Skip to main content Accessibility help
×
Home

Towards an Ethics of Creative Sound

  • James Andean (a1)

Abstract

This article examines some of the ethical issues involved in working creatively with sound. Issues considered include: sound ownership; sound vs. vision as determinations of identity, and their relative iconicity; recorded sound; sound as physical phenomenon vs. sound as symbol; issues of copyright and trademark; community ownership; awareness, sensitivity and responsibility; composer responsibility vs. listener responsibility; the relative importance of contextualisation; and intercultural dialogue. We will conclude with a critique of the cultural and ethical shortcomings of the article itself, and a call for social, cultural and ethical engagement in creative sound work.

Copyright

Corresponding author

References

Hide All
Adorno, T. 1997. Aesthetic Theory. Minneapolis: University of Minnesota Press.
Andean, J. 2012. Cultural Relativism in Acousmatic Music. Musiikin Suunta 2: 2631.
Atkinson, S. 2007. Interpretation and Musical Signification in Acousmatic Listening. Organised Sound 12(2): 113122.
Bhabha, H.K. 1994. The Location of Culture. London: Routledge.
Blackburn, M. 2010. Electroacoustic Music Incorporating Latin American Influences: A Consideration Of Implications, Reception And Borrowing. eContact! 12.4, http://cec.sonus.ca/econtact/12_4/blackburn_influences.html
Blackburn, M. 2011. Importing the Sonic Souvenir: Issues of Cross-Cultural Composition. Proceedings of the Electroacoustic Music Studies Conference, Sforzando! New York, June 2011.
Blackburn, M. 2013. Performer as Sound Source: Interactions and Mediations in the Recording Studio and in the Field. EMS13: Electroacoustic Music in the Context of Interactive Approaches and Networks, http://www.ems-network.org/ems13/EMS13Abstracts.html#B
Bugliosi, V., Gentry, C. 1974. Helter Skelter: The True Story of the Manson Murders. New York: Norton.
Ciardi, F.C. 2008. Local and Global Connotations in Sonic Composition. Organised Sound 13(2): 123135.
Cipriani, A., Latini, G. 2008. Global/Local Issues in Electroacoustic Music for the Cinema of the Real: A Case Study. Organised Sound 13(2): 8997.
Cusick, S. 2008. ‘You are in a place that is out of the world …’: Music in the Detention Camps of the ‘Global War on Terror’. Journal of the Society for American Music 2(1): 126.
Daniel, E. 2007. Noise and Hearing Loss: A Review. The Journal of School Health 77: 225231.
Drever, J.L. 2002. Soundscape Composition: The Convergence of Ethnography and Acousmatic Music. Organised Sound 7(1): 2127.
Emmerson, S. 2000. Crossing Cultural Boundaries through Technology? In S. Emmerson (ed.), Music, Electronic Media and Culture. Aldershot: Ashgate.
Feld, S. 1988. Aesthetics as Iconicity of Style, or ‘Lift-Up-Over-Sounding’: Getting Into the Kaluli Groove. Yearbook for Traditional Music 20: 74113.
Gluck, R. 2008. Between, Within and Across Cultures. Organised Sound 13(2): 141152.
Goodman, S. 2010. Sonic Warfare: Sound, Affect, and the Ecology of Fear. Cambridge, MA: The MIT Press.
Hall, L. 2013. Electro-Instrumental Performance and Indonesian Musical Traditions: Moving Beyond Sonic Tourism. eContact! 15.2, http://cec.sonus.ca/econtact/15_2/hall_digitaltourism.html
Harris, B. 1996. Three Famous Notes of Broadcasting History: The NBC Chimes, http://www.radioremembered.org/chimes.htm
Jones, J. 1992. Let Me Take You Down: Inside the Mind of Mark David Chapman, the Man Who Killed John Lennon. New York: Villard Books.
Klausen, J. 2009. The Cartoons That Shook the World. New Haven, CT: Yale University Press.
Marr, C. 1989. Taken Pictures: On Interpreting Native American Photographs of the Southern Northwest Coast. The Pacific Northwest Quarterly 80(2): 5261.
McClary, S. 1987. The Blasphemy of Talking Politics During Bach Year. In R. Leppert and S. McClary (eds.), Music and Society. Cambridge: Cambridge University Press.
Naylor, S. 2014. Appropriation, Culture, and Meaning in Electroacoustic Music: A Composer's Perspective. Organised Sound 19(2): 110116.
Newton, J.S. 1988. Digital Sampling: The Copyright Considerations of a New Technological Use of Music Performance. Hastings Communications and Entertainment Law Journal 11(4): 671713.
O'Callaghan, C. 2007. Sounds: A Philosophical Theory. Oxford: Oxford University Press.
Pound, R. 1954. An Introduction to the Philosophy of Law. New Haven, Ct: Yale University Press.
Proy, G. 2002. Sound and Sign. Organised Sound 7(1): 1519.
Ramsay, B. 2013. Tools, Techniques and Composition: Bridging acousmatic and IDM. eContact! 14.4, http://cec.sonus.ca/econtact/14_4/ramsay_acousmatic-idm.html
Said, E.W. 1978. Orientalism. New York: Vintage Books.
Schumacher, T.G. 1995. This is a Sampling Sport: Digital Sampling, Rap Music and the Law in Cultural Production. Media Culture Society 17: 253273.
Shepherd, J., Virden, P., Vulliamy, G., Wishart, T. 1977. Whose Music? A Sociology of Musical Languages. London: Latimer.
Small, C. 1998. Musicking: The Meanings of Performing and Listening. Hanover, CT: Wesleyan University Press.
Sontag, S. 1977. On Photography. New York: Farrar, Straus and Giroux.
Spivak, G.C. 1988. Can the Subaltern Speak? Basingstoke: Macmillan.
Truax, B. 1994. The Inner and Outer Complexity of Music. Perspectives of New Music 32(1): 176193.
Truax, B. 1996. Soundscape, Acoustic Communication and Environmental Sound Composition. Contemporary Music Review 15(1): 4965.
Truax, B. 2008. Soundscape Composition as Global Music: Electroacoustic Music as Soundscape. Organised Sound 13(2): 103109.
Volcler, J. 2013. Extremely Loud: Sound as a Weapon. New York: The New Press.
Waldcock, J. 2011. Soundmapping: Critiques and Reflections On This New Publicly Engaging Medium. Journal of Sonic Studies 1(1), http://journal.sonicstudies.org/vol01/nr01/a08
Worthington, A. 2008. A History of Music Torture in the ‘War on Terror’, http://www.huffingtonpost.com/andy-worthington/a-history-of-music-tortur_b_151109.html
Young, C. 1975. Observational Cinema. In P. Hockings (ed.), Principles of Visual Anthropology. The Hague: Mouton.

Related content

Powered by UNSILO

Towards an Ethics of Creative Sound

  • James Andean (a1)

Metrics

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Abstract views

Total abstract views: 0 *
Loading metrics...

* Views captured on Cambridge Core between <date>. This data will be updated every 24 hours.

Usage data cannot currently be displayed.