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维基百科，自由的百科全书
噪音音乐
风格起源现代主义、电子音乐、未来主义、达达主义
文化起源20世纪初的欧洲
典型乐器电子乐器、效果器、数码信号工作站、麦克风、扩音器
衍生形式故障音乐、噪音摇滚、工业电子、低保真音乐
地区乐坛
日本噪音
当地乐坛
日本、欧洲、北美洲
其他主题
氛围音乐、前卫音乐、电子音乐、实验音乐、激浪派、自由即兴、随机作曲、噪音艺术家列表、微声、具象音乐、低保真音乐、表演艺术、声音装置、超现实主义

噪音音乐（英语：noise music）是音乐中的一个门类，拥有广泛的风格类型。其特点是在音乐的语境中运用大量噪音作为表现方式。这种类型的音乐常常会挑战传统音乐实践中乐音与非乐音的之间的分界线。[1]

噪音音乐的的声音来源没有具体的限定。不论是是电子设备或原声乐器、传统乐器或实验性的乐器，都可能被用于创作做噪音音乐。具有噪音特征的声响可能源于现场演出的器械、特殊的人声技巧、音频设备的改装、录音文件的再处理、电脑合成、随机生成程序、以及其他种种错乱的信号例如失真、反馈、底噪等等。噪音音乐常用的手法有即兴演奏、拓展技巧、不和谐音以及随机作曲。在许多情况下，它规避了旋律、和声、节奏等音乐传统的束缚。[2][3][4][5]

在艺术史中，未来主义运动对噪音美学的发展有很大的影响，同时还有达达主义运动［其标志性事件是1919年4月30日在柏林举行的“反交响”（Antisymphony）音乐会］、[6][7] 以及之后的超现实主义运动和激浪派。尤其是激浪派的艺术家乔伊·琼斯（Joe Jones）、刀根康尚（Yasunao Yone）、乔治·布莱希特（George Brecht）、罗伯特·沃茨（Robert Watts）、沃尔夫·福斯特尔 （Wolf Vostell）、迪特·罗特（Dieter Roth）、小野洋子（Yoko Ono）、白南准（Nam June Paik）、沃尔特·德·玛利亚（Walter De Maria）、米兰·克尼扎克（Milan Knížák）还有早年的拉蒙特·扬（LaMonte Young）以及小杉武久（Takehisa Kosugi）.[8]

当代噪音音乐常常与极端的音量与失真的相联系。[9] 在实验摇滚领域中，卢·里德（Lou Reed）的作品《Metal Machine Music》和美国乐队音速青年（Sonic Youth）都是很突出的例子。[10] 在其他领域中，作品以噪音为基本特征的艺术家（或者作品）还有：伊阿尼斯·泽纳基斯（Iannis Xenakis）、卡尔海因茨·施托克豪森（Karlheinz Stockhausen）、赫尔穆特·拉亨曼（Helmut Lachenmann）、科内利乌斯·卡迪尤（Cornelius Cardew）、恒音剧院（Theatre of Eternal Music）、葛林·布兰卡（Glenn Branca）、瑞斯·崔瑟（Rhys Chatham）、池田亮司（Ryoji Ikeda）、生存研究实验室（Survival Research Laboratories）、Whitehouse、Coil、秋田昌美（Merzbow）、伏尔泰小酒馆（Cabaret Voltaire）、通灵频道（Psychic TV）、 尚·丁格利（Jean Tinguely）的声音雕塑的录音(尤其是《Bascule VII》)、赫尔曼·尼特西（Hermann Nitsch）的音乐作品《Orgien Mysterien Theater》, 还有拉蒙特·扬在1960年代用琴弓拉锣的手法创作的作品。[11] 类似工业音乐、工业科技舞曲、lo-fi音乐、黑金属、污泥金属（sludge metal）和故障音乐都以噪音为其基础素材。[12][13]

定义

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根据丹麦音乐与噪音理论家托本·桑吉尔（Torben Sangild）的看法，用一个孤立的定义来解释音乐里的噪音是不现实的。桑吉尔特意给噪音提出了三种基本定义方式：第一种基于音乐声学，第二种建立在通讯信号的失真和干扰意义之上的定义，第三种则根据人的主观臆断(一个人所认为的噪音对于其他人也许不是；过去令人不悦的声音在今天也许不然).[14]

默里·谢弗（Murray Schafer）认为存在四种形态的噪音：无用的（令人厌恶的）噪音、非音乐的声音、任何巨响、还有在任何传输信息的系统中的干扰（例如电话通信中的底噪）。[15] Definitions regarding what is considered noise, relative to music, have changed over time.[16] Ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethoven's Grosse Fuge (1825) "sounded like noise" to his audience at the time. Indeed, Beethoven's publishers persuaded him to remove it from its original setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro. They subsequently published it separately.[17]

In attempting to define noise music and its value, Paul Hegarty (2007) cites the work of noted cultural critics Jean Baudrillard, Georges Bataille and Theodor Adorno and through their work traces the history of "noise". He defines noise at different times as "intrusive, unwanted", "lacking skill, not being appropriate" and "a threatening emptiness". He traces these trends starting with 18th-century concert hall music. Hegarty contends that it is John Cage's composition 4'33", in which an audience sits through four and a half minutes of "silence" (Cage 1973), that represents the beginning of noise music proper. For Hegarty, "noise music", as with 4'33", is that music made up of incidental sounds that represent perfectly the tension between "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music from Erik Satie to NON to Glenn Branca. Writing about Japanese noise music, Hegarty suggests that "it is not a genre, but it is also a genre that is multiple, and characterized by this very multiplicity ... Japanese noise music can come in all styles, referring to all other genres ... but crucially asks the question of genre—what does it mean to be categorized, categorizable, definable?" (Hegarty 2007:133).

作家道格拉斯·卡恩（Douglas Kahn）在他1999年的著作《Noise, Water, Meat: A History of Sound in the Arts》讨论了噪音作为一种媒介的使用，并探索了激浪派的理念以及一系列的艺术家，包括：Antonin Artaud, George Brecht, William Burroughs, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, 小野洋子, 杰克逊·波洛克（Jackson Pollock）, 路易吉·鲁索洛（Luigi Russolo）, and Dziga Vertov.

雅克·阿塔利在他1985年的著作《噪音：音乐的政治经济学》（Noise: The Political Economy of Music）中，他探讨了噪音音乐与未来社会的关系。他指出音乐中的噪音蕴含着社会变革的预言，并论证了噪音为何是社会中流淌的潜意识——探测并证实着新的社会与政治现实。[18]

特征

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Like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in aesthetic and imaginative ways.[19]

白噪音
10秒钟的白噪音（white noise）
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In common use, the word noise means unwanted sound or noise pollution.[20] In electronics noise can refer to the electronic signal corresponding to acoustic noise (in an audio system) or the electronic signal corresponding to the (visual) noise commonly seen as 'snow' on a degraded television or video image.[21] In signal processing or computing it can be considered data without meaning; that is, data that is not being used to transmit a signal, but is simply produced as an unwanted by-product of other activities. Noise can block, distort, or change the meaning of a message in both human and electronic communication. White noise is a random signal (or process) with a flat power spectral density.[22] In other words, the signal contains equal power within a fixed bandwidth at any center frequency. White noise is considered analogous to white light which contains all frequencies.[23]

In much the same way the early modernists were inspired by naïve art, some contemporary digital art noise musicians are excited by the archaic audio technologies such as wire-recorders, the 8-track cartridge, and vinyl records.[24] Many artists not only build their own noise-generating devices, but even their own specialized recording equipment and custom software (for example, the C++ software used in creating the viral symphOny by Joseph Nechvatal).[25][26]

1910至1960年代

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《噪音的艺术》

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Luigi Russolo ca. 1916

20世纪初意大利未来主义艺术家路易吉·鲁索洛（Luigi Russolo），可能是历史上第一位噪音艺术家[27][28] His 1913 manifesto, L'Arte dei Rumori, translated as The Art of Noises, stated that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds. Russolo found traditional melodic music confining and envisioned noise music as its future replacement. He designed and constructed a number of noise-generating devices called intonarumori and assembled a noise orchestra to perform with them. Works entitled Risveglio di una città (Awakening of a City) and Convegno d'aeroplani e d'automobili (The Meeting of Aeroplanes and Automobiles) were both performed for the first time in 1914.[29]

A performance of his Gran Concerto Futuristico (1917) was met with strong disapproval and violence from the audience, as Russolo himself had predicted. None of his intoning devices have survived, though recently some have been reconstructed and used in performances. Although Russolo's works bear little resemblance to contemporary noise music such as Japanoise, his efforts helped to introduce noise as a musical aesthetic and broaden the perception of sound as an artistic medium.[30][31]

At first the art of music sought purity, limpidity and sweetness of sound. Then different sounds were amalgamated, care being taken, however, to caress the ear with gentle harmonies. Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to noise-sound.

——Luigi Russolo The Art of Noises (1913)[32]

安东尼奥·鲁索洛（Antonio Russolo）, Luigi's brother and fellow Italian Futurist composer, produced a recording of two works featuring the original intonarumori. The 1921 made phonograph with works entitled Corale and Serenata, combined conventional orchestral music set against the famous noise machines and is the only surviving sound recording.[33]

An early Dada-related work from 1916 by Marcel Duchamp also worked with noise, but in an almost silent way. One of the found object Readymades of Marcel Duchamp, A Bruit Secret (With Hidden Noise), was a collaborative work that created a noise instrument that Duchamp accomplished with Walter Arensberg.[34] What rattles inside when A Bruit Secret is shaken remains a mystery.[35]


现成品音乐

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在未来主义运动的同一时期，人们开始探索将现成品（found object）的声音作为音乐素材的创作方式。一个早期的例子是1917年5月18日在巴黎沙特尔剧院演出的《游行》，这一作品由让·科克图构思，毕加索设计，莱昂尼德·马辛编舞，埃里克·萨蒂作曲。创作中使用的额外音乐材料被科克图称为“trompe l'oreille sounds”，包括发电机、摩尔斯电码机、汽笛、蒸汽机、飞机发动机和打字机。Arseny Avraamov的《工厂汽笛交响曲》涉及海军舰艇汽笛、公共汽车和汽车喇叭、工厂汽笛、大炮，雾号，大炮，机枪，水力飞机，还有一个特别设计的汽笛机，为1922年在巴库市演出时使用旗帜和手枪的团队演奏的一首曲子制造出国际歌和马赛曲的嘈杂效果。1923年，阿瑟·洪格尔创作了模仿蒸汽机车声音的现代主义音乐作品《231号太平洋交响曲》。另一个例子是奥托里诺·雷斯皮吉（Ottorino Respighi）1924年的管弦乐作品《罗马的松树》（Pines of Rome），其中包含了夜莺录音的留声机回放。在1924年，乔治·安塞尔（George Anteil）创作了一部名为《机械芭蕾舞曲》的作品，其乐器包括16架钢琴，3架飞机螺旋桨和7个电铃。这部作品最初是由达德利·墨菲和费尔南多·莱格尔为同名达达电影构思的音乐，在1926年作为一首音乐会作品独立首映。

1930年，保罗·辛德米特和恩斯特·托克通过回收唱片来制作声音蒙太奇。1936年，埃德加·瓦雷泽对唱片进行了实验，以不同的速度反向播放唱片。瓦雷泽早前曾用汽笛创作出他称之为“连续流动曲线”的声音，但并未通过声音设备实现。1931年，瓦雷泽对13名演奏者进行了“电离”，其中包括2声汽笛和一声狮子吼，并使用37种打击乐器创作了一组不痒的声音，使之成为第一个完全由噪音素材构成的音乐作品。美国作曲家约翰·凯奇在评论瓦雷泽的贡献时，说瓦雷泽已经“进入了纯声音创作的领域，而其他人仍在区分何为乐音和噪音”。

在1937年写的一篇文章中，凯奇表示出对特殊音色素材的兴趣，并开始区分现成的声音（他称之为噪音）和音乐性的声音，这些声音的例子包括：雨、无线电中的杂音和“时速50英里的卡车”。凯奇基本上没有做任何区分，在他看来，所有的声音都有可能被创造性地使用。他的目标是捕捉和控制声音氛围的元素，并采用一种声音组织的方法，（这是从瓦雷泽那里借用的一个术语）为声音本身赋予意义。凯奇于1939年开始创作一系列探索他所述目标的作品，第一种是假想景观1，用于包括两个带频率记录仪的变速留声机。

1961年，詹姆斯丁尼用计算机合成的噪音和拼贴1号（蓝色绒面革）（磁带）通过采样和操纵著名的猫王普雷斯利录音，创作了《模拟1：噪音研究（磁带）》

实验音乐

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I believe that the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.

——John Cage The Future of Music: Credo (1937)

In 1932, Bauhaus artists László Moholy-Nagy, Oskar Fischinger and Paul Arma experimented with modifying the physical contents of record grooves.[36]

Under the influence of Henry Cowell in San Francisco in the late 1940s,[37] Lou Harrison and John Cage began composing music for junk (waste) percussion ensembles, scouring junkyards and Chinatown antique shops for appropriately tuned brake drums, flower pots, gongs, and more.

In Europe, during the late 1940s, Pierre Schaeffer coined the term musique concrète to refer to the peculiar nature of sounds on tape, separated from the source that generated them initially.[38] Pierre Schaeffer helped form Studio d'Essai de la Radiodiffusion-Télévision Française in France during World War II. Initially serving the French Resistance, Studio d'Essai became a hub for musical development centered around implementing electronic devices in compositions. It was from this group that musique concrète was developed. A type of electroacoustic music, musique concrète is characterized by its use of recorded sound, electronics, tape, animate and inanimate sound sources, and various manipulation techniques. The first of Schaeffer's Cinq études de bruits, or Five Noise Etudes, consisted of transformed locomotive sounds.[39] The last étude, Étude pathétique, makes use of sounds recorded from sauce pans and canal boats.

Following musique concrète, other modernist art music composers such as Richard Maxfield, Karlheinz Stockhausen, Gottfried Michael Koenig, Pierre Henry, Iannis Xenakis, La Monte Young, and David Tudor, composed significant electronic, vocal, and instrumental works, sometimes using found sounds.[36] In late 1947, Antonin Artaud recorded Pour en Finir avec le Jugement de dieu (To Have Done with the Judgment of God), an audio piece full of the seemingly random cacophony of xylophonic sounds mixed with various percussive elements, mixed with the noise of alarming human cries, screams, grunts, onomatopoeia, and glossolalia.[40][41] In 1949, Nouveau Réalisme artist Yves Klein wrote The Monotone Symphony (formally The Monotone-Silence Symphony, conceived 1947–1948), a 40-minute orchestral piece that consisted of a single 20-minute sustained chord (followed by a 20-minute silence)[42] — showing how the sound of one drone could make music. Also in 1949, Pierre Boulez befriended John Cage, who was visiting Paris to do research on the music of Erik Satie. John Cage had been pushing music in even more startling directions during the war years, writing for prepared piano, junkyard percussion, and electronic gadgetry.[43]

In 1951, Cage's Imaginary Landscape #4, a work for twelve radio receivers, was premiered in New York. Performance of the composition necessitated the use of a score that contained indications for various wavelengths, durations, and dynamic levels, all of which had been determined using chance operations.[44][45] A year later in 1952, Cage applied his aleatoric methods to tape-based composition. Also in 1952, Karlheinz Stockhausen completed a modest musique concrète student piece entitled Etude. Cage's work resulted in his famous work Williams Mix, which was made up of some six hundred tape fragments arranged according to the demands of the I Ching. Cage's early radical phase reached its height that summer of 1952, when he unveiled the first art "happening" at Black Mountain College, and 4'33", the so-called controversial "silent piece". The premiere of 4'33" was performed by David Tudor. The audience saw him sit at the piano, and close the lid of the piano. Some time later, without having played any notes, he opened the lid. A while after that, again having played nothing, he closed the lid. And after a period of time, he opened the lid once more and rose from the piano. The piece had passed without a note being played, in fact without Tudor or anyone else on stage having made any deliberate sound, although he timed the lengths on a stopwatch while turning the pages of the score. Only then could the audience recognize what Cage insisted upon: that there is no such thing as silence. Noise is always happening that makes musical sound.[46] In 1957, Edgard Varèse created on tape an extended piece of electronic music using noises created by scraping, thumping and blowing titled Poème électronique.[47][48]

In 1960, John Cage completed his noise composition Cartridge Music for phono cartridges with foreign objects replacing the 'stylus' and small sounds amplified by contact microphones. Also in 1960, Nam June Paik composed Fluxusobjekt for fixed tape and hand-controlled tape playback head.[36] On May 8, 1960, six young Japanese musicians, including Takehisa Kosugi and Yasunao Tone, formed the Group Ongaku with two tape recordings of noise music: Automatism and Object. These recordings made use of a mixture of traditional musical instruments along with a vacuum cleaner, a radio, an oil drum, a doll, and a set of dishes. Moreover, the speed of the tape recording was manipulated, further distorting the sounds being recorded.[49] Canada's Nihilist Spasm Band, the world's longest-running noise act, was formed in 1965 in London, Ontario and continues to perform and record to this day, having survived to work with many of the newer generation which they themselves had influenced, such as Thurston Moore of Sonic Youth and Jojo Hiroshige of Hijokaidan. In 1967, Musica Elettronica Viva, a live acoustic/electronic improvisational group formed in Rome, made a recording titled SpaceCraft[50] using contact microphones on such "non-musical" objects as panes of glass and motor oil cans that was recorded at the Akademie der Kunste in Berlin.[51] At the end of the sixties, they took part in the collective noise action called Lo Zoo initiated by the artist Michelangelo Pistoletto.

The art critic Rosalind Krauss argued that by 1968 artists such as Robert Morris, Robert Smithson, and Richard Serra had "entered a situation the logical conditions of which can no longer be described as modernist."[52] Sound art found itself in the same condition, but with an added emphasis on distribution.[53] Antiform process art became the terms used to describe this postmodern post-industrial culture and the process by which it is made.[54] Serious art music responded to this conjuncture in terms of intense noise, for example the La Monte Young Fluxus composition 89 VI 8 C. 1:42–1:52 AM Paris Encore from Poem For Chairs, Tables, Benches, Etc. Young's composition Two Sounds (1960) was composed for amplified percussion and window panes and his Poem for Tables, Chairs and Benches, Etc. (1960) used the sounds of furniture scraping across the floor.

流行音乐

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Freak Out!, the debut album by The Mothers of Invention made use of avant-garde sound collage—particularly the 1966 track The Return of the Son of Monster Magnet.[来源请求] The same year, art rock group The Velvet Underground made their first recording while produced by Andy Warhol, a track entitled "Noise".[55]

"Tomorrow Never Knows" is the final track of The Beatles' 1966 studio album Revolver; credited as a Lennon–McCartney song, it was written primarily by John Lennon with major contributions to the arrangement by Paul McCartney. The track included looped tape effects. For the track, McCartney supplied a bag of 1⁄4-inch audio tape loops he had made at home after listening to Stockhausen's Gesang der Jünglinge. By disabling the erase head of a tape recorder and then spooling a continuous loop of tape through the machine while recording, the tape would constantly overdub itself, creating a saturation effect, a technique also used in musique concrète.[56] The Beatles would continue these efforts with "Revolution 9", a track produced in 1968 for The White Album. It made sole use of sound collage, credited to Lennon–McCartney, but created primarily by John Lennon with assistance from George Harrison and Yoko Ono.[57]

In 1975, Ned Lagin released an album of electronic noise music full of spacey rumblings and atmospherics filled with burps and bleeps entitled Seastones on Round Records.[58] The album was recorded in stereo quadraphonic sound and featured guest performances by members of the Grateful Dead, including Jerry Garcia playing treated guitar and Phil Lesh playing electronic Alembic bass.[59] David Crosby, Grace Slick and other members of the Jefferson Airplane also appear on the album.[60]

1970年至今

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噪音摇滚与无浪潮

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主条目：噪音摇滚和无浪潮

Lou Reed's double LP Metal Machine Music (1975) is cited as containing the primary characteristics of what would in time become a genre known as noise music.[61] The album is an early, well-known example of commercial studio noise music[62] that the music critic Lester Bangs has sarcastically called the "greatest album ever made in the history of the human eardrum".[63] It has also been cited as one of the "worst albums of all time".[64] Reed was well aware of the drone music of La Monte Young.[65][66] Young's Theatre of Eternal Music was a minimal music noise group in the mid-60s with John Cale, Marian Zazeela, Henry Flynt, Angus Maclise, Tony Conrad, and others.[67] The Theatre of Eternal Music's discordant sustained notes and loud amplification had influenced Cale's subsequent contribution to The Velvet Underground in his use of both discordance and feedback.[68] Cale and Conrad have released noise music recordings they made during the mid-sixties, such as Cale's Inside the Dream Syndicate series (The Dream Syndicate being the alternative name given by Cale and Conrad to their collective work with Young).[69] The aptly named noise rock fuses rock to noise, usually with recognizable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of atonality, improvisation, and white noise. One notable band of this genre is Sonic Youth who took inspiration from the No Wave composers Glenn Branca and Rhys Chatham (himself a student of LaMonte Young).[70] Marc Masters, in his book on the No Wave, points out that aggressively innovative early dark noise groups like Mars and DNA drew on punk rock, avant-garde minimalism and performance art.[71] Important in this noise trajectory are the nine nights of noise music called Noise Fest that was organized by Thurston Moore of Sonic Youth in the NYC art space White Columns in June 1981[72][73] followed by the Speed Trials noise rock series organized by Live Skull members in May 1983.

工业音乐

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主条目：工业音乐
参见：后工业音乐

In the 1970s, the concept of art itself expanded and groups like Survival Research Laboratories, Borbetomagus and Elliott Sharp embraced and extended the most dissonant and least approachable aspects of these musical/spatial concepts. Around the same time, the first postmodern wave of industrial noise music appeared with Throbbing Gristle, Cabaret Voltaire, and NON (aka Boyd Rice).[74] These cassette culture releases often featured zany tape editing, stark percussion and repetitive loops distorted to the point where they may degrade into harsh noise.[75] In the 1970s and 1980s, industrial noise groups like Current 93, Hafler Trio, Throbbing Gristle, Coil, Laibach, Steven Stapleton, Thee Temple ov Psychick Youth, Smegma, Nurse with Wound, Einstürzende Neubauten, The Haters, and The New Blockaders performed industrial noise music mixing loud metal percussion, guitars, and unconventional "instruments" (such as jackhammers and bones) in elaborate stage performances. These industrial artists experimented with varying degrees of noise production techniques.[76] Interest in the use of shortwave radio also developed at this time, particularly evident in the recordings and live performances of John Duncan. Other postmodern art movements influential to post-industrial noise art are Conceptual Art and the Neo-Dada use of techniques such as assemblage, montage, bricolage, and appropriation. Bands like Test Dept, Clock DVA, Factrix, Autopsia, Nocturnal Emissions, Whitehouse, Severed Heads, Sutcliffe Jügend, and SPK soon followed. The sudden post-industrial affordability of home cassette recording technology in the 1970s, combined with the simultaneous influence of punk rock, established the No Wave aesthetic, and instigated what is commonly referred to as noise music today.[76]

日本噪音音乐

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主条目：日本噪音
Merzbow, prominent Japanoise musician, in 2007

Since the early 1980s,[77] Japan has produced a significant output of characteristically harsh bands, sometimes referred to as Japanoise, with perhaps the best known being Merzbow (pseudonym for the Japanese noise artist Masami Akita who himself was inspired by the Dada artist Kurt Schwitters's Merz art project of psychological collage).[78][79] In the late 1970s and early 1980s, Akita took Metal Machine Music as a point of departure and further abstracted the noise aesthetic by freeing the sound from guitar based feedback alone, a development that is thought to have heralded noise music as a genre.[80] According to Hegarty (2007), "in many ways it only makes sense to talk of noise music since the advent of various types of noise produced in Japanese music, and in terms of quantity this is really to do with the 1990s onwards ... with the vast growth of Japanese noise, finally, noise music becomes a genre".[81] Other key Japanese noise artists that contributed to this upsurge of activity include Hijokaidan, Boredoms, C.C.C.C., Incapacitants, KK Null, Yamazaki Maso's Masonna, Solmania, K2, The Gerogerigegege and Hanatarash.[79][82] Nick Cain of The Wire identifies the "primacy of Japanese Noise artists like Merzbow, Hijokaidan and Incapacitants" as one of the major developments in noise music since 1990.[83]

后数字时代的噪音音乐

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主条目：故障音乐

Following the wake of industrial noise, noise rock, no wave, and harsh noise, there has been a flood of noise musicians whose ambient, microsound, or glitch-based work is often subtler to the ear.[84] Kim Cascone refers to this development as a postdigital movement and describes it as an "aesthetic of failure."[85] Some of this music has seen wide distribution thanks to peer-to-peer file sharing services and netlabels offering free releases. Steve Goodman characterizes this widespread outpouring of free noise based media as a "noise virus."[86][87]

噪音音乐合辑

[编辑]
  • An Anthology of Noise & Electronic Music, Volumes 1–7 Sub Rosa, Various Artists (1920–2012)
  • Bip-Hop Generation (2001–2008) Volumes 1–9, various artists, Paris
  • Independent Dark Electronics Volume #1 (2008) IDE
  • Japanese Independent Music (2000) various artists, Paris Sonore
  • Just Another Asshole #5 (1981) compilation LP (CD reissue 1995 on Atavistic #ALP39CD), producers: Barbara Ess & Glenn Branca
  • New York Noise, Vol. 1–3 (2003, 2006, 2006) Soul Jazz B00009OYSE, B000CHYHOG, B000HEZ5CC
  • Noise May-Day 2003, various artists, Coquette Japan CD Catalog#: NMD-2003
  • No New York (1978) Antilles, (2006) Lilith, B000B63ISE
  • Women take back the Noise Compilation (2006) ubuibi
  • "The Allegheny White Fish Tapes" (2009), Tobacco, Rad Cult
  • The Japanese-American Noise Treaty (1995) CD, Relapse

参见

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注释

[编辑]
  1. ^ Priest, Eldritch. "Music Noise" in Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure, p. 132. London: Bloomsbury Publishing; New York: Bloomsbury Academic, 2013.
  2. ^ Chris Atton, "Fan Discourse and the Construction of Noise Music as a Genre", Journal of Popular Music Studies 23, no. 3 (September 2011): 324–42. Citation on 326.
  3. ^ Torben Sangild, The Aesthetics of Noise (Copenhagen: Datanom, 2002):[页码请求]. ISBN 87-988955-0-8. Reprinted at UbuWeb.
  4. ^ Paul Hegarty, Noise/Music: A History (London: Continuum International Publishing Group, 2007): 3–19.
  5. ^ Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge, Ma.: MIT Press, 2009): 60–76.
  6. ^ Matthew Biro, The Dada Cyborg: Visions of the New Human in Weimar Berlin, 2009, p. 50.
  7. ^ Documents at The International Dada archive at The University of Iowa show that Antisymphonie was held at the Graphisches Kabinett, Kurfürstendamm 232, at 7:45 PM. The printed program lists 5 numbers: "Proclamation dada 1919" by Huelsenbeck, "Simultan-Gedicht" performed by 7 people, "Bruitistisches Gedicht" performed by Huelsenbeck (these latter 2 pieces grouped together under the category "DADA-machine"), "Seelenautomobil" by Hausmann, and finally, Golyscheff's Antisymphonie in 3 movements, subtitled "Musikalische Kriegsguillotine". The 3 movements of Golyscheff's piece are titled "provokatorische Spritze", "chaotische Mundhöhle oder das submarine Flugzeug", and "zusammenklappbares Hyper-fis-chendur".
  8. ^ Owen Smith, Fluxus: The History of an Attitude (San Diego: San Diego State University Press, 1998), pp. 7 & 82.
  9. ^ Piekut, Benjamin. Experimentalism Otherwise: The New York Avant-Garde and Its Limits. 2012. p. 193
  10. ^ Lou Reed and Amanda Petrusich "Interview: Lou Reed", Pitchfork Media (2007-09-17). (Archive from 23 November 2011, accessed 9 December 2013).
  11. ^ Such as 23 VIII 64 2:50:45 – 3:11 am The Volga Delta From Studies In The Bowed Disc from The Black Record (1969)
  12. ^ Paul Hegarty, Noise/Music: A History (London: Continuum International Publishing Group, 2007), pp. 189–92.
  13. ^ Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge, Massachusetts: MIT Press, 2009), pp. 6–10.
  14. ^ Sangild, Torben, The Aesthetics of Noise. Copenhagen: Datanom, 2002. pp. 12–13
  15. ^ Schafer 1994:182
  16. ^ Joseph Nechvatal, Immersion Into Noise (Ann Arbor: Open Humanities Press, 2012), p. 19.
  17. ^ Watson 2009, 109–10.
  18. ^ Allen S. Weiss, Phantasmic Radio (Durham, North Carolina: Duke University Press, 1995), p. 90.
  19. ^ Ctheory.net Paul Hegarty, "Full With Noise: Theory and Japanese Noise Music", in Life in the Wires, edited by Arthur Kroker and Marilouise Kroker, 86–98 (Victoria, Canada: NWP Ctheory Books, 2004).
  20. ^ Nonoise.org About Noise, Noise Pollution, and the Clearinghouse.
  21. ^ Noise generator to explore different types of noise.
  22. ^ white noise in wave(.wav) format.
  23. ^ Eugene Hecht, Optics, 4th edition (Boston: Pearson Education, 2001), p. [页码请求]
  24. ^ UBU.com, Torben Sangild, "The Aesthetics of Noise", Datanom, 2002.
  25. ^ UBU.com, Steven Mygind Pedersen, Joseph Nechvatal: viral symphOny (Alfred, New York: Institute for Electronic Arts, School of Art & Design, Alfred University, 2007).
  26. ^ Observatori A.C. (ed.), Observatori 2008: After The Future (Valencia, Spain: Museo de Bellas Artes de Valencia, 2008), p. 80.
  27. ^ In "Futurism and Musical Notes", Daniele Lombardi discusses the mysterious case of the French composer Carol-Bérard; a pupil of Isaac Albéniz. Carol-Bérard is said to have composed a Symphony of Mechanical Forces in 1910, but little evidence has emerged thus far to establish this assertion.
  28. ^ Unknown.nu Luigi Russolo, "The Art of Noises".
  29. ^ Benjamin Thorn,"Luigi Russolo (1885–1947)", in Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook, edited by Larry Sitsky, foreword by Jonathan Kramer, 415–19 (Westport and London: Greenwood Publishing Group, 2002). ISBN 0-313-29689-8. Citation on page 419.
  30. ^ Paul Hegarty, Noise/Music: A History (London: Continuum International Publishing Group, 2007), pp. 13–14.
  31. ^ László Moholy-Nagy in 1923 recognized the unprecedented efforts of the Italian Futurists to broaden our perception of sound using noise. In an article in Der Storm #7, he outlined the fundamentals of his own experimentation: "I have suggested to change the gramophone from a reproductive instrument to a productive one, so that on a record without prior acoustic information, the acoustic information, the acoustic phenomenon itself originates by engraving the necessary Ritchriftreihen (etched grooves)." He presents detailed descriptions for manipulating discs, creating "real sound forms" to train people to be "true music receivers and creators" (Rice 1994,[页码请求]).
  32. ^ Russolo, Luigi from The Art of Noises, March 1913.
  33. ^ Albright, Daniel (ed.) Modernism and Music: An Anthology of Source. Chicago: University Of Chicago Press, 2004. p. 174
  34. ^ Chilvers, Ian & Glaves-Smith, John eds., Dictionary of Modern and Contemporary Art, Oxford: Oxford University Press, 2009. pp. 587–588
  35. ^ Michel Sanouillet & Elmer Peterson (Eds.), The Writings of Marcel Duchamp, Da Capo Press, p. 135.
  36. ^ 36.0 36.1 36.2 引用错误：没有为名为doornbusch.net的参考文献提供内容
  37. ^ Henry Cowell, "The Joys of Noise", in Audio Culture: Readings in Modern Music (New York: Continuum, 2004), pp. 22–24.
  38. ^ D. Teruggi, "Technology and Musique Concrete: The Technical Developments of the Groupe de Recherches Musicales and Their Implication in Musical Composition", Organised Sound 12, no. 3 (2007): 213–31.
  39. ^ Alex Ross, The Rest Is Noise: Listening to the Twentieth Century (New York: Farrar, Straus and Giroux, 2007), p. 369.
  40. ^ Antonin Artaud Pour en finir avec le jugement de dieu, original recording, edited with an introduction by Marc Dachy. Compact Disc (Sub Rosa/aural documents, 1995).
  41. ^ Paul Hegarty, Noise/Music: A History, pp. 25–26.
  42. ^ An account and sound recording of The Monotone Symphony performed March 9, 1960 (Archive.org copy of 2001).
  43. ^ Alex Ross, The Rest Is Noise: Listening to the Twentieth Century(New York: Farrar, Straus and Giroux, 2007), p. 365.
  44. ^ Griffiths 1995，第25页
  45. ^ John Cage, Silence: Lectures and Writings (Middletown, Connecticut: Wesleyan University Press, 1961), p. 59.
  46. ^ Alex Ross, The Rest Is Noise: Listening to the Twentieth Century (New York: Farrar, Straus and Giroux, 2007), p. 401.
  47. ^ "OHM- The Early Gurus of Electronic Music: Edgard Varese's "Poem Electronique" 互联网档案馆的存档，存档日期2004-06-03.", Perfect Sound Forever website (accessed 20 October 2009).
  48. ^ Albright, Daniel (ed.) Modernism and Music: An Anthology of Source. Chicago: University Of Chicago Press, 2004. p. 185.
  49. ^ Charles Mereweather (ed.), Art Anti-Art Non-Art (Los Angeles: Getty Research Institute, 2007), pp. 13 & 16.
  50. ^ Spacecraft was recorded in Cologne in 1967 by Bryant, Curran, Rzewski, Teitelbaum and Vandor
  51. ^ [1] Liner Notes for Musica Elettronica Viva recording set MEV 40 (1967–2007) 80675-2 (4CDs)
  52. ^ Rosalind E. Krauss, The Originality of the Avant Garde and Other Modernist Myths: Sculpture in the Expanded Field (Cambridge, Massachusetts: MIT Press, 1986), pp. 30–44.
  53. ^ Joseph Nechvatal & Carlo McCormick essays in TellusTools liner notes (New York: Harvestworks ed., 2001).
  54. ^ Rosalind Krauss, "Sculpture in the Expanded Field" 互联网档案馆的存档，存档日期2011-04-09., October 8 (Spring 1979), pp. 30–44.
  55. ^ [2] Warhol Live: Music and Dance in Andy Warhol's Workat the Frist Center for the Visual Arts by Robert Stalker
  56. ^ Spitz 2005，第601页.
  57. ^ from Rolling Stone issues # 74 & 75 (21 Jan & 4 Feb, 1971). "John Lennon: The Rolling Stone Interview" by editor Jann Wenner
  58. ^ Grateful Dead Family Discography: Seastones. 
  59. ^ "Grateful Dead Biography", Rolling Stone. Retrieved June 23, 2012.
  60. ^ Seastones was re-released in stereo on CD by Rykodisc in 1991. The CD version includes the original nine-section "Sea Stones" (42:34) from February 1975, and a live, previously unreleased, six-section version (31:05) from December 1975.
  61. ^ Atton (2011:326)
  62. ^ [3][永久失效链接] Metal Machine Music 8-Track Hall of Fame.
  63. ^ Lester Bangs, Psychotic Reactions and Carburetor Dung: The Work of a Legendary Critic, Greil Marcus, ed. (1988) Anchor Press, p. 200.
  64. ^ Charlie Gere, Art, Time and Technology: Histories of the Disappearing Body, (2005) Berg, p. 110.
  65. ^ Reed mentions (and misspells) Young's name on the cover of Metal Machine Music: "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music".
  66. ^ Asphodel.com 互联网档案馆的存档，存档日期2008-02-22. Zeitkratzer Lou ReedMetal Machine Music.
  67. ^ "Minimalism (music)", Encarta (Accessed 20 October 2009). 互联网档案馆的存档，存档日期April 29, 2009，. 2009-11-01.
  68. ^ Steven Watson, Factory Made: Warhol and the Sixties (2003) Pantheon, New York, p. 157.
  69. ^ Watson, Factory Made, p. 103.
  70. ^ "Rhys Chatham", Kalvos-Damien website. (Accessed 20 October 2009).
  71. ^ Marc Masters, No Wave (London: Black Dog Publishing, 2007), pp. 42–44.
  72. ^ Rob Young (ed.), The Wire Primers: A Guide To Modern Music (London: Verso, 2009), p. 43.
  73. ^ Marc Masters, No Wave (London: Black Dog Publishing, 2007), pp. 170–71.
  74. ^ Media.hyperreal.org, Prehistory of Industrial Music 1995 Brian Duguid, esp. chapter "Access to Information".
  75. ^ Rob Young (ed.), The Wire Primers: A Guide To Modern Music (London: Verso, 2009), p. 29.
  76. ^ 76.0 76.1 Media.hyperreal.org, Prehistory of Industrial Music 1995 Brian Duguid, esp. chapter "Organisational Autonomy / Extra-Musical Elements".
  77. ^ Hegarty 2007, p. 133
  78. ^ Paul Hegarty, "Full With Noise: Theory and Japanese Noise Music", Ctheory.net.
  79. ^ 79.0 79.1 Young, Rob (ed.), The Wire Primers: A Guide To Modern Music (London: Verso, 2009), p. 30.
  80. ^ Van Nort (2006:177)
  81. ^ Hegarty (2007:133)
  82. ^ Japanoise.net, japanoise noisicians profiled at japnoise.net.
  83. ^ Nick Cain, "Noise" The Wire Primers: A Guide to Modern Music, Rob Young, ed., London: Verso, 2009, p. 29.
  84. ^ Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge, Massachusetts: MIT Press, 2009), pp. 6–24.
  85. ^ Cascone, Kim. "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music". Computer Music Journal 24, no. 4 (Winter 2002): pp. 12–18.
  86. ^ Goodman, Steve. "Contagious Noise: From Digital Glitches to Audio Viruses", in Parikka, Jussi and Sampson, Tony D. (eds.) The Spam Book: On Viruses, Porn and Other Anomalies From the Dark Side of Digital Culture. Cresskill, New Jersey: Hampton Press. 2009. pp. 128.
  87. ^ Goodman, Steve. "Contagious Noise: From Digital Glitches to Audio Viruses", in Parikka and Sampson (eds.) The Spam Book: On Viruses, Porn and Other Anomalies From the Dark Side of Digital Culture. Cresskill, New Jersey: Hampton Press. 2009. pp. 129–130.

参考文献

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  • Albright, Daniel (ed.) Modernism and Music: An Anthology of Source. Chicago: University Of Chicago Press, 2004.
  • Attali, Jacques. Noise: The Political Economy of Music, translated by Brian Massumi, foreword by Fredric Jameson, afterword by Susan McClary. Minneapolis: University of Minnesota Press, 1985.
  • Atton, Chris (2011). "Fan Discourse and the Construction of Noise Music as a Genre". Journal of Popular Music Studies, Volume 23, Issue 3, pages 324–42, September 2011.
  • Bangs, Lester. Psychotic Reactions and Carburetor Dung: The Work of a Legendary Critic, collected writings,edited by Greil Marcus. Anchor Press, 1988.
  • Biro, Matthew. The Dada Cyborg: Visions of the New Human in Weimar Berlin. Minneapolis: University of Minnesota Press, 2009.
  • Cage, John. Silence: Lectures and Writings. Wesleyan University Press, 1961. Reprinted 1973.
  • Cage, John. "The Future of Music: Credo (1937)". In John Cage, Documentary Monographs in Modern Art, edited by Richard Kostelanetz, Praeger Publishers, 1970
  • Cahoone, Lawrence. From Modernism to Postmodernism: An Anthology. Cambridge, Mass: Blackwell, 1996.
  • Cain, Nick "Noise" in The Wire Primers: A Guide to Modern Music, Rob Young, ed., London: Verso, 2009.
  • Cascone, Kim. "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music".Computer Music Journal 24, no. 4 (Winter 2002): 12–18.
  • Chadabe, Joel. Electronic Sound: The Past and Promise of Electronic Music. New Jersey: Prentice Hall. 1996: 370. ISBN 0-13-303231-0. 
  • Cowell, Henry. The Joys of Noise in Audio Culture. Readings in Modern Music, edited by Christoph Cox and Dan Warner, pp. 22–24. New York: Continuum, 2004. ISBN 0-8264-1614-4 (hardcover) ISBN 0-8264-1615-2 (pbk)
  • Ocean Music by De Maria, Walter (1968)][需要完整来源]
  • Gere, Charles. Art, Time and Technology: Histories of the Disappearing Body. Oxford: Berg Publishers, 2005.
  • Griffiths, Paul. Modern Music and After: Directions Since 1945. Oxford: Oxford University Press. 1995: 373. ISBN 0-19-816511-0. 
  • Goodman, Steve. 2009. "Contagious Noise: From Digital Glitches to Audio Viruses". In The Spam Book: On Viruses, Porn and Other Anomalies From the Dark Side of Digital Culture, edited by Jussi Parikka and Tony D. Sampson, 125–40.. Cresskill, New Jersey: Hampton Press.
  • Hecht, Eugene. Optics, 4th edition. Boston: Pearson Education, 2001.
  • Hegarty, Paul. 2004. "Full with Noise: Theory and Japanese Noise Music". In Life in the Wires, edited by Arthur Kroker and Marilouise Kroker, 86–98. Victoria, Canada: NWPCtheory Books.
  • Hegarty, Paul. Noise/Music: A History. London: Continuum International Publishing Group, 2007.
  • Piekut, Benjamin. Experimentalism Otherwise: The New York Avant-Garde and Its Limits. Berkeley: University of California Press, 2012.
  • Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts. Cambridge: MIT Press, 1999.
  • Kelly, Caleb. Cracked Media: The Sound of Malfunction Cambridge, Ma.: MIT Press, 2009.
  • Kemp, Mark. 1992. "She Who Laughs Last: Yoko Ono Reconsidered". Option Magazine (July–August): 74–81.
  • Krauss, Rosalind E.. 1979. The Originality of the Avant Garde and Other Modernist Myths. Cambridge: MIT Press. Reprinted as Sculpture in the Expanded Field. Cambridge: MIT Press, 1986.
  • LaBelle, Brandon. 2006. Background Noise: Perspectives on Sound Art. New York and London: Continuum International Publishing.
  • Landy, Leigh (2007),Understanding the Art of Sound Organization, Cambridge, Massachusetts: MIT Press, xiv, 303p.
  • Lewisohn, Mark. 1988. The Beatles Recording Sessions. New York: Harmony Books.
  • Lombardi, Daniele. 1981. "Futurism and Musical Notes". Artforum.[需要完整来源]
  • McCartney, Paul. The Beatles Anthology (DVD). 事件发生在 Special Features, Back at Abbey Road May 1995, 0:12:17. 1995. 
  • MacDonald, Ian. Revolution in the Head: The Beatles' Records and the Sixties Second Revised. London: Pimlico (Rand). 2005. ISBN 1-84413-828-3. 
  • Martin, George. Summer of Love: The Making of Sgt Pepper. MacMillan London Ltd. 1994. ISBN 0-333-60398-2. 
  • Masters, Marc. 2007. No Wave London: Black Dog Publishing.
  • Mereweather, Charles (ed.). 2007. Art Anti-Art Non-Art. Los Angeles: Getty Research Institute.
  • Miles, Barry. Many Years From Now. Vintage – Random House. 1997. ISBN 0-7493-8658-4. 
  • Nechvatal, Joseph. 2012. Immersion Into Noise. Ann Arbor: Open Humanities Press. ISBN 978-1-60785-241-4.
  • Nechvatal, Joseph. 2000. Towards a Sound Ecstatic Electronica. New York: The Thing. Post.thing.net
  • Nyman, Michael. Experimental Music: Cage and Beyond. London: Studio Vista. 1974: 196. ISBN 0-19-816511-0. 
  • Pedersen, Steven Mygind. 2007. Notes on Joseph Nechvatal: Viral SymphOny. Alfred, New York: Institute for Electronic Arts, School of Art & Design, Alfred University.
  • Petrusich, Amanda. "Interview: Lou Reed Pitchfork net. (Accessed 13 September 2009)
  • Priest, Eldritch. "Music Noise". In his Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure, 128–39. London: Bloomsbury Publishing; New York: Bloomsbury Academic, 2013. ISBN 978-1-4411-2475-3; ISBN 978-1-4411-2213-1 (pbk).
  • Rice, Ron. 1994. A Brief History of Anti-Records and Conceptual Records. Unfiled: Music under New Technology 0402 [i.e., vol. 1, no. 2]: [页码请求]Republished online, Ubuweb Papers (Accessed 4 December 2009).
  • Ross, Alex. 2007. The Rest Is Noise: Listening to the Twentieth Century. New York: Farrar, Straus and Giroux.
  • Sangild, Torben. 2002. The Aesthetics of Noise. Copenhagen: Datanom. ISBN 87-988955-0-8. Reprinted at UbuWeb
  • Sanouillet, Michel, and Elmer Peterson (eds.). 1989. The Writings of Marcel Duchamp. New York: Da Capo Press.
  • Smith, Owen. 1998. Fluxus: The History of an Attitude. San Diego: San Diego State University Press.
  • Spitz, Bob. The Beatles: The Biography需要免费注册. New York: Little, Brown and Company. 2005. ISBN 1-84513-160-6. 
  • Tunbridge, Laura. 2011. The Song Cycle. Cambridge and New York: Cambridge University Press. ISBN 0-521-72107-5.
  • Watson, Ben. "Noise as Permanent Revolution: or, Why Culture Is a Sow Which Devours Its Own Farrow". In Noise & Capitalism, edited by Anthony and Mattin Iles, 104–20. Kritika Series. Donostia-San Sebastián: Arteleku Audiolab, 2009.
  • Watson, Steven. 2003. Factory Made: Warhol and the Sixties. New York: Pantheon.
  • Weiss, Allen S. 1995. Phantasmic Radio. Durham NC: Duke University Press.
  • Young, Rob (ed.). 2009. The Wire Primers: A Guide To Modern Music. London: Verso.
  • Van Nort, Doug. (2006), Noise/music and representation systems, Organised Sound, 11(2), Cambridge University Press, pp 173–178.

延伸阅读

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  • Álvarez-Fernández, Miguel. "Dissonance, Sex and Noise: (Re)Building (Hi)Stories of Electroacoustic Music". In ICMC 2005: Free Sound Conference Proceedings. Barcelona: International Computer Music Conference; International Computer Music Association; SuviSoft Oy Ltd., 2005.
  • Thomas Bey William Bailey, Unofficial Release: Self-Released And Handmade Audio In Post-Industrial Society, Belsona Books Ltd., 2012
  • Barthes, Roland. "Listening". In his The Responsibility of Forms: Critical Essays on Music, Art, and Representation, translated from the French by Richard Howard. New York: Hill and Wang, 1985. ISBN 0-8090-8075-3 Reprinted Berkeley: University of California Press, 1991. ISBN 0-520-07238-3 (pbk.)
  • Brassier, Ray. "Genre is Obsolete". Multitudes, no. 28 (Spring 2007) Multitudes.samizdat.net.
  • Cobussen, Marcel. "Noise and Ethics: On Evan Parker and Alain Badiou". Culture, Theory & Critique, 46(1) pp. 29–42. 2005.
  • Collins, Nicolas (ed.) "Leonardo Music Journal" Vol 13: "Groove, Pit and Wave: Recording, Transmission and Music" 2003.
  • Court, Paula. New York Noise: Art and Music from the New York Underground 1978–88. London: Soul Jazz Publishing, in association with Soul Jazz Records, 2007. ISBN 0-9554817-0-8
  • DeLone, Leon (ed.), Aspects of Twentieth-Century Music. Englewood Cliffs, New Jersey: Prentice-Hall, 1975.
  • Demers, Joanna. Listening Through The Noise. New York: Oxford University Press. 2010.
  • Dempsey, Amy. Art in the Modern Era: A Guide to Schools and Movements. New York: Harry A. Abrams, 2002.
  • Doss, Erika. Twentieth-Century American Art. Oxford and New York: Oxford University Press, 2002
  • Foege, Alec. Confusion Is Next: The Sonic Youth Story. New York: St. Martin's Press, 1994.
  • Gere, Charlie. Digital Culture, second edition. London: Reaktion, 2000. ISBN 1-86189-388-4
  • Goldberg, RoseLee. Performance: Live Art Since 1960. New York: Harry N. Abrams, 1998.
  • Goodman, Steve a.k.a. kode9. Sonic Warfare: Sound, Affect, and the Ecology of Fear. Cambridge, Ma.: MIT Press, 2010.
  • Hainge, Greg (ed.). Culture, Theory and Critique 46, no. 1 (Issue on Noise, 2005)
  • Harrison, Charles, and Paul Wood. Art in Theory, 1900–2000: An Anthology of Changing Ideas. Oxford: Blackwell Publishing, 1992.
  • Harrison, Thomas J. 1910: The Emancipation of Dissonance. Berkeley: University of California Press, 1996.
  • Hegarty, Paul The Art of Noise. Talk given to Visual Arts Society at University College Cork, 2005.
  • Hegarty, Paul. Noise/Music: A History. New York, London: Continuum, 2007. ISBN 978-0-8264-1726-8 (cloth); ISBN 978-0-8264-1727-5 (pbk).
  • Hensley, Chad. "The Beauty of Noise: An Interview with Masami Akita of Merzbow". In Audio Culture: Readings in Modern Music, edited by C. Cox and Dan Warner, pp. 59–61. New York: Continuum, 2004.
  • Helmholtz, Hermann von. On the Sensations of Tone as a Physiological Basis for the Theory of Music, 2nd English edition, translated by Alexander J. Ellis. New York: Longmans & Co. 1885. Reprinted New York: Dover Publications, 1954.
  • Hinant, Guy-Marc. "TOHU BOHU: Considerations on the nature of noise, in 78 fragments". In Leonardo Music Journal Vol 13: Groove, Pit and Wave: Recording, Transmission and Music. 2003. pp. 43–47
  • Huyssen, Andreas. Twilight Memories: Marking Time in a Culture of Amnesia. New York: Routledge, 1995.
  • Iles, Anthony & Mattin (eds) Noise & Capitalism. Donostia-San Sebastián: Arteleku Audiolab (Kritika series). 2009.
  • Juno, Andrea, and Vivian Vale (eds.). Industrial Culture Handbook. RE/Search 6/7. San Francisco: RE/Search Publications, 1983. ISBN 0-940642-07-7
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