This volume explores the mutually beneficial, but occasionally uneasy, relationship between sound art and music. It reveals how practices and theories associated with these art forms frequently result in corroboration, and contains chapters from both practitioners and theoreticians who work in areas where innovative synergies between sound art and music can be identified.
These reflections on sound and music constitute a most welcome addition to the Sonic Arts literature. The variety of sound practices represented, as the sonic experiments of both visual artists and composers – including co-editors Tansy Spinks and Adam Stanovi´c respectively – are explored alongside those of performers, choreographers and a wide range of other practitioners, from bio-acousticians to ASMR YouTubers. The intersection of these perspectives leads to a surprising array of observations on creative processes, inter-disciplinarity and collaboration, often mediated by digital technologies.
Patricia Alessandrini, Assistant Professor, Centre for Computer Research in Music and Acoustics, Stanford University, USA
In the last seventy or more years, new arts of sound have emerged, some clearly within more traditional notions of music, others seeming at first quite separate. Recently, this has increasingly been challenged. Conceptions of performance, instrument, embodiment, tool, process, product, space, site and media are all in creative flux. Sound Art and Music: Philosophy, Composition, Performance brings many of these ideas together in a wide-ranging and critical discussion, starting out from reflective practice. This is a vital new contribution to the literature.
Simon Emmerson, Composer; Professor in Music, Technology and Innovation, De Montfort University, UK