Skip to main content Accessibility help
×
Home
Hostname: page-component-55597f9d44-5zjcf Total loading time: 0.271 Render date: 2022-08-08T04:57:33.709Z Has data issue: true Feature Flags: { "shouldUseShareProductTool": true, "shouldUseHypothesis": true, "isUnsiloEnabled": true, "useRatesEcommerce": false, "useNewApi": true } hasContentIssue true

Field Recording, Sound Art and Objecthood

Published online by Cambridge University Press:  26 March 2009

Joanna Demers
Affiliation:
Department of Musicology, Flora L. Thornton School of Music, University of Southern California, Los Angeles, CA 90089–0851, USA E-mail: jtdemers@usc.edu

Abstract

The commercially available field recordings of Francisco López and Toshiya Tsunoda are difficult to classify. These field recordings are not site specific in the conventional sense because they are not tied to a particular architectural or listening space. Nor can field recordings be categorised as just another subgenre of experimental electronic music. Whereas in musique concrète and acousmatic music, sounds are organised according to musical or thematic parameters, López’s and Tsunoda’s field recording sounds are subjected to minimal editing and processing, and are organised according to the innate traits of the sounds themselves.

It would be insufficient, however, to offer the usual conciliatory conclusion that López’s and Tsunoda’s recordings straddle the sound art/music divide by possessing qualities of both. This article argues that these field recordings can best be understood in relation to the visual arts concept of objecthood, Michael Fried’s term for deciphering minimalist sculpture of the late 1960s. Objecthood explains how these field recordings use appropriated sounds that are nonetheless treated as non-referential, autonomous materials. This strategy posits its own type of site specificity that purports to be acultural and ahistorical, yet is nevertheless steeped in culture and history.

Type
Research Article
Copyright
Copyright © Cambridge University Press 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Boon, M. 2002. 12k/Line: Zen and the Art of the Drum Machine. Wire 218.Google Scholar
Cascone, K. 2000. The Aesthetics of Failure: ‘Post-Digital’ Tendencies in Contemporary Computer Music. Computer Music Journal 24(4): 1218.CrossRefGoogle Scholar
Chion, M. 1983. Guide des objets sonores: Pierre Schaeffer et la recherche musicale. Paris: Éditions Buchet/Chastel.Google Scholar
Chion, M. 1990. Audio-Vision: Sound On Screen. Trans. C. Gorbman. New York: Columbia University Press.Google Scholar
Cox, C. Warner, D. (eds.) 2004. Audio Culture: Readings in Modern Music. New York and London: Continuum.Google Scholar
Davis, R. 2003. ‘…and what they do as they’re going…’: Sounding Space in the Work of Alvin Lucier. Organised Sound 8(2): 205212.CrossRefGoogle Scholar
Emmerson, S. 2007. Living Electronic Music. Aldershot: Ashgate.Google Scholar
Fink, R. 2005. Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley: University of California Press.Google Scholar
Foster, H., Krauss, R., Bois, Y.-A. Buchloh, B. 2004. Art Since 1900: Modernism, Antimodernism, Postmodernism. London: Thames and Hudson.Google Scholar
Fried, M. 1967. Art and Objecthood. In Art and Objecthood: Essays and Reviews. Chicago: University of Chicago Press, 1998.Google Scholar
Haynes, J. 2005. Cross Platform: Toshiya Tsunoda. The Wire 252.Google Scholar
Hegarty, P. 2007. Noise/Music: A History. New York: Continuum.Google Scholar
Kane, B. 2007. L’Objet Sonore Maintenant: Pierre Schaeffer, Sound Objects and the Phenomenological Reduction. Organised Sound 12(1): 1524.CrossRefGoogle Scholar
Kwon, M. 2002. One Place After Another: Site-Specific Art and Locational Identity. Cambridge, MA: MIT Press.Google Scholar
LaBelle, Brandon. 2006. Background Noise: Perspectives on Sound Art. New York: Continuum.Google Scholar
Licht, A. 2007. Sound Art: Beyond Music, Between Categories. New York: Rizzoli.Google Scholar
López, F. 1997. Schizophonia vs. l’objet sonore: Soundscapes and Artistic Freedom. http://www.franciscolopez.net/pdf/schizo.pdfGoogle Scholar
López, F. 2000. Interview with Fear Drop. http://www.franciscolopez.net/int_fear.htmlGoogle Scholar
Merleau-Ponty, M. 2002. Phenomenology of Perception. Trans. C. Smith. London and New York: Routledge.Google Scholar
Schaeffer, P. 1966. Traité des objets musicaux: essai interdisciplines. Paris: Éditions du Seuil.Google Scholar
Sherburne, P. 2002. 12k: Between Two Points. Organised Sound 7(1): 171176.Google Scholar
Smalley, D. 1996. The Listening Imagination: Listening in the Electroacoustic Era. Contemporary Music Review 13(2): 77107.CrossRefGoogle Scholar
Smalley, D. 1997. Spectromorphology: Explaining Sound Shapes. Organised Sound 2(2): 107126.CrossRefGoogle Scholar
Tsunoda, T. 2007. Toshiya Tsunoda. In R. Moser and H. Friedl (eds.) Extract: Portraits of Sound Artists. Vienna: Nonvisualobjects.Google Scholar
Windsor, W.L. 1996. Autonomy, Mimesis and Mechanical Reproduction in Contemporary Music. Contemporary Music Review 15(1): 139150.CrossRefGoogle Scholar
Wishart, T. 1986. Sound Symbols and Landscapes. In S. Emmerson (ed.) The Language of Electro-acoustic Music. Houndmills: Macmillan.Google Scholar
López, F. 1998. La Selva. Rotterdam: V2_Archief, V228.Google Scholar
López, F. 2001. Buildings [New York]. Rotterdam: V2_Archief, V232.Google Scholar
López, F. 2007. Wind [Patagonia]. Seattle: and/OAR, and/27.Google Scholar
Tsunoda, T. 2003. Scenery of Decalcomania. Melbourne: Naturestrip, NS3003.Google Scholar
Tsunoda, T. 2005. Ridge of Undulation. Stockholm: Häpna, H.24.Google Scholar
5
Cited by

Save article to Kindle

To save this article to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Field Recording, Sound Art and Objecthood
Available formats
×

Save article to Dropbox

To save this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you used this feature, you will be asked to authorise Cambridge Core to connect with your Dropbox account. Find out more about saving content to Dropbox.

Field Recording, Sound Art and Objecthood
Available formats
×

Save article to Google Drive

To save this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you used this feature, you will be asked to authorise Cambridge Core to connect with your Google Drive account. Find out more about saving content to Google Drive.

Field Recording, Sound Art and Objecthood
Available formats
×
×

Reply to: Submit a response

Please enter your response.

Your details

Please enter a valid email address.

Conflicting interests

Do you have any conflicting interests? *