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Introduction

Introduction INTRODUCTION LMJ 23: Sound Art hat’s in a name? That which we call “Music” is judged by the full weight of history and fashion; substitute “Sound Art” and most of these preconceptions fall away. As recently as a decade ago the reaction instead might have been bemusement. The term Sound Art was coined in the late 1960s to describe sonic activities taking place outside the concert hall: interactive installations, listening walks, environmental recordings, open duration sound events—even “happenings” and performance art were occasionally lumped under this rubric. For many years Sound Art remained an interstitial activity, falling between music and visual art, embraced fully by neither. Many composers viewed self-styled Sound Artists as failed members of their own club pursuing “a career move . . . a branding exercise” (as Chris Mann is quoted as saying in Ricardo Arias’s contribution to this volume of Leonardo Music Journal [1]). Most museums and galleries, in turn, shied away from an art form that was often stunningly unvisual even by the standards of Conceptual Art and for which there appeared to be no market. (Gallery assistants often found it very irritating to boot.) By 2013, however, Sound Art clearly has been http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

Introduction

Collins, Nicolas
Leonardo Music Journal , Volume December 2013 (23) – Dec 1, 2013
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Publisher
MIT Press
Copyright
© 2013 ISAST
Subject
Introduction
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/LMJ_e_00134
Publisher site
See Article on Publisher Site

Abstract

INTRODUCTION LMJ 23: Sound Art hat’s in a name? That which we call “Music” is judged by the full weight of history and fashion; substitute “Sound Art” and most of these preconceptions fall away. As recently as a decade ago the reaction instead might have been bemusement. The term Sound Art was coined in the late 1960s to describe sonic activities taking place outside the concert hall: interactive installations, listening walks, environmental recordings, open duration sound events—even “happenings” and performance art were occasionally lumped under this rubric. For many years Sound Art remained an interstitial activity, falling between music and visual art, embraced fully by neither. Many composers viewed self-styled Sound Artists as failed members of their own club pursuing “a career move . . . a branding exercise” (as Chris Mann is quoted as saying in Ricardo Arias’s contribution to this volume of Leonardo Music Journal [1]). Most museums and galleries, in turn, shied away from an art form that was often stunningly unvisual even by the standards of Conceptual Art and for which there appeared to be no market. (Gallery assistants often found it very irritating to boot.) By 2013, however, Sound Art clearly has been

Journal

Leonardo Music Journal – MIT Press

Published: Dec 1, 2013

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