Difference between revisions of "Sound art"

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==Compilations==
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* ''[http://continuo.wordpress.com/2008/10/03/various-sound-sculptures/ Sound Sculptures]'', Wergo, 1985, 2-LP. Curated by Klaus Hinrich Stahmer.
 +
* ''From The Pages Of Experimental Musical Instruments'' series, 8 volumes, Experimental Musical Instruments, 1986-1993. Cassettes. Curated by Bart Hopkins.
 +
* [http://continuo.wordpress.com/2009/03/25/tellus-24-fluxtellus/ ''Tellus'' 24: FluxTellus], 1990. Cassette.
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See also the sections Magazines, Catalogues and Monographs below.
  
 
==Bibliography==
 
==Bibliography==
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{{Notice|'''How to contribute.''' The following bibliography is made to be an online reader on sound art as well. A number of included publications is already available online thanks to the publishers, fans, researchers or authors themselves, however we are still missing many of the early writings, the out of print and hard to find catalogues, journals and monographs. You are greatly welcome to contribute to the reader by uploading any missing scans to the wiki or contacting the editor (db at monoskop dot org). Suggestions for omitted works are also appreciated.}}
 
{{Notice|'''How to contribute.''' The following bibliography is made to be an online reader on sound art as well. A number of included publications is already available online thanks to the publishers, fans, researchers or authors themselves, however we are still missing many of the early writings, the out of print and hard to find catalogues, journals and monographs. You are greatly welcome to contribute to the reader by uploading any missing scans to the wiki or contacting the editor (db at monoskop dot org). Suggestions for omitted works are also appreciated.}}
 
===Journals and Magazines===
 
===Journals and Magazines===
 +
* ''Sound Image: A Magazine of Aural and Visual Arts'', 3 volumes, Deerfield, MA: Sound Image Inc., 1975-77. LP-magazine. Published by Jim Metzner. [http://continuo.wordpress.com/2012/04/19/sound-image-a-magazine-of-aural-and-visual-arts/ Volume 1], [http://www.discogs.com/label/165212-Sound-Image].
 
* ''[http://www.thewire.co.uk/ The Wire]'', London, since 1982.  
 
* ''[http://www.thewire.co.uk/ The Wire]'', London, since 1982.  
 
* ''[http://web.archive.org/web/19980130063402/http://sysx.apana.org.au/soundsite/csa/essays_in_sound/ Essays in Sound]'', eds. Shaun Davies, Annemarie Jonson, et al., Newtown, NSW: Contemporary Sound Arts, 1992; 1995; 1996; 1999.
 
* ''[http://web.archive.org/web/19980130063402/http://sysx.apana.org.au/soundsite/csa/essays_in_sound/ Essays in Sound]'', eds. Shaun Davies, Annemarie Jonson, et al., Newtown, NSW: Contemporary Sound Arts, 1992; 1995; 1996; 1999.
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[[Image:Grundmann_Heidi_ed_Zeitgleich.jpg|thumb|258px|Heidi Grundmann (ed.), ''Zeitgleich'', 1994. [http://www.kunstradio.at/ZEITGLEICH/ View online] (EN/DE).]]
 
[[Image:Grundmann_Heidi_ed_Zeitgleich.jpg|thumb|258px|Heidi Grundmann (ed.), ''Zeitgleich'', 1994. [http://www.kunstradio.at/ZEITGLEICH/ View online] (EN/DE).]]
 
[[Image:Baku.jpg|thumb|258px|Miguel Molina Alarcón, ''Baku: Symphony of Sirens: Sound Experiments in The Russian Avant-Garde'', 2008. [[Symphony of Sirens|View online]].]]
 
[[Image:Baku.jpg|thumb|258px|Miguel Molina Alarcón, ''Baku: Symphony of Sirens: Sound Experiments in The Russian Avant-Garde'', 2008. [[Symphony of Sirens|View online]].]]
 +
 
===Catalogues===
 
===Catalogues===
 
* Germano Celant, ''The Record as Artwork: From Futurism to Conceptual Art'', Chicago: Museum of Contemporary Art, 1977, 121 pp. (in English/French) [http://www.specificobject.com/objects/info.cfm?object_id=10074] [http://archive.org/details/recordasartworkf00fort]
 
* Germano Celant, ''The Record as Artwork: From Futurism to Conceptual Art'', Chicago: Museum of Contemporary Art, 1977, 121 pp. (in English/French) [http://www.specificobject.com/objects/info.cfm?object_id=10074] [http://archive.org/details/recordasartworkf00fort]
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* Franco Masotti (ed.), ''Sonorità prospettiche: suono, ambiente, immagine / Perspectival Sonorities: Sound, Environment, Image'', Rimini: Il Comune editions, 1982, 183 pp. (in Italian/English, introduction also in German). Catalogue for an exhibition dedicated to [[Athanasius Kircher]], curated by Franco Masotti and held on 30 January-15 March 1982 in Rimini. [http://www.digicult.it/digimag/issue-055/athanasius-kircher-arca-musarithmica-and-many-sound-devices/ Exhibition review].
 
* Franco Masotti (ed.), ''Sonorità prospettiche: suono, ambiente, immagine / Perspectival Sonorities: Sound, Environment, Image'', Rimini: Il Comune editions, 1982, 183 pp. (in Italian/English, introduction also in German). Catalogue for an exhibition dedicated to [[Athanasius Kircher]], curated by Franco Masotti and held on 30 January-15 March 1982 in Rimini. [http://www.digicult.it/digimag/issue-055/athanasius-kircher-arca-musarithmica-and-many-sound-devices/ Exhibition review].
 
* Vito Acconci, William Hellermann, Don Goddard, ''Sound/Art'', New York: The Foundation, 1984, 29 pp. With an essay by Don Goddard. Exhibition curated by William Hellermann and held simultaneously at SculptureCenter’s former location on East 69th Street in Manhattan and the Brooklyn Arts and Cultural Association (now Brooklyn Arts Council). [http://sculpture-center.tumblr.com/tagged/Sound%2FArt]
 
* Vito Acconci, William Hellermann, Don Goddard, ''Sound/Art'', New York: The Foundation, 1984, 29 pp. With an essay by Don Goddard. Exhibition curated by William Hellermann and held simultaneously at SculptureCenter’s former location on East 69th Street in Manhattan and the Brooklyn Arts and Cultural Association (now Brooklyn Arts Council). [http://sculpture-center.tumblr.com/tagged/Sound%2FArt]
 +
* Karin von Maur (ed.), ''Vom Klang der Bilder: Die Musik in der Kunst des 20. Jahrhunderts'', Munich: Prestel, 1985. (in German). For an exhibition held at Staatsgalerie, Stuttgart.
 
* Paul Panhuysen (ed.), ''ECHO: The Images of Sound'', Eindoven: Het Apollohuis, 1986, 144 pp. [http://books.google.com/books/about/Echo.html?id=1Z82AQAAIAAJ]
 
* Paul Panhuysen (ed.), ''ECHO: The Images of Sound'', Eindoven: Het Apollohuis, 1986, 144 pp. [http://books.google.com/books/about/Echo.html?id=1Z82AQAAIAAJ]
 
* ''Sound Re Visited: An Anthology Concerning Sound in Art / Geluid Her Zien: Een Anthologie Over Geluid in Kunst'', Amsterdam: VOID, 1987, 48+51 pp. Exhibition catalogue published in conjunction with "Sound 'Re' Visited," a festival on sound in the visual arts, held in nine Amsterdam venues, 7-29 April 1987. Texts by Ursula Block, Germano Celant, Hetty Huisman, Harry Ruhé, William Furlong, Gerald Lindahl and Louwrien Wijers. (in English/Dutch) [http://www.specificobject.com/objects/info.cfm?object_id=15226]
 
* ''Sound Re Visited: An Anthology Concerning Sound in Art / Geluid Her Zien: Een Anthologie Over Geluid in Kunst'', Amsterdam: VOID, 1987, 48+51 pp. Exhibition catalogue published in conjunction with "Sound 'Re' Visited," a festival on sound in the visual arts, held in nine Amsterdam venues, 7-29 April 1987. Texts by Ursula Block, Germano Celant, Hetty Huisman, Harry Ruhé, William Furlong, Gerald Lindahl and Louwrien Wijers. (in English/Dutch) [http://www.specificobject.com/objects/info.cfm?object_id=15226]
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* ''[http://90.146.8.18/de/archives/festival_archive/festival_catalogs/festival_catalog.asp?iProjectID=9115 Ars Electronica: Free Sound / Der freie Klang]'', 1987. (in German). Catalogue for the festival held on 16-19 September 1987 in Linz.  
 
* ''[http://90.146.8.18/de/archives/festival_archive/festival_catalogs/festival_catalog.asp?iProjectID=9115 Ars Electronica: Free Sound / Der freie Klang]'', 1987. (in German). Catalogue for the festival held on 16-19 September 1987 in Linz.  
 
* Ursula Block, Michael Glasmeier (eds.), ''Broken Music: Artists' Recordworks'', Berlin: DAAD Galerie and gelbe Musik, 1989, 279 pp. (in English, French, German). Catalogue for an exhibition held at daad galerie Berlin, Gemeentemuseum Den Haag, and Magasin Grenoble. Writings about vinyl by Block, Adorno, Moholy-Nagy, Dubuffet and others. A discography of recordings by visual artists and experimental audioworks. [http://soundart.zkm.de/broken-music/] [http://208.84.104.197/pdf/communiques/C007500E.pdf]
 
* Ursula Block, Michael Glasmeier (eds.), ''Broken Music: Artists' Recordworks'', Berlin: DAAD Galerie and gelbe Musik, 1989, 279 pp. (in English, French, German). Catalogue for an exhibition held at daad galerie Berlin, Gemeentemuseum Den Haag, and Magasin Grenoble. Writings about vinyl by Block, Adorno, Moholy-Nagy, Dubuffet and others. A discography of recordings by visual artists and experimental audioworks. [http://soundart.zkm.de/broken-music/] [http://208.84.104.197/pdf/communiques/C007500E.pdf]
 +
* ''d.i.s.c.o.t.h.è.q.u.e. … Expériences Sonores d’Artistes'', 1989. Catalogue for an exhibition curated by Mauricio Nanucci and Blandine Bardonnet at Maison du Livre, de l’Image et du Son, Villeurbanne, France, Oct–Nov 1989. [http://continuo-docs.tumblr.com/post/87573186847/d-i-s-c-o-t-h-e-q-u-e-experiences-sonores] [http://continuo-docs.tumblr.com/post/87573193807/d-i-s-c-o-t-h-e-q-u-e-experiences-sonores]
 
* Dan Lander, Micah Lexier (eds.), ''Sound by Artists'', Toronto: Art Metropole and Walter Phillips Gallery, 1990; Blackwood Gallery and Charivari Press, 2013, 372 pp. A collection of artists writings including Cage, Viola, Neuhaus, Kubisch, Bruinsma, Monahan, Lucier, Whitehead, Schafer, Lockwood, Westerkamp, Marclay. [http://www.soundculture.org/texts/lander_sba_intro.html Introduction], [http://www.ubu.com/papers/artists_recordings.html Discography], [http://www.iemed.org/publicacions/quaderns/12/The_Sound_of_One_Line_Scanning_Bill_Viola.pdf Essay by Bill Viola], [http://vimeo.com/66170100 Book excerpts (video)], [http://www.facebook.com/media/set/?set=a.10151432314084597.1073741837.102479859596&type=1]. Essays on sound art by writers and artists including John Cage, Christina Kubisch, Alvin Lucier, Annea Lockwood, Ihor Holubizky, Douglas Kahn, Christian Marclay and others. [http://www.blackwoodgallery.ca/Blackwood_publicationSOUNDBYARTISTS.html] [http://www.charivaripress.com/soundbyartists.html]
 
* Dan Lander, Micah Lexier (eds.), ''Sound by Artists'', Toronto: Art Metropole and Walter Phillips Gallery, 1990; Blackwood Gallery and Charivari Press, 2013, 372 pp. A collection of artists writings including Cage, Viola, Neuhaus, Kubisch, Bruinsma, Monahan, Lucier, Whitehead, Schafer, Lockwood, Westerkamp, Marclay. [http://www.soundculture.org/texts/lander_sba_intro.html Introduction], [http://www.ubu.com/papers/artists_recordings.html Discography], [http://www.iemed.org/publicacions/quaderns/12/The_Sound_of_One_Line_Scanning_Bill_Viola.pdf Essay by Bill Viola], [http://vimeo.com/66170100 Book excerpts (video)], [http://www.facebook.com/media/set/?set=a.10151432314084597.1073741837.102479859596&type=1]. Essays on sound art by writers and artists including John Cage, Christina Kubisch, Alvin Lucier, Annea Lockwood, Ihor Holubizky, Douglas Kahn, Christian Marclay and others. [http://www.blackwoodgallery.ca/Blackwood_publicationSOUNDBYARTISTS.html] [http://www.charivaripress.com/soundbyartists.html]
 
* Heidi Grundmann (ed.), ''[http://www.kunstradio.at/ZEITGLEICH/ Zeitgleich: Sound Installation and Media Composition in the Digital Age / Klanginstallation und Medienkomposition im digitalen Zeitalter]'', Vienna: Triton, 1994, 194 pp. With CD. (in English/German). Catalogue for an symposium, seminar and exhibition held on 3 June-15 August 1994 at Hall in Tirol. Texts by Ros Bandt, Isabella Bordoni / Roberto Paci Dalo, Andres Bosshard, Alvin Curran, Bill Fontana, Matt Heckert, Concha Jerez / Jose Iges, Arthur and Marielouise Kroker, Alvin Lucier, Max Neuhaus, Claude Schryer, and Gerfried Stocker. [http://transit.tiroler-landesmuseum.at/zeitgleich/index.html]
 
* Heidi Grundmann (ed.), ''[http://www.kunstradio.at/ZEITGLEICH/ Zeitgleich: Sound Installation and Media Composition in the Digital Age / Klanginstallation und Medienkomposition im digitalen Zeitalter]'', Vienna: Triton, 1994, 194 pp. With CD. (in English/German). Catalogue for an symposium, seminar and exhibition held on 3 June-15 August 1994 at Hall in Tirol. Texts by Ros Bandt, Isabella Bordoni / Roberto Paci Dalo, Andres Bosshard, Alvin Curran, Bill Fontana, Matt Heckert, Concha Jerez / Jose Iges, Arthur and Marielouise Kroker, Alvin Lucier, Max Neuhaus, Claude Schryer, and Gerfried Stocker. [http://transit.tiroler-landesmuseum.at/zeitgleich/index.html]
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[[Image:Grayson_John_ed_Sound_Sculpture.jpg|thumb|258px|John Grayson (ed.), ''Sound Sculpture'', 1975. [[Media:Grayson_John_ed_Sound_Sculpture.pdf|Download]].]]
 
[[Image:Grayson_John_ed_Sound_Sculpture.jpg|thumb|258px|John Grayson (ed.), ''Sound Sculpture'', 1975. [[Media:Grayson_John_ed_Sound_Sculpture.pdf|Download]].]]
 +
 
===Anthologies===
 
===Anthologies===
 
* John Grayson (ed.), ''[http://monoskop.org/log/?p=5681 Sound Sculpture: A Collection of Essays by Artists Surveying the Techniques, Applications, and Future Directions of Sound Sculpture]'', Vancouver: Aesthetic Research Centre of Canada, 1975, 196 pp.
 
* John Grayson (ed.), ''[http://monoskop.org/log/?p=5681 Sound Sculpture: A Collection of Essays by Artists Surveying the Techniques, Applications, and Future Directions of Sound Sculpture]'', Vancouver: Aesthetic Research Centre of Canada, 1975, 196 pp.
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* Achim Wollscheid, ''The Terrorized Term'', Frankfurt/M: Selektion, 1996, 167 pp. [http://www.selektion.com/releases/rel_other.htm] [http://books.google.com/books/about/The_Terrorized_Term.html?id=XpBPAAAAMAAJ]
 
* Achim Wollscheid, ''The Terrorized Term'', Frankfurt/M: Selektion, 1996, 167 pp. [http://www.selektion.com/releases/rel_other.htm] [http://books.google.com/books/about/The_Terrorized_Term.html?id=XpBPAAAAMAAJ]
 
* Adalaide Kirby Morris (ed.), ''[http://monoskop.org/log/?p=3040 Sound States: Innovative Poetics and Acoustical Technologies]'', University of North Carolina Press, 1997, 349 pp.
 
* Adalaide Kirby Morris (ed.), ''[http://monoskop.org/log/?p=3040 Sound States: Innovative Poetics and Acoustical Technologies]'', University of North Carolina Press, 1997, 349 pp.
 +
* Ulrike Roos, Markus Müller (eds.), ''Jahresring 45 / Jahrbuch für moderne Kunst: Make it Funky. Crossover zwischen Musik, Pop, Avantgarde und Kunst'', Cologne: Oktagon, 1998, 355 pp. (in German) [http://www.specificobject.com/objects/info.cfm?object_id=12544]
 
* Douglas Kahn, ''[http://monoskop.org/log/?p=63 Noise, Water, Meat: A History of Sound in the Arts]'', MIT Press, 1999, 455 pp. Sparked by Dan Lander's idea of "musicalization of sound" presented in the volume ''Sound by Artists''. ([http://www.douglaskahn.com/writings/douglas_kahn-sound_art.pdf]; 363-4, n22). "By ''sound'' I mean ''sounds, voices, and aurality''--all that might fall within or touch on auditive phenomena, whether this involves actual sonic or auditive events or ideas about sound or listening; sounds actually heard or heard in myth, idea, or implication; sounds heard by everyone or imagined by one person alone; or sounds as they fuse with the sensorium as a whole" (3).
 
* Douglas Kahn, ''[http://monoskop.org/log/?p=63 Noise, Water, Meat: A History of Sound in the Arts]'', MIT Press, 1999, 455 pp. Sparked by Dan Lander's idea of "musicalization of sound" presented in the volume ''Sound by Artists''. ([http://www.douglaskahn.com/writings/douglas_kahn-sound_art.pdf]; 363-4, n22). "By ''sound'' I mean ''sounds, voices, and aurality''--all that might fall within or touch on auditive phenomena, whether this involves actual sonic or auditive events or ideas about sound or listening; sounds actually heard or heard in myth, idea, or implication; sounds heard by everyone or imagined by one person alone; or sounds as they fuse with the sensorium as a whole" (3).
 
* Helga de la Motte-Haber (ed.), ''Klangkunst: Tönende Objekte und klingende Räume'', Laaber: Laaber-Verlag, 1999, 352 pp. (in German). [http://www.computermusicjournal.org/reviews/29-1/grant-klangkunst.html Review], [http://audio.uni-lueneburg.de/texte/landy.pdf Review].
 
* Helga de la Motte-Haber (ed.), ''Klangkunst: Tönende Objekte und klingende Räume'', Laaber: Laaber-Verlag, 1999, 352 pp. (in German). [http://www.computermusicjournal.org/reviews/29-1/grant-klangkunst.html Review], [http://audio.uni-lueneburg.de/texte/landy.pdf Review].
 
* Brandon LaBelle, Steve Roden (eds.), ''Site of Sound: Of Architecture and the Ear'', Los Angeles: Errant Bodies/Smart Art, 1999, 178 pp. With CD. [http://www.errantbodies.org/siteofsound.html]
 
* Brandon LaBelle, Steve Roden (eds.), ''Site of Sound: Of Architecture and the Ear'', Los Angeles: Errant Bodies/Smart Art, 1999, 178 pp. With CD. [http://www.errantbodies.org/siteofsound.html]
−
* Karin von Maur, ''Vom Klang der Bilder'', Munich, 1999. (in German)
+
* Karin von Maur, ''The Sound of Painting: Music in Modern Art'', Prestel, 1999, 128 pp.
 
* Allen S. Weiss (ed.), ''[http://monoskop.org/log/?p=656 Experimental Sound and Radio]'', MIT Press, 2000, 188 pp.
 
* Allen S. Weiss (ed.), ''[http://monoskop.org/log/?p=656 Experimental Sound and Radio]'', MIT Press, 2000, 188 pp.
 
* Ken Ehrlich, Brandon LaBelle (eds.), ''Surface Tension: Problematics of Site'', Los Angeles: Errant Bodies, 2003, 328 pp. With CD. Texts by Kim Abeles, Carol Brown, CopenhagenOffice, Octavio Camargo, Jeremiah Day/Concrete Steps, Dispute Resolution Services, Jennifer Gabrys, Jen Hofer/Melissa Dyne, Lucy R. Lippard, Colette Meacher, Christof Migone/Alexander St-Onge (undo), Laurie Palmer, Lize Mogel, Michael Rakowitz, Jane Rendell, Lizzie Scott, Atau Tanaka, and WochenKlausur. [http://www.errantbodies.org/surfacetension.html]
 
* Ken Ehrlich, Brandon LaBelle (eds.), ''Surface Tension: Problematics of Site'', Los Angeles: Errant Bodies, 2003, 328 pp. With CD. Texts by Kim Abeles, Carol Brown, CopenhagenOffice, Octavio Camargo, Jeremiah Day/Concrete Steps, Dispute Resolution Services, Jennifer Gabrys, Jen Hofer/Melissa Dyne, Lucy R. Lippard, Colette Meacher, Christof Migone/Alexander St-Onge (undo), Laurie Palmer, Lize Mogel, Michael Rakowitz, Jane Rendell, Lizzie Scott, Atau Tanaka, and WochenKlausur. [http://www.errantbodies.org/surfacetension.html]
 
* Yannick Dauby, ''[http://psonic.free.fr/2010/Artistes/yd/ydauby-pspartages.pdf Paysages sonores partagés]'', 2004, 119 pp. (in French)
 
* Yannick Dauby, ''[http://psonic.free.fr/2010/Artistes/yd/ydauby-pspartages.pdf Paysages sonores partagés]'', 2004, 119 pp. (in French)
−
* Jim Drobnick (ed.), ''Aural Cultures'', Toronto: YYZ Books, Banff: Walter Philips Gallery Editions, 2004, 288 pp. With Audio CD. [http://books.google.com/books?id=hWb5MYmzOmAC&printsec=frontcover], [http://fillip.ca/content/by-all-means-listen-by-all-means Review].
 
 
* Maja Kuzmanovic, nadine, Annemie Maes, Yves Bernard (eds.), ''[http://monoskop.org/log/?p=53 .x-med-a., experimental media arts]'', Brussels, 2006, 156 pp.
 
* Maja Kuzmanovic, nadine, Annemie Maes, Yves Bernard (eds.), ''[http://monoskop.org/log/?p=53 .x-med-a., experimental media arts]'', Brussels, 2006, 156 pp.
 
* Brandon LaBelle, ''[http://monoskop.org/log/?p=604 Background Noise: Perspectives on Sound Art]'', Continuum, 2006, 316 pp. [http://wiki.dxarts.washington.edu/groups/soundart/wiki/779f0/]
 
* Brandon LaBelle, ''[http://monoskop.org/log/?p=604 Background Noise: Perspectives on Sound Art]'', Continuum, 2006, 316 pp. [http://wiki.dxarts.washington.edu/groups/soundart/wiki/779f0/]
−
* Anne Thurmann-Jajes, Sabine Breitsameter, Winfried Pauleit (eds.), ''Sound Art: Zwischen Avantgarde und Popkultur / Sound Art: Between Avant-Garde and Pop Culture'', Cologne: Salon, 2006, 239 pp. With Audio CD. (in German and English). Documentation of the conference held on 30 September-2 October 2005 on the occasion of an exhibition, 21 August-27 November 2005, Neuen Museum Weserburg Bremen. Texts by Sabine Breitsameter, Winfried Pauleit, Anne Thurmann-Jajes, Barbara Barthelmes, Julia Kursell, Martin Maurach, Daniel Gethmann, Wolfgang Hagen, Peter Frank, Sten Hanson, Heidi Grundmann, Barbara Flückiger. [http://h-net.msu.edu/cgi-bin/logbrowse.pl?trx=vx&list=H-ArtHist&month=0507&week=e&msg=uIf9TUWWc5VC5Bp5lU/Veg&user&pw]
+
* Anne Thurmann-Jajes, Sabine Breitsameter, Winfried Pauleit (eds.), ''Sound Art: Zwischen Avantgarde und Popkultur / Sound Art: Between Avant-Garde and Pop Culture'', Cologne: Salon, 2006, 239 pp. With Audio-CD. (in German and English). Documentation of the conference held on 30 September-2 October 2005 on the occasion of an exhibition, 21 August-27 November 2005, Neuen Museum Weserburg Bremen. Texts by Sabine Breitsameter, Winfried Pauleit, Anne Thurmann-Jajes, Barbara Barthelmes, Julia Kursell, Martin Maurach, Daniel Gethmann, Wolfgang Hagen, Peter Frank, Sten Hanson, Heidi Grundmann, Barbara Flückiger. [http://h-net.msu.edu/cgi-bin/logbrowse.pl?trx=vx&list=H-ArtHist&month=0507&week=e&msg=uIf9TUWWc5VC5Bp5lU/Veg&user&pw]
−
* Alan Licht, ''Sound Art: Beyond Music, Between Categories'', New York: Rizzoli, 2007, 304 pp. Foreword by Jim O’Rourke. [http://monoskop.org/log/?p=5640], [http://pmc.iath.virginia.edu/text-only/issue.108/18.2goldsmith.txt Review]. "Sound art belongs in an exhibition situation rather than a performance situation. [It is non-narrative, and only] rarely attempts to create a portrait or capture the soul of a human being, or express something about the interaction of human beings—its main concern is sound as a phenomenon of nature and/or technology." (14)
+
* Alan Licht, ''Sound Art: Beyond Music, Between Categories'', New York: Rizzoli, 2007, 304 pp. With CD. Foreword by Jim O’Rourke. [http://monoskop.org/log/?p=5640], [http://continuo.wordpress.com/2008/04/09/various-sound-art/ CD], [http://pmc.iath.virginia.edu/text-only/issue.108/18.2goldsmith.txt Review]. "Sound art belongs in an exhibition situation rather than a performance situation. [It is non-narrative, and only] rarely attempts to create a portrait or capture the soul of a human being, or express something about the interaction of human beings—its main concern is sound as a phenomenon of nature and/or technology." (14)
 
* Ulrich Tadday (ed.), ''Klangkunst'', Munich: Richard Boorberg, 2008, 199 pp. (in German). [http://www.straebel.de/praxis/text/pdf-MusikKonzepte_Klanginstallation.pdf Excerpt]. Contributions by Helga de la Motte, Volker Straebel, Sabine Sanio, Uwe Rüth, Wolfgang Heiniger, Julia H. Schröder, Christoph Metzger, Bernd Schulz/Carsten Seiffarth, Claudia Tittel, and Marion Saxer.
 
* Ulrich Tadday (ed.), ''Klangkunst'', Munich: Richard Boorberg, 2008, 199 pp. (in German). [http://www.straebel.de/praxis/text/pdf-MusikKonzepte_Klanginstallation.pdf Excerpt]. Contributions by Helga de la Motte, Volker Straebel, Sabine Sanio, Uwe Rüth, Wolfgang Heiniger, Julia H. Schröder, Christoph Metzger, Bernd Schulz/Carsten Seiffarth, Claudia Tittel, and Marion Saxer.
 
* Seth Kim-Cohen, ''[http://monoskop.org/log/?p=7359 In the Blink of an Ear: Toward a Non-Cochlear Sonic Art]'', New York and London: Continuum, 2009, 296 pp. "If [Duchampian] non-retinal visual art is liberated to ask questions that the eye alone cannot answer, then a non-cochlear sonic art appeals to exigencies out of earshot. But the eye and the ear are not denied or discarded. A conceptual sonic art would necessarily engage both the non-cochlear and the cochlear, and the constituting trace of each in the other." (xxi)
 
* Seth Kim-Cohen, ''[http://monoskop.org/log/?p=7359 In the Blink of an Ear: Toward a Non-Cochlear Sonic Art]'', New York and London: Continuum, 2009, 296 pp. "If [Duchampian] non-retinal visual art is liberated to ask questions that the eye alone cannot answer, then a non-cochlear sonic art appeals to exigencies out of earshot. But the eye and the ear are not denied or discarded. A conceptual sonic art would necessarily engage both the non-cochlear and the cochlear, and the constituting trace of each in the other." (xxi)
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* Lars Mørch Finborud, ''Mot det totale museum; Henie Onstad kunstsenter og tidsbasert kunst 1961-2011'', Oslo: Forlaget, 2012, 305 pp. (in Norwegian) [http://www.fpress.no/index.php?ID=Bok&ID2=397] [http://www.hok.no/mot-det-totale-museum.5117795-175043.html] [http://issuu.com/forlagetpress/docs/9788275476041]
 
* Lars Mørch Finborud, ''Mot det totale museum; Henie Onstad kunstsenter og tidsbasert kunst 1961-2011'', Oslo: Forlaget, 2012, 305 pp. (in Norwegian) [http://www.fpress.no/index.php?ID=Bok&ID2=397] [http://www.hok.no/mot-det-totale-museum.5117795-175043.html] [http://issuu.com/forlagetpress/docs/9788275476041]
 
* Jøran Rudi (ed.), ''Soundscape i kunsten/Soundscape in the Arts'', Oslo: NOTAM, 2011, 336 pp. (in Norwegian/English). Contributions by Natasha Barrett, Bill Fontana, Kristof Georgen, Henrik Hellstenius, Francisco Lòpez, David Monacchi, Camille Norment, Jøran Rudi, Kjell Samkopf, Owe Svensson, Gisle Tveito, Anders Vinjar and Jana Winderen. [http://www.notam02.no/web/order/?lang=en]
 
* Jøran Rudi (ed.), ''Soundscape i kunsten/Soundscape in the Arts'', Oslo: NOTAM, 2011, 336 pp. (in Norwegian/English). Contributions by Natasha Barrett, Bill Fontana, Kristof Georgen, Henrik Hellstenius, Francisco Lòpez, David Monacchi, Camille Norment, Jøran Rudi, Kjell Samkopf, Owe Svensson, Gisle Tveito, Anders Vinjar and Jana Winderen. [http://www.notam02.no/web/order/?lang=en]
−
* Lin Chiwei (林其蔚), ''超越聲音藝術-前衛主義、聲音機器、聽覺現代性'', 藝術家出版社, 2012. [http://sndart.com/2013sh/林其蔚-超越聲音藝術/ Excerpt]. (in Chinese). First monograph on Chinese sound art.
+
* Lin Chiwei (林其蔚), ''超越聲音藝術-前衛主義、聲音機器、聽覺現代性'' [Chao yue sheng yin yi shu: qian wei zhu yi, sheng yin ji qi, ting jue xian dai xing; Beyond Sound Art: The Avant Garde, Sound Machines, and the Modernity of Hearing], Taipei: Artist Publishing (藝術家出版社), 2012, 351 pp. [http://sndart.com/2013sh/林其蔚-超越聲音藝術/ Excerpt]. (in Chinese). First monograph on Chinese sound art. [http://www.aaa.org.hk/Collection/Details/52726]
 
* Andrey Smirnov, ''[http://monoskop.org/log/?p=8860 Sound in Z: Experiments in Sound and Electronic Music in Early 20th-century Russia]'',  London: Koenig Books & Sound and Music, 2013, 281 pp.
 
* Andrey Smirnov, ''[http://monoskop.org/log/?p=8860 Sound in Z: Experiments in Sound and Electronic Music in Early 20th-century Russia]'',  London: Koenig Books & Sound and Music, 2013, 281 pp.
 
* Douglas Kahn, ''Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts'', University of California Press, 2013, 344 pp. [http://www.ucpress.edu/book.php?isbn=9780520257559]
 
* Douglas Kahn, ''Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts'', University of California Press, 2013, 344 pp. [http://www.ucpress.edu/book.php?isbn=9780520257559]
Line 118: Line 129:
  
 
[[Image:Kunstjournalen_B-post_2012_Sound.jpg|thumb|258px|''Kunstjournalen B-post:'' "Sound / Lyd", 2012. [http://www.kunstjournalen.no/12_eng/kunstjournalen-b-post-2012?set_language=en View online] (EN/NO).]]
 
[[Image:Kunstjournalen_B-post_2012_Sound.jpg|thumb|258px|''Kunstjournalen B-post:'' "Sound / Lyd", 2012. [http://www.kunstjournalen.no/12_eng/kunstjournalen-b-post-2012?set_language=en View online] (EN/NO).]]
 +
 
===Journal issues===
 
===Journal issues===
 
* ''3rd Degree'' 4: Special Issue: "Earshot" (1988), ed. Shelly Cox, et al.
 
* ''3rd Degree'' 4: Special Issue: "Earshot" (1988), ed. Shelly Cox, et al.
Line 128: Line 140:
 
* ''InterCommunication'' 9: Special Issue: "Turning Forks: Technologies of Sound and Music" (Summer 1994), Tokyo.
 
* ''InterCommunication'' 9: Special Issue: "Turning Forks: Technologies of Sound and Music" (Summer 1994), Tokyo.
 
* ''TDR: The Drama Review'' 40(3): Special Issue on Experimental Sound and Radio (Autumn 1996). [http://www.jstor.org/stable/i248004]
 
* ''TDR: The Drama Review'' 40(3): Special Issue on Experimental Sound and Radio (Autumn 1996). [http://www.jstor.org/stable/i248004]
 +
* ''testcard: Beiträge zur Popgeschichte'', Vol. 3: "Sound", eds. Roger Behrens, Martin Büsser, Jochen Kleinhenz and Johannes Ullmaier, Mainz: Ventil, 1996, 314 pp; 2nd ed., 2002. (in German) [http://www.ventil-verlag.de/titel/184/testcard-3-sound]
 
* [http://cec.sonus.ca/econtact/5_3/index.html ''eContact!'' 5.3: "NAISA — New Adventures in Sound Art"], 2002. (in English/French)
 
* [http://cec.sonus.ca/econtact/5_3/index.html ''eContact!'' 5.3: "NAISA — New Adventures in Sound Art"], 2002. (in English/French)
 
* ''Positionen'' 65: "Klangkunst" (November 2005), Berlin. (in German) [http://shop.positionen.net/product_info.php?cPath=1_50&op=list&sort=products_sort_order&page=12&cPath=1_50&products_id=13]
 
* ''Positionen'' 65: "Klangkunst" (November 2005), Berlin. (in German) [http://shop.positionen.net/product_info.php?cPath=1_50&op=list&sort=products_sort_order&page=12&cPath=1_50&products_id=13]
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* Christoph Cox, "Von Musik zum Klang: Sein als Zeit in der Klangkunst", ''Sonambiente Berlin 2006: Klang Kunst Sound Art'', Heidelberg: Kehrer, 2006, pp 214-23. (in German)
 
* Christoph Cox, "Von Musik zum Klang: Sein als Zeit in der Klangkunst", ''Sonambiente Berlin 2006: Klang Kunst Sound Art'', Heidelberg: Kehrer, 2006, pp 214-23. (in German)
 
** [http://faculty.hampshire.edu/ccox/Cox.Sonambiente%20Essay%20(Book).pdf "From Music to Sound: Being as Time in the Sonic Arts"].
 
** [http://faculty.hampshire.edu/ccox/Cox.Sonambiente%20Essay%20(Book).pdf "From Music to Sound: Being as Time in the Sonic Arts"].
 +
* Anne Thurmann-Jajes, [http://xenopraxis.net/readings/thurmann-jajes_soundart.pdf "Sound Art"], trans. Judith Rosenthal, in ''Sound Art: Between Avant-Garde and Pop Culture'', eds. Anne Thurmann-Jajes, Sabine Breitsameter and Winfried Pauleit, Cologne: Salon, 2006, pp 29-35.
 +
* Miguel Molina Alarcón, [http://mase.es/wp-content/uploads/2006/11/2.MASE_2006_txt_%C2%A9Miguel-Molina_EN.pdf "Echoes of Sound Art in Spanish Historical Avant-Garde"], in ''MASE'', 2006.
 +
** [http://mase.es/wp-content/uploads/2006/11/2.MASE_2006_txt_%C2%A9Miguel-Molina_ES.pdf "Ecos del arte sonoro en la vanguardia histórica española (1909-1945)"], in ''MASE'', 2006. (in Spanish)
 
* Andy Hamilton, [http://soundartarchive.net/articles/Hamilton-2007-Music%20and%20the%20Aural%20Arts.pdf "Music and the Aural Arts"], ''British Journal of Aesthetics'' 47:1 (January 2007), pp 46-63.
 
* Andy Hamilton, [http://soundartarchive.net/articles/Hamilton-2007-Music%20and%20the%20Aural%20Arts.pdf "Music and the Aural Arts"], ''British Journal of Aesthetics'' 47:1 (January 2007), pp 46-63.
 +
* Paul Hegarty, [http://xenopraxis.net/readings/hegarty_soundart.pdf "Sound Art"], Chapter 11 of ''Noise/Music: A History'', Continuum, 2007, pp 169-178.
 
* Volker Straebel, [http://www.straebel.de/praxis/text/pdf-MusikKonzepte_Klanginstallation.pdf "Zur frühen Geschichte und Typologie der Klanginstallation"], in ''Klangkunst'', ed. Ulrich Tadday, Munich: Richard Boorberg, 2008, pp 24-46. (in German)
 
* Volker Straebel, [http://www.straebel.de/praxis/text/pdf-MusikKonzepte_Klanginstallation.pdf "Zur frühen Geschichte und Typologie der Klanginstallation"], in ''Klangkunst'', ed. Ulrich Tadday, Munich: Richard Boorberg, 2008, pp 24-46. (in German)
 
* Alan Licht, [http://www.academia.edu/4708397/ "Sound Art: Origins, development and ambiguities"], ''Organised Sound'' 14:1 (April 2009), pp 3-10. "The roots of sound art lie in the disjunction of soundand image afforded by the inventions of the telephone and audio recording as well as the ages-old notion of acoustic space" (4).
 
* Alan Licht, [http://www.academia.edu/4708397/ "Sound Art: Origins, development and ambiguities"], ''Organised Sound'' 14:1 (April 2009), pp 3-10. "The roots of sound art lie in the disjunction of soundand image afforded by the inventions of the telephone and audio recording as well as the ages-old notion of acoustic space" (4).
−
* Joseph Nechvatal, [http://www.hz-journal.org/n15/nechvatal.html "Towards a Sound Ecstatic Electronica"], ''Hz'' 15 (September 2010), Stockholm: Fylkingen. [http://post.thing.net/node/1981]
+
* Joseph Nechvatal, [http://www.hz-journal.org/n15/nechvatal.html "Towards a Sound Ecstatic Electronica"], ''HZ'' 15 (September 2010), Stockholm: Fylkingen. [http://post.thing.net/node/1981]
 +
* Robert Michael Brain, [http://web.duke.edu/philartslit/Sawyer/BrainTalk.pdf "Genealogy of 'Zang Tumb Tumb': Experimental Phonetics, Vers Libre, and Modernist Sound Art"], ''Grey Room'' 43 (Spring 2011), pp 88-117.
 
* Carsten Seiffarth, [http://www.kunstjournalen.no/12_eng/carsten-seiffarth-about-sound-installation-art "About Sound Installation Art"] / [http://www.kunstjournalen.no/12/carsten-seiffarth-om-lydbasert-installasjonskunst?set_language=no "Om lydbasert installasjonskunst"], ''Kunstjournalen B-post'', 2012. (in English/Norwegian). "[T]he sound art I focus on in my curatorial work is primarily what Bernhard Leitner once labelled 'sound-space-art'".
 
* Carsten Seiffarth, [http://www.kunstjournalen.no/12_eng/carsten-seiffarth-about-sound-installation-art "About Sound Installation Art"] / [http://www.kunstjournalen.no/12/carsten-seiffarth-om-lydbasert-installasjonskunst?set_language=no "Om lydbasert installasjonskunst"], ''Kunstjournalen B-post'', 2012. (in English/Norwegian). "[T]he sound art I focus on in my curatorial work is primarily what Bernhard Leitner once labelled 'sound-space-art'".
 
* Jørgen Larsson, [http://www.kunstjournalen.no/12_eng/joergen-larsson-sound-art-in-2012 "Sound art in 2012"] / [http://www.kunstjournalen.no/12/joergen-larsson-lydkunst-i-2012?set_language=no "Lydkunst in 2012"], ''Kunstjournalen B-post'', 2012. (in English/Norwegian)
 
* Jørgen Larsson, [http://www.kunstjournalen.no/12_eng/joergen-larsson-sound-art-in-2012 "Sound art in 2012"] / [http://www.kunstjournalen.no/12/joergen-larsson-lydkunst-i-2012?set_language=no "Lydkunst in 2012"], ''Kunstjournalen B-post'', 2012. (in English/Norwegian)
−
* Edwin Lo (羅潤庭), [http://sndart.com/2013sh/edwin-lo-the-state-of-sound-practices-in-hong-kong/ "The State of Sound Practices in Hong Kong"] / [http://sndart.com/2013sh/edwin-lo-essay/ "香港聲音實踐現況"], 2013. (in English/Chinese)
+
* Edwin Lo (羅潤庭), [http://sndart.com/2013sh/edwin-lo-the-state-of-sound-practices-in-hong-kong/ "The State of Sound Practices in Hong Kong"] / [http://sndart.com/2013sh/edwin-lo-essay/ 香港聲音實踐現況], 2013. (in English/Chinese)
 
* Gascia Ouzounian, "Sound Installation Art: From Spatial Poetics to Politics", ''Music, Sound and Space: Transformations of Public and Private Experience'', ed. Georgina Born, Cambridge: Cambridge University Press, 2013, pp 73-89. [http://www.cambridge.org/asia/catalogue/catalogue.asp?isbn=9780521764247]
 
* Gascia Ouzounian, "Sound Installation Art: From Spatial Poetics to Politics", ''Music, Sound and Space: Transformations of Public and Private Experience'', ed. Georgina Born, Cambridge: Cambridge University Press, 2013, pp 73-89. [http://www.cambridge.org/asia/catalogue/catalogue.asp?isbn=9780521764247]
 
* Gascia Ouzounian, "Sound Art", in ''Oxford Encyclopedia of Aesthetics'', Oxford University Press, 2014 (forthcoming).
 
* Gascia Ouzounian, "Sound Art", in ''Oxford Encyclopedia of Aesthetics'', Oxford University Press, 2014 (forthcoming).
Line 166: Line 184:
 
[[Image:Cage_John_Silence.jpg|thumb|258px|John Cage, ''Silence'', 1961. [http://monoskop.org/log/?p=1014 Download].]]
 
[[Image:Cage_John_Silence.jpg|thumb|258px|John Cage, ''Silence'', 1961. [http://monoskop.org/log/?p=1014 Download].]]
 
[[Image:Schaeffer_Pierre_Traite_des_objets_musicaux.jpg|thumb|258px|Pierre Schaeffer, ''Traité des objets musicaux'', 1966. Contains [[Media:Schaeffer_Pierre_1966_2004_Acousmatics.pdf|"Acousmatics"]] (EN).]]
 
[[Image:Schaeffer_Pierre_Traite_des_objets_musicaux.jpg|thumb|258px|Pierre Schaeffer, ''Traité des objets musicaux'', 1966. Contains [[Media:Schaeffer_Pierre_1966_2004_Acousmatics.pdf|"Acousmatics"]] (EN).]]
 +
 +
===List discussions===
 +
* [http://lists.cofa.unsw.edu.au/pipermail/empyre/2014-June/thread.html "New Sonic Paths: Sound Studies Expanded"], ''-empyre'', July 2014. Moderated by Renate Ferro, Timothy Murray, et al. [http://lists.cofa.unsw.edu.au/pipermail/empyre/2014-June/007156.html Intro].
 +
 
===Primary references===
 
===Primary references===
 
* Athanasius Kircher, ''[[Media:Kircher_Athanasius_Phonurgia_nova.pdf|Phonurgia nova, sive conjugium mechanico-physicum artis & natvrae paranympha phonosophia concinnatum]]'', Kempten: Rudolph Dreherr, 1673. (in Latin). Early book on sound, acoustics and music; describes acoustic apparatuses and phenomena such as the ''tuba stentorophonica'' [the loud trumpet], the ''statua citofonica'' [the talking statue], or the Aeolian harp. Scans online: [http://digital.slub-dresden.de/en/workview/dlf/1421/11/], [http://gallica.bnf.fr/ark:/12148/bpt6k111869n.r]. Commentaries: [http://www.digicult.it/digimag/issue-055/athanasius-kircher-arca-musarithmica-and-many-sound-devices/], [http://webistem.com/acoustics2008/acoustics2008/cd1/data/articles/000807.pdf].  
 
* Athanasius Kircher, ''[[Media:Kircher_Athanasius_Phonurgia_nova.pdf|Phonurgia nova, sive conjugium mechanico-physicum artis & natvrae paranympha phonosophia concinnatum]]'', Kempten: Rudolph Dreherr, 1673. (in Latin). Early book on sound, acoustics and music; describes acoustic apparatuses and phenomena such as the ''tuba stentorophonica'' [the loud trumpet], the ''statua citofonica'' [the talking statue], or the Aeolian harp. Scans online: [http://digital.slub-dresden.de/en/workview/dlf/1421/11/], [http://gallica.bnf.fr/ark:/12148/bpt6k111869n.r]. Commentaries: [http://www.digicult.it/digimag/issue-055/athanasius-kircher-arca-musarithmica-and-many-sound-devices/], [http://webistem.com/acoustics2008/acoustics2008/cd1/data/articles/000807.pdf].  
Line 175: Line 197:
 
** ''[[Media:Russolo_Luigi_L_Art_des_bruits_Manifeste_futuriste.pdf|L’Art des bruits. Manifeste futuriste]]'', 2003; 4th ed., 2013. (in French). Manifesto only.
 
** ''[[Media:Russolo_Luigi_L_Art_des_bruits_Manifeste_futuriste.pdf|L’Art des bruits. Manifeste futuriste]]'', 2003; 4th ed., 2013. (in French). Manifesto only.
 
** ''[[Media:Russolo_Luigi_%D0%98%D1%81%D0%BA%D1%83%D1%81%D1%81%D1%82%D0%B2%D0%BE_%D1%88%D1%83%D0%BC%D0%BE%D0%B2.pdf|Iskusstvo shumov]]'' [Искусство шумов]. (in Russian). The manifesto only.
 
** ''[[Media:Russolo_Luigi_%D0%98%D1%81%D0%BA%D1%83%D1%81%D1%81%D1%82%D0%B2%D0%BE_%D1%88%D1%83%D0%BC%D0%BE%D0%B2.pdf|Iskusstvo shumov]]'' [Искусство шумов]. (in Russian). The manifesto only.
−
* Erik Satie, ''Musiques d'ameublement'', Salabert, 1999. 'Furniture music' scores written from 1917 to the 1920s. See also J.R.F., "Conseils d’été", ''Vogue'' 1 (15 June 1920), Paris, p 15, a column mentioning their first performance by Satie: "Furniture music? It is music that must be played between the acts of a theatrical or musical spectacle, and which contributes, like the sets, the curtains or the furniture of the hall in creating an atmosphere. The musical motifs are repeated without stop and it is useless, says Erik Satie, to listen to them: one lives in their ambiance without paying them any attention. It’s up to you to find a way to hear this ''musique d’ameublement'' and to devise an opinion on the topic. But that has nothing to do with the furniture we’re so taken with this season. It’s just an opportunity to make and hear music, the passion of the moment." (quoted in Mary E. Davis, ''Erik Satie'', 2007, p 128)
+
* Erik Satie, ''Musiques d'ameublement'', Salabert, 1999. 'Furniture music' scores written from 1917 to the 1920s. See also J.R.F., "Conseils d’été", ''Vogue'' 1 (15 June 1920), Paris, p 15, a column mentioning their first performance by Satie: "Furniture music? It is music that must be played between the acts of a theatrical or musical spectacle, and which contributes, like the sets, the curtains or the furniture of the hall in creating an atmosphere. The musical motifs are repeated without stop and it is useless, says Erik Satie, to listen to them: one lives in their ambiance without paying them any attention. It’s up to you to find a way to hear this ''musique d’ameublement'' and to devise an opinion on the topic. But that has nothing to do with the furniture we’re so taken with this season. It’s just an opportunity to make and hear music, the passion of the moment." (trans. from Mary E. Davis, ''Erik Satie'', 2007, p 128)
 
* Pierre Schaeffer, ''À la recherche d'une musique concrète'', Paris: Seuil, 1952. (in French)
 
* Pierre Schaeffer, ''À la recherche d'une musique concrète'', Paris: Seuil, 1952. (in French)
−
** ''In Search of a Concrete Music'', ; trans. John Dack and Christine North, University of California Press, 2012, 244 pp.
+
** ''In Search of a Concrete Music'', trans. John Dack and Christine North, University of California Press, 2012, 244 pp.
 
* John Cage, ''[http://monoskop.org/log/?p=1014 Silence: Lectures and Writings]'', Wesleyan University Press, 1961, 276 pp.
 
* John Cage, ''[http://monoskop.org/log/?p=1014 Silence: Lectures and Writings]'', Wesleyan University Press, 1961, 276 pp.
 
* Pierre Schaeffer, ''Traité des objets musicaux'', Paris: Seuil, 1966; 2nd ed., 1977. (in French)
 
* Pierre Schaeffer, ''Traité des objets musicaux'', Paris: Seuil, 1966; 2nd ed., 1977. (in French)
Line 217: Line 239:
 
* [http://www.academia.edu/People/Sound_Art Sound art at Academia.edu]
 
* [http://www.academia.edu/People/Sound_Art Sound art at Academia.edu]
 
* [http://beckerexhibits.wustl.edu/did/rarebks/ Rare Books on Deafness, Hearing, and Hearing Devices]
 
* [http://beckerexhibits.wustl.edu/did/rarebks/ Rare Books on Deafness, Hearing, and Hearing Devices]
−
 
−
==Recent exhibitions==
 
−
''Sound Art - Sound as Media'' (ICC, Tokyo, 2000) [http://www.ntticc.or.jp/Archive/2000/Sound_Art/], ''Volume: Bed of Sound'' (The Museum of Modern Art, New York, 2000), ''Sonic Boom'' (curated by David Toop, Hayward Gallery, London, 2000) [http://www.frieze.com/issue/review/sonic_boom/], ''I Am Sitting in a Room'' (Whitney, 2000), ''Bitstreams'' (Whitney Museum of American Art, New York, 2001), ''Art>Music'' (Museum of Contemporary Art, Sydney, 2001), ''Sonic Process'' (Centre Georges Pompidou, Paris, 2002), ''Sounding Spaces'' (ICC, Tokyo, 2003) [http://www.ntticc.or.jp/Press/2003/06/0609_01.html], ''Sons & Lumiéres'' (Centre Pompidou, Paris, 2004) [http://www.sonore-visuel.fr/evenement/sons-lumieres-une-histoire-du-son-dans-lart-du-xxe-siecle], ''Her Noise'' (South London Gallery, London, 2005), ''See This Sound'' (Lentos Art Museum, Linz, 2009), ''Sounds. Radio - Art - New Music'' (n.b.k., Berlin, 2010), ''Sound Art. Sound as Medium of Art'' (ZKM, Karlsruhe, 2012) [http://soundart.zkm.de/] [http://on1.zkm.de/zkm/stories/storyReader$7919] [http://www.mediaartdesign.net/EN_sound.html], ''Revolutions Per Minute: Ten Years of Sound Art in China'' (curated by Dajuin Yao and Wenhua Shi, Colgate University, New York; Shanghai; Hong Kong; Europe, 2013-14) [http://www.rpm13.com/] [http://sndart.com/2013sh].
 
−
+
 
−
''New Sound, New York'' festival (org. The Kitchen, city-wide, 2004)
 
−
 
−
==Educational programmes==
 
−
* MA Sound Arts, [[Salomé Voegelin]], London College of Communication.
 
−
* MA Klangkunst-Komposition, [[Peter Kiefer]], Hochschule für Musik Mainz an der Johannes Gutenberg-Universität Mainz. [http://www.musik.uni-mainz.de/1622_DEU_HTML.php]
 
−
* Klasse Plastik / Audiovisuelle Kunst, [[Christina Kubisch]], HBK Saar, Saarbrücken. Dir. . [http://www.hbksaar.de/1064.html]
 
−
* Freie Kunst, [[Ulrich Eller]], Hochschule für Bildende Künste Braunschweig. [http://www.hbk-bs.de/studiengaenge/freie-kunst/]
 
−
* Medienkunst/Mediengestaltung, Bauhaus-Universität Weimar. [http://www.uni-weimar.de/cms/medien/medienkunstmediengestaltung.html]
 
−
* MA Sound Studies, Zentralinstitut für Weiterbildung der Universität der Künste Berlin. [http://www.udk-berlin.de/sites/soundstudies/content/index_ger.html]
 
−
* Medienkunst, Staatlichen Hochschule für Gestaltung Karlsruhe. [http://mksound.hfg-karlsruhe.de/]
 
−
* BA Musik und Medienkunst, Hochschule der Künste Bern. [http://www.medien-kunst.ch]
 
−
* MA Contemporary Art Practice, Hochschule der Künst Bern. [http://www.hkb.bfh.ch/de/studium/master/macap/]
 
−
 
−
; Courses
 
−
* http://www.nyu.edu/content/dam/nyu/globalPrgms/documents/berlin/academics/syllabi/NYUB_2013-2_Syllabus_Graydon_Sound.pdf
 
  
 
==See also==
 
==See also==
−
* Sound art in [[Norway#Sound_art|Norway]], [[Slovakia#Sound_art_.281960s-2000s.29|Slovakia]].
+
[[Field recording]], [[Radio art]], [[Streaming media]], [[Sound studies]], [[Noise]], [[Circuit bending]], [[SuperCollider]].
−
* [[Field recording]], [[Radio art]], [[Streaming media]], [[Sound studies]], [[Noise]], [[Circuit bending]], [[SuperCollider]], [[Sensory ethnography]].
 
  
  
 
{{Art and culture}}
 
{{Art and culture}}
 
{{featured article}}
 
{{featured article}}

Revision as of 19:52, 22 August 2014

Related terms: Klangkunst, sound installation (since late 1960s), Klanginstallation, sound-space-art (Leitner c1971 [1]), sound sculpture (see Grayson 1975), Klangskulptur, sound walk, sonic art (see Wishart 1985), musicalization of sound (see Lander 1990), sound in the arts (see Kahn 1999), audio art (see Föllmer 2004), Audiokunst, sound in art.

Pages

The following is a growing list of artists, events and initiatives that have presented works of art with sound as their constituent means of expression.

Compilations

  • Sound Sculptures, Wergo, 1985, 2-LP. Curated by Klaus Hinrich Stahmer.
  • From The Pages Of Experimental Musical Instruments series, 8 volumes, Experimental Musical Instruments, 1986-1993. Cassettes. Curated by Bart Hopkins.
  • Tellus 24: FluxTellus, 1990. Cassette.

See also the sections Magazines, Catalogues and Monographs below.

Bibliography

Publications on individual artists are included in their respective pages. For further bibliographies see also the entries on Radio art, Sound poetry, Electroacoustic music, Field recording, Noise and Sound studies (all in development).

How to contribute. The following bibliography is made to be an online reader on sound art as well. A number of included publications is already available online thanks to the publishers, fans, researchers or authors themselves, however we are still missing many of the early writings, the out of print and hard to find catalogues, journals and monographs. You are greatly welcome to contribute to the reader by uploading any missing scans to the wiki or contacting the editor (db at monoskop dot org). Suggestions for omitted works are also appreciated.

Journals and Magazines

  • Sound Image: A Magazine of Aural and Visual Arts, 3 volumes, Deerfield, MA: Sound Image Inc., 1975-77. LP-magazine. Published by Jim Metzner. Volume 1, [2].
  • The Wire, London, since 1982.
  • Essays in Sound, eds. Shaun Davies, Annemarie Jonson, et al., Newtown, NSW: Contemporary Sound Arts, 1992; 1995; 1996; 1999.
  • Sound Arts: Xebec SoundCulture Membership Magazine, Kobe: Xebec Corporation, since 1994.
  • Acoustic Space, eds. Rasa Šmite, Raitis Šmits, et al., Riga: E-Lab and Xchange Network, quasi-annually since 1998. (in English/Latvian) [3] [4]
  • Hz, ed. Sachiko Hayashi, Stockholm: Fylkingen, since 2000. Online open-access journal. [5]
  • China: the Sonic Avant-Garde, 2 issues, 2005-2006. (in Chinese)
Ars Electronica: Der freie Klang, 1987. View online (DE).
Dan Lander, Micah Lexier (eds.), Sound by Artists, 1990. Introduction.
Heidi Grundmann (ed.), Zeitgleich, 1994. View online (EN/DE).
Miguel Molina Alarcón, Baku: Symphony of Sirens: Sound Experiments in The Russian Avant-Garde, 2008. View online.

Catalogues

  • Germano Celant, The Record as Artwork: From Futurism to Conceptual Art, Chicago: Museum of Contemporary Art, 1977, 121 pp. (in English/French) [6] [7]
  • Sound: An Exhibition of Sound Sculpture, Instrument Building and Acoustically Tuned Spaces, Pasadena, CA: Los Angeles Institute of Contemporary Art, 1979, 68 pp. Catalogue for a large-scale exhibition curated by Robert Smith and Robert Wilhite and held at Los Angeles Institute of Contemporary Art, 14 July-31 August 1979, and Project Studios 1, New York, 30 September-18 November 1979. [8]
  • René Block, Lorenz Dombois, Nele Herltling, Barbara Volkmann (eds.), Für Augen und Ohren. Von der Spieluhr zum akustischen Environment. Objekte. Installationen. Performances, Berlin: Akademie der Künste, 1980, 312 pp. (in German). Catalogue for a large-scale exhibition curated by Nele Hertling and René Block. [9] [10]
    • Écouter par les yeux: Objets et environnements sonores, Paris: Musée d'art moderne de la Ville de Paris, with Berlin: Akademie der Künste, 1980, 144 pp. (in French). Catalogue for an exhibition held on 18 June-24 August 1980 at Musée d'Art Moderne de la Ville de Paris. Essays by Suzanne Pagé, Franck Popper, René Block. Oeuvres de Laurie Anderson, Ben, Beuys, John Cage, Robert Filiou, Kienholz, Kounellis, Man Ray, B. Lavier, D. Oppenheim, Nam June Paik, Sarkis, Erik Satie, Takis, Vostell, Robert Watts. [11]
  • Franco Masotti (ed.), Sonorità prospettiche: suono, ambiente, immagine / Perspectival Sonorities: Sound, Environment, Image, Rimini: Il Comune editions, 1982, 183 pp. (in Italian/English, introduction also in German). Catalogue for an exhibition dedicated to Athanasius Kircher, curated by Franco Masotti and held on 30 January-15 March 1982 in Rimini. Exhibition review.
  • Vito Acconci, William Hellermann, Don Goddard, Sound/Art, New York: The Foundation, 1984, 29 pp. With an essay by Don Goddard. Exhibition curated by William Hellermann and held simultaneously at SculptureCenter’s former location on East 69th Street in Manhattan and the Brooklyn Arts and Cultural Association (now Brooklyn Arts Council). [12]
  • Karin von Maur (ed.), Vom Klang der Bilder: Die Musik in der Kunst des 20. Jahrhunderts, Munich: Prestel, 1985. (in German). For an exhibition held at Staatsgalerie, Stuttgart.
  • Paul Panhuysen (ed.), ECHO: The Images of Sound, Eindoven: Het Apollohuis, 1986, 144 pp. [13]
  • Sound Re Visited: An Anthology Concerning Sound in Art / Geluid Her Zien: Een Anthologie Over Geluid in Kunst, Amsterdam: VOID, 1987, 48+51 pp. Exhibition catalogue published in conjunction with "Sound 'Re' Visited," a festival on sound in the visual arts, held in nine Amsterdam venues, 7-29 April 1987. Texts by Ursula Block, Germano Celant, Hetty Huisman, Harry Ruhé, William Furlong, Gerald Lindahl and Louwrien Wijers. (in English/Dutch) [14]
  • ECHO. The Images Of Sound II, Apollo Records, 1987. CD with 38-page booklet. From a festival held in Eindhoven from 1 May to 14 June 1987. [15] [16]
  • Ars Electronica: Free Sound / Der freie Klang, 1987. (in German). Catalogue for the festival held on 16-19 September 1987 in Linz.
  • Ursula Block, Michael Glasmeier (eds.), Broken Music: Artists' Recordworks, Berlin: DAAD Galerie and gelbe Musik, 1989, 279 pp. (in English, French, German). Catalogue for an exhibition held at daad galerie Berlin, Gemeentemuseum Den Haag, and Magasin Grenoble. Writings about vinyl by Block, Adorno, Moholy-Nagy, Dubuffet and others. A discography of recordings by visual artists and experimental audioworks. [17] [18]
  • d.i.s.c.o.t.h.è.q.u.e. … Expériences Sonores d’Artistes, 1989. Catalogue for an exhibition curated by Mauricio Nanucci and Blandine Bardonnet at Maison du Livre, de l’Image et du Son, Villeurbanne, France, Oct–Nov 1989. [19] [20]
  • Dan Lander, Micah Lexier (eds.), Sound by Artists, Toronto: Art Metropole and Walter Phillips Gallery, 1990; Blackwood Gallery and Charivari Press, 2013, 372 pp. A collection of artists writings including Cage, Viola, Neuhaus, Kubisch, Bruinsma, Monahan, Lucier, Whitehead, Schafer, Lockwood, Westerkamp, Marclay. Introduction, Discography, Essay by Bill Viola, Book excerpts (video), [21]. Essays on sound art by writers and artists including John Cage, Christina Kubisch, Alvin Lucier, Annea Lockwood, Ihor Holubizky, Douglas Kahn, Christian Marclay and others. [22] [23]
  • Heidi Grundmann (ed.), Zeitgleich: Sound Installation and Media Composition in the Digital Age / Klanginstallation und Medienkomposition im digitalen Zeitalter, Vienna: Triton, 1994, 194 pp. With CD. (in English/German). Catalogue for an symposium, seminar and exhibition held on 3 June-15 August 1994 at Hall in Tirol. Texts by Ros Bandt, Isabella Bordoni / Roberto Paci Dalo, Andres Bosshard, Alvin Curran, Bill Fontana, Matt Heckert, Concha Jerez / Jose Iges, Arthur and Marielouise Kroker, Alvin Lucier, Max Neuhaus, Claude Schryer, and Gerfried Stocker. [24]
  • Sound In Space: Adventures in Australian Sound Art, Sydney, 1995. Catalogue for an exhibition curated by Rebecca Coyle and held at Museum of Contemporary Art, Sydney, 26 May-22 August 1995. Coyle's essay, Introduction to a special issue of Essays in Sound dedicated to the exhibition.
  • Helga de la Motte-Haber (ed.), Klangkunst, Munich: Prestel, with Berlin: Akademie der Künste, 1996, 303 pp. (in German). Catalogue for Sonambiente festival held on 9 August-8 September 1996 in Berlin. [25] [26]
  • Lisa Phillips (ed.), The American Century: Art & Culture 1950-2000, New York: The Whitney Museum, with W.W. Norton, 1999, 398 pp. The exhibition included I Am Sitting in a Room: Sound Works by American Artists 1950-2000 programme curated by Stephen Vitiello, 11-16 January 2000. [27], [28], Review of the programme, Interview with the curator.
  • Minoru Hatanaka, Takeo Nozaki (eds.), Sound Art - Sound as Media, Tokyo: NTT, 2000, 80 pp. With CD. Catalogue for an exhibition held on 28 January-12 March 2000 at NTT [ICC], Tokyo. Texts by Minoru Hatanaka and Rob Young. [29]
    • サウンド・アート -　音というメディア, 2000. (in Japanese) [30]
  • Sonic Boom: The Art of Sound, London: Hayward Gallery, 2000, 128 pp. With 2-CD. Catalogue for a large-scale exhibition curated by David Toop and held 27 April-18 June 2000. CD, [31] [32].
  • Volume: Bed of Sound, New York: P.S. 1 Contemporary Art Center, 2000. "CD-catalog", with liner notes by Max Neuhaus. Catalogue for an exhibition curated by Elliot Sharp and Alanna Heiss and held 2 July-19 November 2000. [33] [34] [35]
  • Bernd Schulz (ed.), Resonanzen/Resonances. Aspekte der Klangkunst/Aspects of Sound Art, Heidelberg: Kehrer, 2002, 174 pp. With CD. (in English/German). Catalogue for exhibitions held on 6 June-25 August and 15 September-24 November 2002, Stadtgalerie Saarbrücken. Essays on sound art and documentation of works by Bosshard, de Marinis, Julius, Kubisch, Leitner, Oldorp, Osborn, Riches, Roden, Stache, Yui. Schulz: "Sound art is an art form [..] in which sound has become material within the context of an expanded concept of sculpture [..] for the most part works that are space-shaping and space-claiming in nature" (14).
  • Sophie Duplaix (ed.), Sons & lumières: une histoire du son dans l'art du XXe siècle, Centre Georges Pompidou, 2004, 375 pp. (in French) [36] [37]
  • Helga de la Motte-Haber, Matthias Osterwold, Georg Weckwerth (eds.), Sonambiente Berlin 2006: Klang Kunst Sound Art, Heidelberg: Kehrer, with Berlin: Akademie der Künste, 2006, 408 pp. (in German/English). Texts by Helga de la Motte-Haber, Christian Scheib, Gerhard Rühm, Christoph Cox, Claudia Tittel, Rolf Langebartels, Uwe Rüth, Sabine Sanio, Marion Saxer, Sabine Breitsameter, Akio Suzuki, Andres Bosshard, Khaled Saleh, Detlev Ipsen, Gordon Monahan, Julie H. Reiss, Raimar Stange, Lutz Fahrenkrog-Petersen, Rolf Großmann, Nicolas Collins, Jörg Stelkens, Paul B. Davis, Sven König, Golo Föllmer, Gerhard Eckel, Stefan Weinzierl + Kees Tazelaar, Christopher Frauenberger, Frieder Butzmann, Markus Bodden, Nele Hertling. [38] [39]
  • Miguel Molina Alarcón, Baku: Symphony of Sirens: Sound Experiments in The Russian Avant-Garde. Original Documents and Reconstructions of 72 Key Works of Music, Poetry and Agitprop from the Russian Avantgardes (1908-1942), London: ReR Megacorp, 2008, 72 pp. With 2-CD.
  • Jøran Rudi (ed.), Absorption and Resonance — Sound and Meaning, Oslo: NOTAM, 2008, 168 pp. (in Norwegian/English). For the exhibition at the Henie Onstad Arts Center. Texts by Katharine Norman, Leigh Landy, Jøran Rudi, Aeron Bergman and Steinar Sekkingstad. [40]
  • singuhr sound gallery in parochial – 1996-2006: sound art in berlin, Heidelberg: Kehrer, 2009, 296 pp. With DVD. [41]
  • Andrey Smirnov, Liubov Pchelkina, Pokolenie Z [ПОКОЛЕНИЕ Z], St. Petersburg: PRO ARTE Foundation, 2010, 20 pp. Booklet-newspaper of the Generation Z exhibition. (Russian).
  • Sounds. Radio - Art - New Music, Berlin: n.b.k., 2010, 32 pp.
  • David Crowley, Daniel Muzyczuk, Sounding the Body Electric: Experiments in Art and Music in Eastern Europe 1957–1984, Łódź: Muzeum Sztuki, 2012, 222 pp. (in English/Polish)
  • Ralf Beil, Peter Kraut, Institut Mathildenhöhe Darmstadt (eds.), A House Full of Music: Strategies in Music and Art, Hatje Cantz, 2012, 416 pp. German edition: Kunst zum Hören: A House Full of Music: Strategien in Musik und Kunst, 2012, 52 p. With CD. Catalogue for an exhibition curated by Ralf Beil, Mathildenhöhe Museum, Darmstadt, 13 May-9 September 2012. Texts by Ralf Beil, Stefan Fricke, Peter Kraut, Thomas Schäfer and others. [42] [43]
  • Barbara London, Anne Hilde Neset, Soundings: A Contemporary Score, New York: The Museum of Modern Art, 2013, 72 pp. [44]
  • Giorgio Maffei (ed.), Records by Artists: 1958-1990, Perugia: Viaindustriae Edizioni, and Ravenna: Danilo Montanari Editore, 2013. Catalogue for an exhibition curated by Giorgio Maffei at Biblioteca Universitaria, Bologna, in September-October 2013, of a selection of 130 artists records chosen among Maffei’s personal collection. [45] [46]
John Grayson (ed.), Sound Sculpture, 1975. Download.

Anthologies

  • John Grayson (ed.), Sound Sculpture: A Collection of Essays by Artists Surveying the Techniques, Applications, and Future Directions of Sound Sculpture, Vancouver: Aesthetic Research Centre of Canada, 1975, 196 pp.
  • Sound Re Visited: An Anthology Concerning Sound in Art, 1987. Catalogue. (see above)
  • Lander, Lexier (eds.), Sound by Artists, 1990; 2013. Catalogue. (see above)
  • Douglas Kahn, Gregory Whitehead (eds.), Wireless Imagination: Sound, Radio, and the Avant-Garde, MIT Press, 1992, 452 pp. [47]
  • Caleb Kelly (ed.), Sound, London: Whitechapel Gallery, with MIT Press, 2011, 239 pp. "This anthology argues for sound's importance within contemporary art itself. In doing so it [does] not focus primarily on ‘sound art’ – although it includes all the relevant discussions of this term. Rather, the focus is on ‘listening’ to the visual arts." (15)

Book series

  • Sound Studies, Bloomsbury.
  • Critical Ear, Errant Bodies. Series of monographs featuring contemporary artists working with sound, experimental music and electronic media.
  • Errant Bodies: Anthologies. Publications exploring themes related to sound art, performance, radio and spatial practices.
Trevor Wishart, On Sonic Art, 1985/1996. Download.
Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts, 1999. Download.
Allen S. Weiss (ed.), Experimental Sound & Radio, 2000. Download.
Seth Kim-Cohen, In the Blink of an Ear: Toward a Non-Cochlear Sonic Art, 2009. Download.
Salomé Voegelin, Listening to Noise and Silence, 2010. Download.

Monographs, Edited books

  • Peter Chamberlain, An Investigation of Sound/sculpture Relationships, New York: State University College, 1976, 134 pp. [48]
  • Trevor Wishart, On Sonic Art, Harwood Academic Publishers, 1985; 2nd ed., ed. Simon Emmerson, Routledge, 1996, 357 pp. "[S]onic art includes music and electroacoustic music. At the same time [..] it cross[es] over into areas which have been categorised distinctly as text-sound and as sound-effects. [..] I have chosen the title On Sonic Art to encompass the arts of organising sound-events in time. This, however, is merely a convenient fiction for those who cannot bear to see the use of the word 'music' extended. For me, all these areas fall within the category I call 'music'." (4)
  • Helga de la Motte-Haber, Musik und Bildende Kunst. Von der Tonmalerei zur Klangskulptur, Laaber: Laaber-Verlag, 1990.
  • René van Peer, Interviews with Sound Artists: Taking Part in the Festival ECHO, The Images of Sound II, Eindoven: Het Apollohuis, 1993, 149 pp. Interviews with Joe Jones, Richard Lerman, Jean Weinfeld, Martin Riches, Yakehisa Kosugi, Horst Rickels, Johan Goedhart, Terry Fox, Christina Kubisch, Jim Pomeroy, Walter Fähnrich, Yoshi Wada, Paul Panhuysen. Most interviews took place in 1987. [49]
  • Achim Wollscheid, The Terrorized Term, Frankfurt/M: Selektion, 1996, 167 pp. [50] [51]
  • Adalaide Kirby Morris (ed.), Sound States: Innovative Poetics and Acoustical Technologies, University of North Carolina Press, 1997, 349 pp.
  • Ulrike Roos, Markus Müller (eds.), Jahresring 45 / Jahrbuch für moderne Kunst: Make it Funky. Crossover zwischen Musik, Pop, Avantgarde und Kunst, Cologne: Oktagon, 1998, 355 pp. (in German) [52]
  • Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts, MIT Press, 1999, 455 pp. Sparked by Dan Lander's idea of "musicalization of sound" presented in the volume Sound by Artists. ([53]; 363-4, n22). "By sound I mean sounds, voices, and aurality--all that might fall within or touch on auditive phenomena, whether this involves actual sonic or auditive events or ideas about sound or listening; sounds actually heard or heard in myth, idea, or implication; sounds heard by everyone or imagined by one person alone; or sounds as they fuse with the sensorium as a whole" (3).
  • Helga de la Motte-Haber (ed.), Klangkunst: Tönende Objekte und klingende Räume, Laaber: Laaber-Verlag, 1999, 352 pp. (in German). Review, Review.
  • Brandon LaBelle, Steve Roden (eds.), Site of Sound: Of Architecture and the Ear, Los Angeles: Errant Bodies/Smart Art, 1999, 178 pp. With CD. [54]
  • Karin von Maur, The Sound of Painting: Music in Modern Art, Prestel, 1999, 128 pp.
  • Allen S. Weiss (ed.), Experimental Sound and Radio, MIT Press, 2000, 188 pp.
  • Ken Ehrlich, Brandon LaBelle (eds.), Surface Tension: Problematics of Site, Los Angeles: Errant Bodies, 2003, 328 pp. With CD. Texts by Kim Abeles, Carol Brown, CopenhagenOffice, Octavio Camargo, Jeremiah Day/Concrete Steps, Dispute Resolution Services, Jennifer Gabrys, Jen Hofer/Melissa Dyne, Lucy R. Lippard, Colette Meacher, Christof Migone/Alexander St-Onge (undo), Laurie Palmer, Lize Mogel, Michael Rakowitz, Jane Rendell, Lizzie Scott, Atau Tanaka, and WochenKlausur. [55]
  • Yannick Dauby, Paysages sonores partagés, 2004, 119 pp. (in French)
  • Maja Kuzmanovic, nadine, Annemie Maes, Yves Bernard (eds.), .x-med-a., experimental media arts, Brussels, 2006, 156 pp.
  • Brandon LaBelle, Background Noise: Perspectives on Sound Art, Continuum, 2006, 316 pp. [56]
  • Anne Thurmann-Jajes, Sabine Breitsameter, Winfried Pauleit (eds.), Sound Art: Zwischen Avantgarde und Popkultur / Sound Art: Between Avant-Garde and Pop Culture, Cologne: Salon, 2006, 239 pp. With Audio-CD. (in German and English). Documentation of the conference held on 30 September-2 October 2005 on the occasion of an exhibition, 21 August-27 November 2005, Neuen Museum Weserburg Bremen. Texts by Sabine Breitsameter, Winfried Pauleit, Anne Thurmann-Jajes, Barbara Barthelmes, Julia Kursell, Martin Maurach, Daniel Gethmann, Wolfgang Hagen, Peter Frank, Sten Hanson, Heidi Grundmann, Barbara Flückiger. [57]
  • Alan Licht, Sound Art: Beyond Music, Between Categories, New York: Rizzoli, 2007, 304 pp. With CD. Foreword by Jim O’Rourke. [58], CD, Review. "Sound art belongs in an exhibition situation rather than a performance situation. [It is non-narrative, and only] rarely attempts to create a portrait or capture the soul of a human being, or express something about the interaction of human beings—its main concern is sound as a phenomenon of nature and/or technology." (14)
  • Ulrich Tadday (ed.), Klangkunst, Munich: Richard Boorberg, 2008, 199 pp. (in German). Excerpt. Contributions by Helga de la Motte, Volker Straebel, Sabine Sanio, Uwe Rüth, Wolfgang Heiniger, Julia H. Schröder, Christoph Metzger, Bernd Schulz/Carsten Seiffarth, Claudia Tittel, and Marion Saxer.
  • Seth Kim-Cohen, In the Blink of an Ear: Toward a Non-Cochlear Sonic Art, New York and London: Continuum, 2009, 296 pp. "If [Duchampian] non-retinal visual art is liberated to ask questions that the eye alone cannot answer, then a non-cochlear sonic art appeals to exigencies out of earshot. But the eye and the ear are not denied or discarded. A conceptual sonic art would necessarily engage both the non-cochlear and the cochlear, and the constituting trace of each in the other." (xxi)
  • Frances Dyson, Sounding New Media: Immersion and Embodiment in the Arts and Culture, University of California Press, 2009, 262 pp.
  • Craig Dworkin, Unheard Music, information as material, 2010, 30 pp. A survey of almost one hundred compositions and performances of silent music.
  • Thomas Bey William Bailey, Micro Bionic: Radical Electronic Music & Sound Art in the 21st Century, Creation Books, 2009; 2nd ed., Belsona Books, 2012, 417 pp.
  • Salomé Voegelin, Listening to Noise and Silence: Towards a Philosophy of Sound Art, Continuum, 2010, 256 pp. "[This text] is about sound art in that it focuses on sound as its 'object' of investigation; and it is philosophical in that it speculates and inquires into new ways to consider art, the world and our position within the production of art and the world through a sonic sensibility." (xiv)
  • Peter Kiefer (ed.), Klangräume der Kunst, Heidelberg: Kehrer, 2010. With Video-DVD. (in German) Review.
  • Llorenç Barber, Montserrat Palacios, La mosca tras la oreja: de la música experimental al arte sonoro en España, Madrid: Autor, 2010. With 4-CD. (in Spanish) [59]
  • Peter Price, Resonance: Philosophy for Sonic Art, New York: Atropos Press, 2011, 324 pp. [60]
  • Carsten Seiffarth, Carsten Stabenow, Golo Föllmer (eds.), Sound Exchange: Anthology of Experimental Music Cultures in Central and Eastern Europe 1950-2010, Saarbrücken: PFAU, 2012. (in English/German)
  • Lars Mørch Finborud, Mot det totale museum; Henie Onstad kunstsenter og tidsbasert kunst 1961-2011, Oslo: Forlaget, 2012, 305 pp. (in Norwegian) [61] [62] [63]
  • Jøran Rudi (ed.), Soundscape i kunsten/Soundscape in the Arts, Oslo: NOTAM, 2011, 336 pp. (in Norwegian/English). Contributions by Natasha Barrett, Bill Fontana, Kristof Georgen, Henrik Hellstenius, Francisco Lòpez, David Monacchi, Camille Norment, Jøran Rudi, Kjell Samkopf, Owe Svensson, Gisle Tveito, Anders Vinjar and Jana Winderen. [64]
  • Lin Chiwei (林其蔚), 超越聲音藝術-前衛主義、聲音機器、聽覺現代性 [Chao yue sheng yin yi shu: qian wei zhu yi, sheng yin ji qi, ting jue xian dai xing; Beyond Sound Art: The Avant Garde, Sound Machines, and the Modernity of Hearing], Taipei: Artist Publishing (藝術家出版社), 2012, 351 pp. Excerpt. (in Chinese). First monograph on Chinese sound art. [65]
  • Andrey Smirnov, Sound in Z: Experiments in Sound and Electronic Music in Early 20th-century Russia, London: Koenig Books & Sound and Music, 2013, 281 pp.
  • Douglas Kahn, Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts, University of California Press, 2013, 344 pp. [66]
  • Seth Kim-Cohen, Against Ambience, Bloomsbury, 2013. [67]
Kunstjournalen B-post: "Sound / Lyd", 2012. View online (EN/NO).

Journal issues

Essays (selection)

Theses

Athanasius Kircher, Phonurgia nova, 1673. View online.
John Cage, Silence, 1961. Download.
Pierre Schaeffer, Traité des objets musicaux, 1966. Contains "Acousmatics" (EN).

List discussions

Primary references

  • Athanasius Kircher, Phonurgia nova, sive conjugium mechanico-physicum artis & natvrae paranympha phonosophia concinnatum, Kempten: Rudolph Dreherr, 1673. (in Latin). Early book on sound, acoustics and music; describes acoustic apparatuses and phenomena such as the tuba stentorophonica [the loud trumpet], the statua citofonica [the talking statue], or the Aeolian harp. Scans online: [77], [78]. Commentaries: [79], [80].
  • Luigi Russolo, L’Arte dei rumori, Milan: Edizione Futuriste di Poesia, 1916, 92 pp. (in Italian). The manifesto was first published on 11 March 1913.
  • Erik Satie, Musiques d'ameublement, Salabert, 1999. 'Furniture music' scores written from 1917 to the 1920s. See also J.R.F., "Conseils d’été", Vogue 1 (15 June 1920), Paris, p 15, a column mentioning their first performance by Satie: "Furniture music? It is music that must be played between the acts of a theatrical or musical spectacle, and which contributes, like the sets, the curtains or the furniture of the hall in creating an atmosphere. The musical motifs are repeated without stop and it is useless, says Erik Satie, to listen to them: one lives in their ambiance without paying them any attention. It’s up to you to find a way to hear this musique d’ameublement and to devise an opinion on the topic. But that has nothing to do with the furniture we’re so taken with this season. It’s just an opportunity to make and hear music, the passion of the moment." (trans. from Mary E. Davis, Erik Satie, 2007, p 128)
  • Pierre Schaeffer, À la recherche d'une musique concrète, Paris: Seuil, 1952. (in French)
    • In Search of a Concrete Music, trans. John Dack and Christine North, University of California Press, 2012, 244 pp.
  • John Cage, Silence: Lectures and Writings, Wesleyan University Press, 1961, 276 pp.
  • Pierre Schaeffer, Traité des objets musicaux, Paris: Seuil, 1966; 2nd ed., 1977. (in French)
    • Includes the essay "Acousmatics"; trans. in Audio Culture: Readings in Modern Music, eds. Christoph Cox and Daniel Warner, Bloomsbury, 2004, pp 76-81. Trained as a radio engineer and announcer, Schaeffer was fascinated by the fact that radio and recording made possible a new experience of sound--what he called "reduced listening" or "acousmatic listening"--that disclosed a new domain of sounds--objets sonores or sonorous objects, the objects of "acousmatic listening".
  • Bernhard Leitner, "Sound Architecture - Space created through traveling sound", Artforum 9:7 (March 1971), New York.
  • Bernhard Leitner, "Sound Space Manifesto", New York, 1977.
  • R. Murray Schafer, The Tuning of the World: Toward a Theory of Soundscape Design, New York: Knopf, 1977; repr. as The Soundscape: Our Sonic Environment and the Tuning of the World, Rochester, VT: Destiny Books, 1993, 320 pp.
  • Brian Eno, "Ambient Music", Ambient 1: Music for Airports, EG Records, 1978. Liner notes to LP/cassette. [81] [82]. See also "Ambient Music", in Audio Culture: Readings in Modern Music, eds. Christoph Cox and Daniel Warner, Bloomsbury, 2004, pp 94-97, written in 1996; and discussion of his self-published Music for Non-Musicians, c1970, in Eno and Mills, More Dark than Shark, 1986.
  • David Toop, Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds, Serpent’s Tail, 1995, 306 pp; 2001.

Bibliographies

Resources

UbuWeb Sound.
Continuo's Documents.

See also

Field recording, Radio art, Streaming media, Sound studies, Noise, Circuit bending, SuperCollider.


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