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Articles 1 - 30 of 65
Full-Text Articles in Arts and Humanities
Editorial Introduction: Circuits Of Art And Communication In The Twenty-First Century, Jonathan W. Marshall
Editorial Introduction: Circuits Of Art And Communication In The Twenty-First Century, Jonathan W. Marshall
Sound Scripts
A founding editor of Sound Scripts, Jonathan W. Marshall, introduces the essays that follow in volume six of the journal, taking the reader through a tour of informatic exchanges, truths and falsehoods.
Sonic Ventures In Post-Truth Surrealism: Raudelunas, The Rev. Fred Lane, And Lsd: Huxley’S Last Trip, Anne Lebaron
Sonic Ventures In Post-Truth Surrealism: Raudelunas, The Rev. Fred Lane, And Lsd: Huxley’S Last Trip, Anne Lebaron
Sound Scripts
In the arena of contemporary music and performance, truthiness—a fuzzy-edged concept linking “truth” and “post-truth”—provides a malleable framework for examining how musicians and musical communities are confronting, reacting to, or embodying belief systems grounded in deception. Does the notion of authenticity embrace deliberate falsifications? In an attempt to answer such questions, I will offer examples of performers, writers, and artists cavorting along the truthiness bridge.
From The Phenomenal Sublime To Critical Play: Sonic Approaches To Engagement At The 13th Totally Huge New Music Festival, Jonathan W. Marshall
From The Phenomenal Sublime To Critical Play: Sonic Approaches To Engagement At The 13th Totally Huge New Music Festival, Jonathan W. Marshall
Sound Scripts
The thirteen Tura Totally Huge Festival of New Music was held in Perth, 19-29 Oct 2017. The Festival included numerous performances, residencies and workshops, as well as the Totally Huge New Music Festival Conference, 26 Oct 2017. The following article provides a critical overview of key performances within the Festival. The 2017 Festival was particularly notable for immersive works which offered what one might call phenomenal experiences, particularly Michael Pisaro’s A Wave and Waves and DCC: Glitch by Kouhei Harada, Mitsuaki Matsumoto and Shohei Sasagawa. A Wave and Waves and DCC: Glitch harnessed the fully embodied and located experience of …
Fake It ‘Til You Make It: The Virtual Orchestra In New Electronic Music, Michael Terren
Fake It ‘Til You Make It: The Virtual Orchestra In New Electronic Music, Michael Terren
Sound Scripts
This paper describes a variety of audio technologies under the neologism “the virtual orchestra,” their relationship with neoliberal capitalism, and four electronic music works that utilise these technologies to highlight this relationship. The virtual orchestra comprises digital technologies that emulate orchestral performances, ranging from the ersatz sounds of General MIDI in the 1990s (often used in computer game soundtracks), to orchestral sample libraries, which can be virtually indiscernible from a well-recorded orchestral performance. It is suggested that the virtual orchestra emerged as part of a cultural movement that privileges individualism and control, and that this has precedence in the structure …
Musical Interpretation In Improvised Human-Machine Performance, Benjamin Carey
Musical Interpretation In Improvised Human-Machine Performance, Benjamin Carey
Sound Scripts
The development of interactive performance systems is an active area of research in the field of live electronic music. Whilst various models and metaphors of interactivity have been proposed in the literature, the engagement of these systems in improvised performance remains under-researched. This paper explores the notion of musical interpretation in improvised human-machine performance practice from the perspective of a performer-developer. Through a consideration of the notion of the musical text, these creative artefacts and the performance practices they engender are situated within the context of interpretive musical practice. I argue that musical performances with these software systems may be …
Action Music 2 [Score], Erik Griswold
Composer-Performer Collaboration In The Development Of Kinabuhi | Kamatayon For Percussion And Electronics, Louise Devenish, Stuart James
Composer-Performer Collaboration In The Development Of Kinabuhi | Kamatayon For Percussion And Electronics, Louise Devenish, Stuart James
Sound Scripts
This paper provides an outline of the collaborative approach taken in the creation of electroacoustic percussion work Kinabuhi | Kamatayon (2015) by Stuart James for performance by Louise Devenish. Written for eleven Indonesian bossed gongs and electronics, the work involved creative and systematic exploration of various percussive and electronic techniques with the primary aim of re-contextualising these instruments. This paper offers an overview of the collaboration process with percussionist Louise Devenish and how these techniques were used in the work. This includes discussion of the performance practices developed and a suitable notation system for effectively executing these compositional ideas.
Action Music And Action Painting In The Twenty-First Century, Erik Griswold
Action Music And Action Painting In The Twenty-First Century, Erik Griswold
Sound Scripts
The painter Jackson Pollock reputedly claimed, “I am nature,” while George W. Bush saw himself as “a gut player. I play by instincts.” Donald Trump echoed these sentiments, insisting he was “a very instinctual person, but my instinct turns out to be right.” But can these instincts be put to good use? Perhaps one solution lies in channelling these forces into more creative endeavours, transforming the masculinist approach of Pollock into a more collaborative and joyous action in music. “Action Music” (2013) and “Action Music 2” (2017) are two compositions of mine in which I have employed both in-the-moment improvisation …
The Uncanon: Radical Forgetting And Free Improvisation, Hannah Reardon-Smith
The Uncanon: Radical Forgetting And Free Improvisation, Hannah Reardon-Smith
Sound Scripts
In the first decades of the twenty-first century, the canon narrative within Western Art Music continues to resist the critical deconstructions by feminists and the New Musicology. Its stronghold over the way we talk about musical styles and position our practice is so great that even when we do away with the score and the figure of the composer and improvise freely, we find ourselves still trapped within a logic of canon that pushes certain artists’ contributions to the margins. Emphatically free improvisation implies a conscious attempt to forget our musical training and heritage, and subsequently our musical “families”: style, …
Silences [Score], Sage J. Harlow
Silences [Score], Sage J. Harlow
Sound Scripts
The piece consists of nine (or ten) sections alternating between free and scored; the scored sections all consist of silences of different qualities asking the players to explore ways to facilitate the scored silences. In composing with scored silences, the piece attempts to challenge the idea of silence as a transcendental signifier (or of signifying nothing) and seeks to question the assumption that a piece can convey particular experiences for an audience—silences, in particular, can evoke vastly different responses in people experiencing the ‘same thing’. In this sense, one might read the piece as ‘impossible’ and/or an exploration of the …
The Semi-Autonomous Rock Music Of The Stones, Darren Jorgensen
The Semi-Autonomous Rock Music Of The Stones, Darren Jorgensen
Sound Scripts
The Flying Nun record the Dunedin Double (1982) is credited with having identified Dunedin as a place where independent, garage style rock and roll was thriving in the early 1980s. Of the four acts on the double album, The Stones would have the shortest life as a band. Apart from their place on the Dunedin Double, The Stones would only release one 12” EP, Another Disc Another Dollar. This essay looks at the place of this EP in both Dunedin’s history of independent rock and its place in the wider history of rock too. The Stones were at first glance …
Addressing Climate Change Scepticism Through The Sonic Arts, Cissi Tsang
Addressing Climate Change Scepticism Through The Sonic Arts, Cissi Tsang
Sound Scripts
This paper discusses the continued denial of climate change despite overwhelming scientific evidence and agreement, through viewing climate change as a “hyperobject”—that is, a concept of such massive temporal and spatial dimensions that it defies traditional understanding. One of the challenges of the scientific community is to combat such scepticism through new ways of framing information, and the sonic arts offers an alternative presentation of truth through its ability to create emotional and narrative rapport, and also humanise esoteric information. This paper will focus on various methods of communicating climate change data aurally—such as sonification of data, and ecoacoustic methods …
Wild Swans By Elena Kats-Chernin: The Journey From The Australian Ballet To The Uk Dance Charts, Helen Rusak
Wild Swans By Elena Kats-Chernin: The Journey From The Australian Ballet To The Uk Dance Charts, Helen Rusak
Sound Scripts
In 2003 composer Elena Kats-Chernin collaborated with choreographer Meryl Tankard to produce Wild Swans, a ballet based upon the theme of Hans Christian Anderson’s enduring tale evoking the sufferings of Eliza’s fate to save her brothers from the evil curse of their stepmother. It resulted in a score rich with a wide range of musical sources underscoring a tableaux of dance and images beautifully evocative of the tale. The work was premiered by the Australian Ballet at the Sydney Opera House on 29 April 2003. This paper looks at the unexpected journey that one of the musical movements from the …
Art As Truth: The Post-Truth Reception Of Hamilton (2015) And The New Prince (2017), Cecilia Sun
Art As Truth: The Post-Truth Reception Of Hamilton (2015) And The New Prince (2017), Cecilia Sun
Sound Scripts
No abstract provided.
Everything In Its Place: A Conceptual Framework For Anti-Music, Nicole L. Carroll
Everything In Its Place: A Conceptual Framework For Anti-Music, Nicole L. Carroll
Sound Scripts
In this paper I describe my live performance practice utilising bespoke synthesisers and controllers. I address the conceptual approach and processes in the context of esoteric systems and give a technical description of the instruments. I situate my work in the context of Victorian Spiritualism and magic ritual. Following their precedent, I amalgamate systems and esoteric concepts to meet the goals of transformation and connecting to unknown forces, designing hybrid systems that allow me to approach a performance as an automatic mediumship process. I work primarily with NASA’s lunar orbital data, W.B. Yeats’ esoteric system detailed in A Vision (1937), …
Contents Page, Tos Mahoney
The Pollitics, Milieu And Music Of Black Metal, Darren Jorgensen
The Pollitics, Milieu And Music Of Black Metal, Darren Jorgensen
Sound Scripts
The genre of black metal music and its association with violence, Satanism and paganism offers an opportunity to think through the political dimensions of music. This essay argues against Ronald Bogue's depoliticisation of black metal through Deleuzian theory, instead defending the possibility of a politics that inheres to the form of different music. Violence, I argue here, is an extension of the milieu that black metal gave rise to.Musical experience correlates with political acts of church burning, black metal music carrying with it the politics of the milieu that it created.
Totally Huge New Music Festival Conference Program
Totally Huge New Music Festival Conference Program
Sound Scripts
No abstract provided.
Sonic Pleasure, Absence And The History Of The Self: An Alternative Approach To The Criticism Of Sound Art, Jonathan W. Marshall
Sonic Pleasure, Absence And The History Of The Self: An Alternative Approach To The Criticism Of Sound Art, Jonathan W. Marshall
Sound Scripts
Historical, psychoanalytic and cinema criticism have characterised the history of Western modernity and the individual subject as founded upon an affective lack. Pleasure is solicited by the promise of fullness, but this is never fulfilled, fuelling further desire. Sound art however is more typically theorised as inherently present and immersive, as a form that offers direct experience, which literally touches the subject. I draw upon the work of Jonathan Sterne, Steven Connor, psychoanalysis and film criticism to rearticulate not just modernist media and subjectivity as characterised by lack and absence, but the perception of aestheticised sound. Starting with an analysis …