7.4 Noise music

Noise music emerged as a radical departure from traditional musical forms, challenging conventional notions of harmony and melody. This avant-garde genre developed alongside other experimental movements in the early 20th century, reflecting broader cultural shifts and technological advancements.

Influenced by industrialization, atonal music, and Dadaism, noise music incorporated mechanical sounds and rejected established norms. Pioneers like Luigi Russolo and John Cage expanded the concept of musical composition, paving the way for post-war experimental music and the development of various noise subgenres.

Origins of noise music

• Noise music emerged as a radical departure from traditional musical forms, challenging conventional notions of harmony and melody
• This avant-garde genre developed alongside other experimental movements in the early 20th century, reflecting broader cultural shifts and technological advancements

Early 20th century influences

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• Industrialization introduced new soundscapes, inspiring artists to incorporate mechanical noises into compositions
• Atonal music pioneers (Arnold Schoenberg) paved the way for non-traditional sound exploration
• Dadaist movement embraced chaos and randomness, influencing noise music's rejection of established musical norms
• John Cage's 4'33" (1952) redefined music to include ambient sounds, expanding the concept of musical composition

Futurism and noise art

• Italian Futurist Luigi Russolo published "The Art of Noises" manifesto in 1913, advocating for the inclusion of everyday sounds in music
• Russolo invented noise-generating instruments called intonarumori to create complex soundscapes
• Futurist concerts featured performances on these new instruments, shocking audiences and challenging musical conventions
• Russian Futurist Vladimir Mayakovsky incorporated street noises and factory sounds into his poetry performances

Post-war experimental music

• Musique concrète, developed by Pierre Schaeffer in the 1940s, used recorded sounds as raw material for composition
• Karlheinz Stockhausen experimented with electronic music and unconventional sound sources in the 1950s and 1960s
• Fluxus movement in the 1960s embraced noise and chance operations in their performances and happenings
• American composer La Monte Young explored sustained tones and extreme volumes, influencing later noise musicians

Key characteristics

• Noise music deliberately challenges traditional notions of musicality and aesthetic beauty
• This genre often provokes strong emotional responses, ranging from discomfort to catharsis

Non-musical sound sources

• Industrial noises (factory machinery, power tools) frequently incorporated into compositions
• Found sounds from everyday life (traffic, nature) manipulated and amplified
• Household objects (kitchen utensils, furniture) repurposed as unconventional instruments
• Electronic devices (radios, televisions) exploited for their static and interference

Distortion and feedback

• Overdriven amplifiers pushed to create thick, saturated textures
• Guitar pedals and effects units used to manipulate and warp sound signals
• Microphone feedback loops generate unpredictable, self-sustaining tones
• Digital distortion techniques employed to create harsh, glitchy soundscapes

Absence of traditional structure

• Rejection of conventional song structures (verse-chorus-bridge)
• Non-linear compositions often lack discernible rhythm or time signatures
• Emphasis on texture and timbre over melody and harmony
• Extended durations challenge listener expectations and attention spans

Subgenres and styles

• Noise music has evolved into various subgenres, each with distinct characteristics and cultural contexts
• These styles often overlap and influence each other, creating a complex web of sonic experimentation

Japanese noise music

• Emerged in the 1970s and 1980s as a response to rapid technological advancement and urbanization
• Characterized by extreme volume, harsh textures, and often improvised performances
• Notable artists include Merzbow, Hijokaidan, and Masonna
• Incorporates elements of performance art and visual aesthetics into live shows

Power electronics

• Developed in the 1980s, combining noise with provocative themes and imagery
• Often features distorted vocals and confrontational lyrics
• Whitehouse, Sutcliffe Jügend, and Consumer Electronics pioneered this subgenre
• Explores taboo subjects and pushes boundaries of social acceptability

Harsh noise wall

• Characterized by a dense, unchanging wall of sound with little to no variation
• Often created using heavily distorted and layered noise sources
• Artists like The Rita and Vomir specialize in this extreme form of noise music
• Challenges listeners' perception of time and sonic detail

Notable artists and groups

• These pioneering musicians have shaped the development and evolution of noise music
• Their work has influenced subsequent generations of experimental artists across various genres

Luigi Russolo

• Italian Futurist painter and composer who wrote "The Art of Noises" manifesto in 1913
• Invented and built noise-generating instruments called intonarumori
• Composed and performed noise music concerts that scandalized audiences in the early 20th century
• His ideas laid the theoretical foundation for future noise and experimental music

Merzbow

• Stage name of Japanese noise musician Masami Akita, active since the late 1970s
• Prolific artist with hundreds of releases exploring various noise techniques
• Known for extreme volume and dense, layered compositions
• Incorporates themes of animal rights and environmentalism into his work

Whitehouse

• British power electronics group formed in 1980 by William Bennett
• Pioneered the use of extreme frequencies and confrontational performances
• Lyrics often explore controversial and taboo subjects
• Influenced the development of industrial and noise music scenes worldwide

Instruments and technology

• Noise music often employs unconventional instruments and repurposed technology
• The genre's evolution closely parallels advancements in electronic and digital audio equipment

Noise generators

• Purpose-built devices designed to produce various types of noise (white, pink, brown)
• Analog synthesizers with noise oscillators (Moog, Buchla)
• DIY noise boxes created from simple electronic components
• Software plugins emulating hardware noise generators for digital production

Circuit bending

• Technique of creatively short-circuiting electronic devices to produce unexpected sounds
• Popular targets include children's toys, keyboards, and effects pedals
• Artists like Reed Ghazala pioneered this approach in the 1960s
• Emphasizes chance operations and unique, unrepeatable sonic results

Digital noise production

• Digital audio workstations (DAWs) offer powerful tools for noise manipulation
• Granular synthesis techniques allow for microscopic sound fragmentation and reassembly
• Glitch plugins create digital artifacts and errors as compositional elements
• Max/MSP and Pure Data enable custom sound processing and generative noise systems

Cultural impact

• Noise music has influenced various artistic disciplines beyond music
• The genre's philosophy of challenging norms has resonated with countercultural movements

Noise music in avant-garde

• Incorporated into experimental theater and dance performances
• Influenced visual artists working with multimedia installations
• Explored in avant-garde film soundtracks and video art
• Inspired poets and writers to experiment with non-linear and abstract forms

Influence on industrial music

• Industrial pioneers (Throbbing Gristle, Cabaret Voltaire) incorporated noise elements
• Harsh textures and distorted vocals became hallmarks of industrial and post-industrial genres
• Noise techniques adopted by industrial dance and EBM artists
• Cross-pollination between noise and industrial scenes through collaborations and shared aesthetics

Noise in popular culture

• Noise elements incorporated into mainstream rock and electronic music (My Bloody Valentine, Nine Inch Nails)
• Sampling of noise textures in hip-hop production (Death Grips, clipping.)
• Noise music featured in art house and experimental films
• Growing presence of noise artists at major music festivals and art exhibitions

Performance and composition

• Noise music challenges traditional notions of musicianship and composition
• Live performances often blur the line between music and performance art

Improvisation in noise music

• Many noise artists prioritize spontaneity and in-the-moment creation
• Collaborative improvisations between multiple performers create complex, unpredictable soundscapes
• Use of chance operations and aleatory techniques to generate unexpected results
• Emphasis on physical gesture and interaction with instruments/devices during performance

Noise music installations

• Sound art installations in galleries and public spaces explore noise as a spatial experience
• Interactive noise installations allow audience participation in sound creation
• Long-duration noise works challenge notions of time and attention in art
• Site-specific noise projects respond to and incorporate environmental sounds

Collaborative noise projects

• Noise artists often form temporary collaborations for recordings or live performances
• Online platforms enable remote collaboration and file-sharing between noise musicians
• Noise "orchestras" bring together large groups of performers for massive sonic events
• Cross-disciplinary projects combine noise music with dance, visual art, or theater

Critical reception

• Noise music has been both celebrated and criticized for its radical approach
• Academic interest in noise music has grown alongside its cultural impact

Academic perspectives

• Musicologists analyze noise music's relationship to avant-garde traditions
• Cultural theorists examine noise as a form of resistance to mainstream culture
• Sound studies scholars investigate the perception and phenomenology of noise
• Ethnomusicologists explore noise music practices in different cultural contexts

Controversy and censorship

• Extreme content in some noise music has led to censorship and bans
• Power electronics artists face criticism for provocative and offensive themes
• Noise performances have been shut down due to volume complaints or perceived public disturbance
• Debates over the artistic merit of noise music continue in critical discourse

Noise music vs traditional music

• Challenges Western notions of musical skill and virtuosity
• Questions the boundaries between music, sound art, and noise
• Explores the physicality of sound beyond traditional musical parameters
• Provokes discussions about the nature of listening and audience expectations

Philosophical aspects

• Noise music raises fundamental questions about the nature of sound, music, and art
• The genre engages with broader cultural and philosophical ideas

Noise as cultural critique

• Rejection of musical conventions as a metaphor for challenging societal norms
• Noise as a response to information overload and media saturation
• Exploration of sensory limits and human perception through extreme sound
• Critique of consumer culture through the use of repurposed technology and found objects

Aesthetics of noise

• Reevaluation of beauty and ugliness in sound
• Exploration of the sublime through overwhelming sonic experiences
• Concept of "anti-music" as a form of artistic expression
• Influence of Futurist and Dadaist ideas on noise music aesthetics

Noise and information theory

• Relationship between noise, signal, and meaning in communication
• Exploration of entropy and chaos in sound composition
• Noise music as a reflection of complex systems and emergent phenomena
• Connections between noise music and concepts from cybernetics and systems theory

Contemporary developments

• Noise music continues to evolve and adapt to new technologies and cultural contexts
• The genre's influence can be seen in various forms of experimental and popular music

Digital noise music

• Use of digital audio workstations and software synthesizers for noise creation
• Exploration of glitch aesthetics and data corruption as compositional techniques
• Online streaming platforms enable wider distribution of noise music
• Virtual reality and spatial audio technologies offer new possibilities for immersive noise experiences

Noise fusion genres

• Incorporation of noise elements into other musical styles (noise rock, noisecore)
• Crossover between noise and experimental electronic music scenes
• Harsh noise combined with ambient and drone music (Prurient, Tim Hecker)
• Noise techniques adopted by avant-garde composers in contemporary classical music

Noise music festivals

• Dedicated noise music festivals held worldwide (No Fun Fest, Noise Fest Tokyo)
• Noise artists featured at experimental music festivals (Unsound, CTM Festival)
• Growth of online noise music festivals and streaming events
• DIY noise scenes organize local shows and community events