Colloquium
Sound Art and Music
Published on 30. September 2016
232 pages
978-1-78279-894-1 (ISBN)
Description
In 2012, Thomas Gardner and Salome Voegelin hosted a colloquium, entitled "Music - Sound Art: Historical Continuum and Mimetic Fissures", at the London College of Communication, University of the Arts London. This colloquium dealt with the current fervent debate concerning the relationship between sound art and music. This book proposes the opening of the colloquium to a wider readership through the publication of a decisive range of the material that defined the event.
More details
Language
English
Place of publication
New York
United Kingdom
Publishing group
Collective Ink
File size
2,74 MB
ISBN-13
978-1-78279-894-1 (9781782798941)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Thomas Gardner | SalomA (c) Voegelin
Colloquium: Sound Art and Music
Book
09/2016
John Hunt Publishing
€37.35
Shipment within 3-4 weeks
Persons
Thomas Gardner is a musician who is specially interested in the relations between sound art and music, both in terms of the schizophonic splits introduced by electronic media and the new collaborative practices which emerge from them. He is course director of the MA in Sound Arts at the London College of Communication.
Salome Voegelin is an artist and writer engaged in listening and hearing as a socio-political practice of sound. She is the author of Listening to Noise and Silence: Towards a Philosophy of Sound Art and Sonic Possible Worlds: Hearing the Continuum of Sound. She is a Reader in Sound Arts at the London College of Communication.
Salome Voegelin is an artist and writer engaged in listening and hearing as a socio-political practice of sound. She is the author of Listening to Noise and Silence: Towards a Philosophy of Sound Art and Sonic Possible Worlds: Hearing the Continuum of Sound. She is a Reader in Sound Arts at the London College of Communication.
Content
- Cover
- Title Page
- Copyright
- Contents
- Acknowledgements
- Preface
- Part One: Tradition, Codification, and Materiality
- Provocations
- First Provocation - Allen S. Weiss. The Limits of Representation: a case study of transformations in the sonic aesthetics of the Japanese tea ceremony
- Second Provocation - Salomé Voegelin. Historical Interest: a pragmatic provocation for a continuum of sound
- Transcript of First Colloquium Discussion
- Responses
- First Response - Nye Parry. Notation and the Work-Concept in Conceptions of Music and Sound Art
- Second Response - David Toop. Interviewed by Salomé Voegelin at the V&A: seeing Harpo Marx play the piano, destroy it, and play it as a harp
- Part Two: Commodification, Rhythms, and Experience
- Provocations
- First Provocation - Volkmar Klien. Consonances, Community, and Reflexivity: remarks on the relationship of music and the (sound) arts
- Second Provocation - Cathy Lane. Why Am I a Sound Artist? Am I a Sound Artist?: some thoughts on the relationship between music and sound art
- Transcript of Second Colloquium Discussion
- Responses
- First Response - Leigh Landy. Sound Art 'vs' Electroacoustic Music: finding value for the heart and the brain
- Second Response - Aura Satz. Out of Step / A Rhythm That Marches: Aura Satz in conversation with Thomas Gardner
- Part Three: Participation, Listening, and Place
- Provocations
- First Provocation - Simon Emmerson. Ritual, Sound, and Music
- Second Provocation - Thomas Gardner. Reciprocal Mimesis and Grounded Mimesis
- Transcript of Third Colloquium Discussion
- Responses
- First Response - Claudia Molitor. The Taste of the Apple: composing as a process of listening, looking, drawing, and writing
- Second Response - Kathy Hinde. Three Phone Conversations in the Field: recording pink-footed geese in the Montrose Basin in Scotland
- Postscript - Kate Lacey. Reading the Colloquium: undisciplined reflections
- Biographies
