From Music to Sound: The Emergence of Sound in 20th- and 21st-Century Music (Routledge Research in Music)

From Music to Sound is an examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music and showing how music had begun a change of paradigm, moving from a culture centred on the note to a culture of sound. Each chapter follows a chronological progression and is illustrated with numerous musical examples. The chapters are composed of six parallel histories: timbre , which became a central category for musical composition; noise and the exploration of its musical potential; listening , the awareness of which opens to the generality of sound; deeper and deeper immersion in sound; the substitution of composing the sound for composing with sounds; and space , which is progressively viewed as composable. The book proposes a global overview, one of the first of its kind, since its ambition is to systematically delimit the emergence of sound. Both well-known and lesser-known works and composers are analysed in detail; from Debussy to contemporary music in the early twenty-first century; from rock to electronica; from the sound objects of the earliest musique concrète to current electroacoustic music; from the Poème électronique of Le Corbusier-Varèse-Xenakis to the most recent inter-arts attempts. Covering theory, analysis and aesthetics, From Music to Sound will be of great interest to scholars, professionals and students of Music, Musicology, Sound Studies and Sonic Arts. Supporting musical examples can be accessed via the online Routledge Music Research Portal. Cover 1 Half Title 2 Series Page 3 Title Page 4 Copyright Page 5 Table of Contents 6 Foreword 10 Introduction 14 Sound, the audio culture and artistic practices focussing on sound 14 The emergence of sound in music 16 A plural history: from timbre to sound–space 19 Points 23 Acknowledgements 25 Notes 26 Chapter 1 On timbre 27 ‘Timbre’ 27 Defining timbre 27 From the origins of the word to Rousseau 27 Romantic musicians, orchestration treatises and positivists 29 Timbre as phenomenon of perception: a ‘map of timbres’ 31 Towards the dissolution of the concept of timbre 33 Substituting timbre for pitch 34 Towards the emancipation of timbre 34 Klangfarbenmelodien 37 Timbre as central category 41 The utopia of a language of timbres 43 Extending harmony in timbre 45 Harmony and timbre 45 Chord-timbres 46 Composing timbre 48 Thresholds of perception 50 Timbre and sound 53 Chapter 1 online examples 56 Notes 57 Chapter 2 On noise 59 On noise 59 Noise as nuisance 59 Musical noises 60 Two histories of music 61 Dissonance 66 Bruitisms 68 The bruitist dilemma 68 ‘Organised sound’ 70 Musiques concrètes 73 Making noise musical 73 The musical potential of noise 77 Revolt, protest and social criticism 78 Free jazz 79 Rock 80 ‘Touching a sound’ 82 Noise and sound 85 Industrial music, metal, rap, New York Noise, radical improvisation... 85 Noise and construction 87 Electronic noises and Noise 90 Noise and sound 93 Chapter 2 online examples 94 Notes 95 Chapter 3 Listening (sounds) 96 Liberating listening 96 Happy new ears 96 Refocussing on listening 97 Free listening 100 Phenomenology of listening 102 A treatise of listening 102 For a phenomenology of listening 103 The four ways of listening 104 Reduced listening and the sound object 105 A multiplicity of ways to listen 106 Acousmatic 106 Composing from what one perceives 109 Listening and time 114 Authentic listening 116 Amplified listening 120 Equipped listening 123 Chapter 3 online examples 125 Notes 126 Chapter 4 Immersion in sound 127 The ‘inner’ life of sound 127 About ‘immersion’ 133 Immersive sound–space 133 Immersion and ‘oceanic feeling’ 135 Dionysian immersion 137 The ‘depth’ of sound 139 The ‘abyss’ of sound 142 Chapter 4 online examples 147 Notes 148 Chapter 5 Composing sound 149 The question of material 149 The historicity of material and the notion of material 149 Refocussing on material 150 Composing the material 151 Composed resonances 152 Change in listening 152 Éclats 161 Electroacoustic resonances 167 From rock to disco: the studio as site for the composition of sound 169 Electronic auras 173 Composed sonorities 176 ‘Sonority’ 176 Organised sound (2) 176 Continua 183 Textures, surfaces, masses 185 Process 189 Micro-composition 194 Sound syntheses 194 The granular paradigm 203 Chapter 5 online examples 210 Notes 212 Chapter 6 Sound–space 214 Representational space as operatory category 214 Composing the physical space 216 Towards the composability of space 216 Varèse and the pioneers of the 1950s and 1960s 217 The 1970s and 1980s 222 The 1990s–2000s 225 The composed sound–space: a typology test 230 Music, sound, place 232 Music and architecture 232 Sound installations and ‘audible ecosystems’ 237 Towards the ecology of sound 243 Chapter 6 online examples 248 Notes 249 Conclusion 250 References 256 Index 283 From Music to Sound is an examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music and showing how music had begun a change of paradigm, moving from a culture centred on the note to a culture of sound. Each chapter follows a chronological progression and is illustrated with numerous musical examples. The chapters are composed of six parallel histories: timbre, which became a central category for musical composition; noise and the exploration of its musical potential; listening, the awareness of which opens to the generality of sound; deeper and deeper immersion in sound; the substitution of composing the sound for composing with sounds; and space, which is progressively viewed as composable. The book proposes a global overview, one of the first of its kind, since its ambition is to systematically delimit the emergence of sound. Both well-known and lesser-known works and composers are analysed in detail; from Debussy to contemporary music in the early twenty-first century; from rock to electronica; from the sound objects of the earliest musique concrete to current electroacoustic music; from the Poeme electronique of Le Corbusier-Varese-Xenakis to the most recent inter-arts attempts. Covering theory, analysis and aesthetics, From Music to Sound will be of great interest to scholars, professionals and students of Music, Musicology, Sound Studies and Sonic Arts. Supporting musical examples can be accessed via the online Routledge Music Research Portal From Music to Sound is an examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music and showing how music had begun a change of paradigm, moving from a culture centred on the note to a culture of sound. Each chapter follows a chronological progression and is illustrated with numerous musical examples. The chapters are composed of six parallel histories: __timbre__,which became a central category for musical composition; __noise__ and the exploration of its musical potential; __listening__, the awareness of which opens to the generality of sound; deeper and deeper __immersion__ in sound; the substitution of composing __the__ sound for composing __with__ sounds; and __space__, which is progressively viewed as composable. Covering theory, analysis and aesthetics, __From Music to Sound__ will be of great interest to scholars, professionals and students of Music, Musicology, Sound Studies and Sonic Arts. From Music To Sound Is An Examination Of The Six Musical Histories Whose Convergence Produces The Emergence Of Sound, Offering A Plural, Original History Of New Music. Both Well-known And Lesser-known Works And Composers Are Anaylsed In Detail, From Debussy To Contemporary Music In The Early 21st Century; From Rock To Electronica; From The Sound Objects Of The Earliest Musique Concrète To Current Electroacoustic Music; From The Poème Électronique Of Le Corbusier-varèse-xenakis To The Most Recent Inter-arts Attempts. Covering Theory, Analysis And Aesthetics, This Book Will Be Of Great Interest To Scholars, Professionals And Students Of Music, Musicology, Sound Studies And Sonic Arts-- On Timbre -- On Noise -- Listenting (sounds) -- Immersion In Sound -- Composing Sound -- Sound-space. Makis Solomos. Includes Bibliographical References And Index. "From Music to Sound is an examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music. Both well-known and lesser-known works and composers are anaylsed in detail, from Debussy to contemporary music in the early 21st century; from rock to electronica; from the sound objects of the earliest musique concrète to current electroacoustic music; from the Poème électronique of Le Corbusier-Varèse-Xenakis to the most recent inter-arts attempts. Covering theory, analysis and aesthetics, this book will be of great interest to scholars, professionals and students of Music, Musicology, Sound Studies and Sonic Arts"-- Provided by publisher