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Noise music
Noise music is a category of music that is characterised by the expressive use of noise within a musical context. This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound.〔Priest, Eldritch. "Music Noise" in ''Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure'', p. 132. London: Bloomsbury Publishing; New York: Bloomsbury Academic, 2013.〕 Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect. It 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, and in many instances conventional use of melody, harmony, rhythm and pulse is dispensed with.〔Chris Atton, "Fan Discourse and the Construction of Noise Music as a Genre", ''Journal of Popular Music Studies'' 23, no. 3 (September 2011): 324–42. Citation on 326.〕〔Torben Sangild, ''(The Aesthetics of Noise )'' (Copenhagen: Datanom, 2002):. ISBN 87-988955-0-8. Reprinted at UbuWeb.〕〔Paul Hegarty, ''Noise/Music: A History'' (London: Continuum International Publishing Group, 2007): 3–19.〕〔Caleb Kelly, ''Cracked Media: The Sound of Malfunction'' (Cambridge, Ma.: MIT Press, 2009): 60–76.〕
The Futurist art movement 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),〔Matthew Biro, ''The Dada Cyborg: Visions of the New Human in Weimar Berlin'', 2009, p. 50.〕〔Documents at The International Dada archive at The University of Iowa show that ''Antisymphonie'' was held at the Graphisches Kabinett, Kurfürstendamm 232, at 7:45 PM. The printed program lists 5 numbers: "Proclamation dada 1919" by Huelsenbeck, "Simultan-Gedicht" performed by 7 people, "Bruitistisches Gedicht" performed by Huelsenbeck (these latter 2 pieces grouped together under the category "DADA-machine"), "Seelenautomobil" by Hausmann, and finally, Golyscheff's Antisymphonie in 3 movements, subtitled "Musikalische Kriegsguillotine". The 3 movements of Golyscheff's piece are titled "provokatorische Spritze", "chaotische Mundhöhle oder das submarine Flugzeug", and "zusammenklappbares Hyper-fis-chendur".〕 and later the Surrealist and Fluxus art movements, 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 LaMonte Young and Takehisa Kosugi.〔Owen Smith, ''Fluxus: The History of an Attitude'' (San Diego: San Diego State University Press, 1998), pp. 7 & 82.〕
Contemporary noise music is often associated with extreme volume and distortion.〔Piekut, Benjamin. ''Experimentalism Otherwise: The New York Avant-Garde and Its Limits''. 2012. p. 193〕 In the domain of experimental rock, examples include Jimi Hendrix's use of feedback,〔(Jimi Hendrix Biography at Rolling Stone Magazine )〕Lou Reed's ''Metal Machine Music'', and Sonic Youth.〔Lou Reed and Amanda Petrusich ("Interview: Lou Reed" ), Pitchfork Media (2007-09-17). (Archive from 23 November 2011, accessed 9 December 2013).〕 Other examples of music that contain noise-based features 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, Ramleh , Coil, Brighter Death Now, Merzbow, Cabaret Voltaire, Psychic TV, Blackhouse, Jean Tinguely's recordings of his sound sculpture (specifically ''Bascule VII''), the music of Hermann Nitsch's ''Orgien Mysterien Theater'', and La Monte Young's bowed gong works from the late 1960s.〔Such as ''23 VIII 64 2:50:45 – 3:11 am The Volga Delta From Studies In The Bowed Disc'' from ''The Black Record (1969)''〕 Genres such as industrial, industrial techno, lo-fi music, black metal, sludge metal, and glitch music employ noise-based materials.〔Paul Hegarty, ''Noise/Music: A History'' (London: Continuum International Publishing Group, 2007), pp. 189–92.〕〔Caleb Kelly, ''Cracked Media: The Sound of Malfunction'' (Cambridge, Massachusetts: MIT Press, 2009), pp. 6–10.〕
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