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Sound art in Johannesburg: a critical review 2005-2009Engelbrecht, B.J. 28 June 2010 (has links)
ABSTRACT
In this dissertation I offer a critical review of ‘sound art’ in Johannesburg
between 2005 and 2009. The term ‘sound art’ was coined by Dan Lander in
1989. According to Christoph Cox, Dan Lander’s lament that sound art lacked
“any substantial discourse” in 1989 still applied in 2007. My intention in this
research is to start such a critical discourse for sound art in Johannesburg.
I argue that sound art is a distinctive practice in the city, involving the
body politic and underground, surface and edge as characterised by Achille
Mbembe and Sarah Nuttall in their recent major work on Johannesburg. First I
briefly consider the history of sound art, referring to Brandon Labelle’s view that
this history parallels that of site-specific art. I then suggest that the popularity of
sound art under review became popular for a number of reasons; what Walter
Ong’s termed “a shift in the sensorium”, the immediacy and inexpensiveness of
working with sound, and the rise of the home computer. I also locate the sonic
practices constituting sound art in audio culture as a whole, focussing on the
structure, materiality, recording, playback and transmission of the sonic event in
the sonic landscape. Sound, silence, noise and music are all part of this focus. I
finally examine sound in terms of space, time, body and network in the work of
Frances Goodman, Siobhan McCusker, The Trinity Session, Teamuncool,
Gerhard Marx and my own sound work involving sampling, Happy Station
(2008) and Slice Me Nice (2009).
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Les territoires sonores de Salvatore Sciarrino. L’écoute écologique, le théâtre musical, l’esthétique figurale / The sonic territories of Salvatore Sciarrino : ecological listening, musical theater, aesthetics of figuresGuerrasio, Francesca 16 March 2012 (has links)
Notre travail de recherche a pour objectif d’éclairer le parcours logique dissimulé derrière les compositions pour le théâtre de Salvatore Sciarrino, afin de réduire la distance entre l’artiste e le destinataire de ses œuvres. Nous avons réfléchi dans un premier temps aux conditions culturelles qui ont joué un rôle important et décisif dans la création du compositeur pour ensuite nous pencher sur l’observation, l’analyse et la compréhension de son premier essai d’esthétique : Le figure della musica da Beethoven a oggi. L’analyse des formes musicales individuées et formalisées par Sciarrino s’est révélée conséquente pour :a. mettre en évidence la forma mentis du compositeur et les innombrables aspects de sa personnalité ;b. déceler l’ensemble de normes et de lois qui sont à la base de son langage organique.Sans nous engager dans le domaine sémantique de la musique, nous avons néanmoins réfléchi avec Sciarrino sur le langage musical et sur la question de sa communication. La recherche du compositeur se présente en fait comme un cas particulier de création d’un langage conçu pour le domaine artistique en général et non pas exclusivement pour le domaine musical.Afin de retracer les aspects les plus singuliers de son travail artistique, nous avons mis l’accent sur l’un des concepts fondamentaux de son enseignement : la musique découle entièrement de la réalité sonore qui nous entoure et qui en constitue l’essence. L’événement sonore, conçu en tant qu’organisme vivant, renvoie à l’idée de Sciarrino d’une écoute écologique, qui traduit la faculté de transformation des sons naturels dans le langage musical, à travers une écoute en perspective.Le découpage dramatique et dramaturgique mis en œuvre par le compositeur propose à l’auditeur et à l’interprète de sa musique un véritable travail de perception, à la fois du texte et de la musique, et les plonge dans un monde caractérisé par l’incertitude et l’imperceptibilité. D’où l’originalité de sa recherche musicale et de ses projets dramaturgiques, qui n’ont pas pour objectif de faire coïncider la réalité visuelle avec la réalité sonore, mais de l’évoquer à travers des sons imperceptibles, à la limite du silence. / The goal of this research is to shed light on the logical trail that is hidden behind Sciarrino’s compositions for theater; it will help us reduce the distance between the artist and the recipient of his works. At first, we will ponder the cultural circumstances, which played an important and decisive part in the composer’s artistic creations. Then, we will devote time to observe, analyze and understand his first writing on aesthetics : Les figure della musica da Beethoven a oggi.The analysis of the unique musical forms created by Sciarrino will prove useful as we :a. reveal the forma mentis of the composer and the innumerable aspects of his personality ;b. trace his organic language back to the system of norms and laws from which it originates.Without involving ourselves in the category of musical semantics, we will nonetheless consider musical language and its levels of communication. In fact, Sciarrino’s research appears as the special instance of a language that is being created for the artistic world in general and not exclusively for the musical world.In order to recount the most singular aspects of his artistic work, we will focus on one of the fundamental concepts of his teachings : that music derives entirely from the sonic reality, which surrounds us and which therefore constitutes its essence.The sonic event, conceived as a living organism, refers to the idea of ecological listening. It is the faculty of transforming natural sounds within a musical language, by listening in perspective.The dramatic and dramaturgic division put in place by Sciarrino offers the listener and the performer of his music a study on perception, of both text and music, and immerges them in a world characterized by uncertainty and imperceptibility. Hence the originality of his musical research and dramaturgic project, which goal is not to make the visual reality coincide with the sonic reality, but to evoke the former with imperceptible sounds, ones that border on silence.
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