwanted sound or noise pollution . 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. In signal processing or computing it can be considered data without meaning; that is, data that
11997-550: The popular Dr. Jekyll and Mr. Hyde in the United States. Experiments with graphical sound were continued by Norman McLaren from the late 1930s. The first practical audio tape recorder was unveiled in 1935. Improvements to the technology were made using the AC biasing technique, which significantly improved recording fidelity. As early as 1942, test recordings were being made in stereo. Although these developments were initially confined to Germany, recorders and tapes were brought to
12126-602: The potential to be used creatively. His aim was to capture and control elements of the sonic environment and employ a method of sound organisation, a term borrowed from Varese, to bring meaning to the sound materials. Cage began in 1939 to create a series of works that explored his stated aims, the first being Imaginary Landscape #1 for instruments including two variable speed turntables with frequency recordings. In 1961, James Tenney composed Analogue #1: Noise Study (for tape) using computer synthesized noise and Collage No.1 (Blue Suede) (for tape) by sampling and manipulating
12255-504: The present nature of music" and that he had "moved into the field of sound itself while others were still discriminating 'musical tones' from noises". In an essay written in 1937, Cage expressed an interest in using extra-musical materials and came to distinguish between found sounds, which he called noise, and musical sounds, examples of which included: rain, static between radio channels, and "a truck at fifty miles per hour". Essentially, Cage made no distinction, in his view all sounds have
12384-482: The principle of the theremin . In the 1930s, Nikolai Ananyev invented "sonar", and engineer Alexander Gurov — neoviolena, I. Ilsarov — ilston., A. Rimsky-Korsakov [ ru ] and A. Ivanov — emiriton [ ru ] . Composer and inventor Arseny Avraamov was engaged in scientific work on sound synthesis and conducted a number of experiments that would later form the basis of Soviet electro-musical instruments. In 1956 Vyacheslav Mescherin created
12513-413: The production of electronic music. Also in 1951, Schaeffer and Henry produced an opera, Orpheus , for concrete sounds and voices. By 1951 the work of Schaeffer, composer-percussionist Pierre Henry, and sound engineer Jacques Poullin had received official recognition and The Groupe de Recherches de Musique Concrète , Club d 'Essai de la Radiodiffusion-Télévision Française was established at RTF in Paris,
12642-492: The production were referred to as trompe l'oreille sounds by Cocteau and included a dynamo , Morse code machine, sirens, steam engine, airplane motor, and typewriters. Arseny Avraamov 's composition Symphony of Factory Sirens involved navy ship sirens and whistles, bus and car horns, factory sirens, cannons, foghorns, artillery guns, machine guns, hydro-airplanes, a specially designed steam-whistle machine creating noisy renderings of Internationale and Marseillaise for
12771-493: The recorded material using reverberation, echo, voltage controls and re-recording. What resulted is believed to be the earliest tape music composition. The resulting work was entitled The Expression of Zaar and it was presented in 1944 at an art gallery event in Cairo. While his initial experiments in tape-based composition were not widely known outside of Egypt at the time, El-Dabh is also known for his later work in electronic music at
12900-542: 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
13029-497: The same time, the first postmodern wave of industrial noise music appeared with the Pop Group, Throbbing Gristle , Cabaret Voltaire , and NON (aka Boyd Rice ). 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. In the 1970s and 1980s, industrial noise groups like Killing Joke , Throbbing Gristle , Mark Stewart &
13158-412: The score for Damien Jalet 's performance piece Planet [wanderer]. Hecker composed the score for 2016's The Free World , selected to be shown in the U.S. Dramatic Competition section at the 2016 Sundance Film Festival . He composed the score for BBC Two drama series The North Water directed by Andrew Haigh and based on Ian McGuire 's novel of the same name. Hecker also composed the score for
13287-571: The source that generated them initially. Pierre Schaeffer helped form Studio d'Essai of the Radiodiffusion-Télévision Française in Paris 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
13416-482: The speeds of recorded tones. Composers began to experiment with newly developed sound-on-film technology. Recordings could be spliced together to create sound collages , such as those by Tristan Tzara , Kurt Schwitters , Filippo Tommaso Marinetti , Walter Ruttmann and Dziga Vertov . Further, the technology allowed sound to be graphically created and modified . These techniques were used to compose soundtracks for several films in Germany and Russia, in addition to
13545-666: The studio included Toshiro Mayuzumi, Minao Shibata, Joji Yuasa, Toshi Ichiyanagi , and Toru Takemitsu. The studio's first electronic compositions were completed in 1955, including Mayuzumi's five-minute pieces "Studie I: Music for Sine Wave by Proportion of Prime Number", "Music for Modulated Wave by Proportion of Prime Number" and "Invention for Square Wave and Sawtooth Wave" produced using the studio's various tone-generating capabilities, and Shibata's 20-minute stereo piece "Musique Concrète for Stereophonic Broadcast". The impact of computers continued in 1956. Lejaren Hiller and Leonard Isaacson composed Illiac Suite for string quartet ,
13674-546: The studio of Bebe and Louis Barron . In the same year Columbia University purchased its first tape recorder—a professional Ampex machine—to record concerts. Vladimir Ussachevsky, who was on the music faculty of Columbia University, was placed in charge of the device, and almost immediately began experimenting with it. Herbert Russcol writes: "Soon he was intrigued with the new sonorities he could achieve by recording musical instruments and then superimposing them on one another." Ussachevsky said later: "I suddenly realized that
13803-571: The studio was soon joined by Karlheinz Stockhausen and Gottfried Michael Koenig . In his 1949 thesis Elektronische Klangerzeugung: Elektronische Musik und Synthetische Sprache , Meyer-Eppler conceived the idea to synthesize music entirely from electronically produced signals; in this way, elektronische Musik was sharply differentiated from French musique concrète , which used sounds recorded from acoustical sources. In 1953, Stockhausen composed his Studie I , followed in 1954 by Elektronische Studie II —the first electronic piece to be published as
13932-488: The tape recorder could be treated as an instrument of sound transformation." On Thursday, 8 May 1952, Ussachevsky presented several demonstrations of tape music/effects that he created at his Composers Forum, in the McMillin Theatre at Columbia University. These included Transposition, Reverberation, Experiment, Composition , and Underwater Valse . In an interview, he stated: "I presented a few examples of my discovery in
14061-399: The tape recorder. Ussachevsky then and there put them through electronic transformations." The score for Forbidden Planet , by Louis and Bebe Barron , was entirely composed using custom-built electronic circuits and tape recorders in 1956 (but no synthesizers in the modern sense of the word). In 1929, Nikolai Obukhov invented the " sounding cross " (la croix sonore ), comparable to
14190-412: The theremin that could otherwise be performed with string instruments . Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes. The instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives , Dimitrios Levidis , Olivier Messiaen and Edgard Varèse . Further, Percy Grainger used
14319-403: The theremin to abandon fixed tonation entirely, while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music . Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph . Record players became
14448-400: The two collaborated on various pieces. Luening described the event: "Equipped with earphones and a flute, I began developing my first tape-recorder composition. Both of us were fluent improvisors and the medium fired our imaginations." They played some early pieces informally at a party, where "a number of composers almost solemnly congratulated us saying, 'This is it' ('it' meaning the music of
14577-583: The use of noise as a medium and explores the ideas of Antonin Artaud , George Brecht , William Burroughs , Sergei Eisenstein , Fluxus , Allan Kaprow , Michael McClure , Yoko Ono , Jackson Pollock , Luigi Russolo , and Dziga Vertov . In Noise: The Political Economy of Music (1985), Jacques Attali explores the relationship between noise music and the future of society by considering noise music as not merely reflective of, but importantly prefigurative of social transformations. He indicates that noise in music
14706-461: The work of Earle Brown, Morton Feldman, and Christian Wolff continues to present a brilliant light, for the reason that at the several points of notation, performance, and audition, action is provocative." Cage completed Williams Mix in 1953 while working with the Music for Magnetic Tape Project. The group had no permanent facility, and had to rely on borrowed time in commercial sound studios, including
14835-458: 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
14964-543: Was CSIRAC , which was designed and built by Trevor Pearcey and Maston Beard. Mathematician Geoff Hill programmed the CSIRAC to play popular musical melodies from the very early 1950s. In 1951 it publicly played the Colonel Bogey March , of which no known recordings exist, only the accurate reconstruction. However, CSIRAC played standard repertoire and was not used to extend musical thinking or composition practice. CSIRAC
15093-613: Was a collaborative work that created a noise instrument that Duchamp accomplished with Walter Arensberg . What rattles inside when A Bruit Secret is shaken remains a mystery. In the same period the utilisation of found sound as a musical resource was starting to be explored. An early example is Parade , a performance produced at the Chatelet Theatre, Paris, on May 18, 1917, that was conceived by Jean Cocteau , with design by Pablo Picasso , choreography by Leonid Massine , and music by Eric Satie . The extra-musical materials used in
15222-570: Was also a major development in this early era. In 1956, Stockhausen composed Gesang der Jünglinge , the first major work of the Cologne studio, based on a text from the Book of Daniel . An important technological development of that year was the invention of the Clavivox synthesizer by Raymond Scott with subassembly by Robert Moog . In 1957, Kid Baltan ( Dick Raaymakers ) and Tom Dissevelt released their debut album, Song Of The Second Moon , recorded at
15351-415: Was built in 1935. however, after World War II, Japanese composers such as Minao Shibata knew of the development of electronic musical instruments. By the late 1940s, Japanese composers began experimenting with electronic music and institutional sponsorship enabled them to experiment with advanced equipment. Their infusion of Asian music into the emerging genre would eventually support Japan's popularity in
15480-991: Was called the 9th best ambient album of all time by Pitchfork . For the album Ravedeath, 1972 , Hecker traveled to Iceland where together with Ben Frost , he recorded parts in a church. Ravedeath, 1972 was awarded the Juno Award for Electronic Album of the Year. In November 2010, Alien8 re-released Hecker's debut album on vinyl. Live performances contain improvisations by processing organ sounds that are manipulated, with great fluctuations in volume. In 2012, Hecker collaborated with Daniel Lopatin (who also records as Oneohtrix Point Never ) on an improvisatory project which became Instrumental Tourist (2012). Following 2013's Virgins , Hecker returned to Reykjavík , Iceland for sessions in 2014 and 2015, to create what would become Love Streams . Collaborators include Ben Frost , Johann Johannsson , Kara-Lis Coverdale and Grimur Helgason, whilst
15609-419: Was conducted by Bruno Maderna , the tape controls were operated by Karlheinz Stockhausen . The title Déserts suggested to Varèse not only "all physical deserts (of sand, sea, snow, of outer space, of empty streets), but also the deserts in the mind of man; not only those stripped aspects of nature that suggest bareness, aloofness, timelessness, but also that remote inner space no telescope can reach, where man
15738-726: Was developed. In the same decade, with a greater reliance on synthesizers and the adoption of programmable drum machines, electronic popular music came to the fore. During the 1990s, with the proliferation of increasingly affordable music technology, electronic music production became an established part of popular culture. In Berlin starting in 1989, the Love Parade became the largest street party with over 1 million visitors, inspiring other such popular celebrations of electronic music. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music . Pop electronic music
15867-527: Was never recorded, but the music played was accurately reconstructed. The oldest known recordings of computer-generated music were played by the Ferranti Mark 1 computer, a commercial version of the Baby Machine from the University of Manchester in the autumn of 1951. The music program was written by Christopher Strachey . The earliest group of electronic musical instruments in Japan, Yamaha Magna Organ
15996-482: Was offered access to emerging audio technology by Sony. The company hired Toru Takemitsu to demonstrate their tape recorders with compositions and performances of electronic tape music. The first electronic tape pieces by the group were "Toraware no Onna" ("Imprisoned Woman") and "Piece B", composed in 1951 by Kuniharu Akiyama. Many of the electroacoustic tape pieces they produced were used as incidental music for radio, film, and theatre. They also held concerts employing
16125-643: Was organized by Thurston Moore of Sonic Youth in the NYC art space White Columns in June 1981 followed by the Speed Trials noise rock series organized by Live Skull members in May 1983. 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
16254-468: 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
16383-504: Was premiered via a radio broadcast on October 5, 1948, titled Concert de bruits . 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. In late 1947, Antonin Artaud recorded Pour en Finir avec le Jugement de dieu ( To Have Done with
16512-566: 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 . David Crosby , Grace Slick and other members of the Jefferson Airplane also appear on the album. Lou Reed 's double LP Metal Machine Music (1975) is cited as containing the primary characteristics of what would in time become
16641-416: Was the first " movement " of Cinq études de bruits , and marked the beginning of studio realizations and musique concrète (or acousmatic art). Schaeffer employed a disc cutting lathe , four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Not long after this, Pierre Henry began collaborating with Schaeffer, a partnership that would have profound and lasting effects on
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