Noise music

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Noise music is a music category that is characterized by the expressive use of sound in the music context. This type of music tends to challenge the differences made in conventional music practice between musical and non-musical sounds. Noise music includes a variety of musical styles and sound-based creative practices that feature sound as the main aspect.

Some music can display electronically or electronically generated sounds, and traditional and non-conventional musical instruments. It can combine direct engine sounds, non-music vocal techniques, physically manipulated audio media, processed sound recordings, field recordings, computer-generated sounds, stochastic processes, and other randomly produced electronic signals such as distortion, feedback, static, hiss and buzzing.. There may also be an emphasis on high volume levels and long and sustainable cuts. More general noise music may contain aspects such as improvisation, extended techniques, frenzy and uncertainty. In many instances, the use of melody, harmony, rhythm, or pulse is conventionally eliminated.

The Futurist art movement is important for the development of aesthetic noise, such as the Dada's art movement (prime example is the Antisymphony concert performed on April 30, 1919 in Berlin), and then Surrealist and Fluxus art movements, especially Fluxus Joe Jones artist, Tone of Yasunao, George Brecht, Robert Watts, Wolf Vostell, Dieter Roth, Yoko Ono, Nam June Paik, Walter De Maria's , Milan KnÃÆ'? ÃÆ' Broken Music Composition , beginning LaMonte Young and Takehisa Kosugi.

Contemporary noise music is often associated with extreme volume and distortion. In the experimental rock domain, examples include the use of Jimi Hendrix's feedback, Lou Reed's Metal Machine Music, and Sonic Youth. Other examples of music containing voice-based features include works by Iannis Xenakis, Karlheinz Stockhausen, Helmut Lachenmann, Cornelius Cardew, Eternal Music Theater, Glenn Branca, Rhys Chatham, Ryoji Ikeda, Survival Research Laboratories, Whitehouse, Ramleh, Coil, Brighter Death Now, Merzbow, Dror Feiler, Cabaret Voltaire, Psychic TV, Blackhouse, Jean Tinguely's recording of his sound statue (especially Bascule VII ), music from Hermann Nitsch Orgien Mysterien Theater , and the crooked gong La Monte Young works from the late 1960s. Genres such as industry, techno industry, lo-fi music, black metal, sludge metal, and glitch music use noise-based materials.

Video Noise music

Definition

According to Danish voice and music theorist Torben Sangild, a single definition of noise in music is impossible. Sangild instead provides three basic definitions of noise: the definition of musical acoustics, a second communicative definition based on distortion or communicative signal disturbance, and a third definition based on subjectivity (what sounds for one person can be meaningful to the other) is considered an unpleasant sound yesterday instead of a day this).

According to Murray Schafer there are four types of sounds: unwanted sounds, no musical sounds, loud noises, and interruptions in signaling systems (like static on the phone). The definition of what is considered noise, relative to music, has changed over time. Ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethoven's Grosse Fuge (1825) "sounded like a sound" to his audience at the time. Indeed, the Beethoven publisher persuaded him to remove it from its original setting as the last movement of the string quartet. He did it, replacing it with the sparkling Allegro. They then publish it separately.

In an effort to define music noise and its value, Paul Hegarty (2007) cites the work of famous cultural critic Jean Baudrillard, Georges Bataille and Theodor Adorno and through their work tracing the history of "noise". He defines noise at different times as "intrusive, undesirable", "lacking skill, inappropriate" and "threatening void". He traces this trend starting with the music concert hall of the 18th century. Hegarty argues that it is the composition of John Cage 4'33 ", in which the audience sits through four and a half minutes of" silence "(Cage 1973), which represents the beginning of the right noise music.Hegarty," musical sound " , as with 4'33 ", is a music consisting of incidental sounds that perfectly represent the tension between the" desired "sound (the music notation is played correctly) and the unwanted" sound ". who formed all the sound music from Erik Satie to NON to Glenn Branca. Writing about Japanese noise music, Hegarty states that "it's not a genre, but also a multiple genre, and characterized by this diversity... Japanese music voices can come in all styles, referring to all other genres... but most importantly filing the question of genre - what does it mean to be categorized, can be categorized, can be determined? "(Hegarty 2007: 133).

Author Douglas Kahn, in his work Noise, Water, Meat: A History of Sound in the Arts (1999), discusses the use of sound as a medium and explores the ideas of Antonin Artaud, George Brecht, William Burroughs, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.

In Noise: The Political Economy of Music (1985), Jacques Attali explores the relationship between noise music and the future of society. He points out that noise in music is a predictor of social change and shows how noise acts as a subconscious society - validating and testing new social and political realities.

Maps Noise music

Characteristics

Like many modern and contemporary art, noise music takes on the characteristics of the perceived negative traits of the noise mentioned below and uses it in aesthetic and imaginative ways.

In general usage, the word noise means unwanted noise or sound pollution. In electronic noise may refer to electronic signals that correspond to acoustic noise (in audio systems) or electronic signals corresponding to sound (visual) commonly seen as 'snow' on degraded television or video images. In signal processing or computing it can be considered data without meaning; ie, data not used to transmit signals, but only produced as unwanted by-products of other activities. Noise can block, alter, or alter the meaning of messages in human and electronic communications. White noise is a random signal (or process) with a flat power spectral density. In other words, the signal contains the same power in fixed bandwidth at any central frequency. White noise is considered analogous to white light that contains all frequencies.

In much the same way early modernists were inspired by naÃÆ'¯ve art, some contemporary artists of noisy voices vibrant with ancient audio technologies such as cable recorders, 8-track cartridges, and vinyl recordings. Many artists not only build their own sound-generating devices, but even their own specialized recording and software tools (for example, the C software used to create symphony viruses by Joseph Nechvatal).

src: eprints.hud.ac.uk

1910s-1960s

Voice Art

Luigi Russolo, an Italian Futurist artist of the early 20th century, was probably the first voice artist. Its manifestation in 1913, L'Arte dei Rumori , translated as The Art of Noises , states that the industrial revolution has given modern humans a greater capacity to appreciate the more complex sound. Russolo finds traditional melodic music that limits and envisions music noise as a substitute in the future. He designed and built a number of noise-generating devices called intonarumori and collected noise orchestras to perform with them. The work entitled Risveglio di una cittÃÆ' (City Awakening) and Convegno d'aeroplani e d'automobili (Meeting of Planes and Cars) were both conducted for the first time in 1914.

The show Gran Concerto Futuristico (1917) was greeted with strong resistance and violence from the audience, as predicted by Russolo himself. No intonation device survives, although recently some have been reconstructed and used in the show. Although Russolo's works are somewhat similar to contemporary noise music such as Japanoise, his efforts helped introduce the voice as aesthetic music and broaden the perception of sound as an artistic medium.

At first the art of music sought purity, tenderness and sweet voice. Then different sounds are combined, attention is taken, however, to puff the ears in a gentle harmony. Today's music, as it gets more complicated, strives to unite the most dissonant, weird and abusive sound. This way we get closer to voices.

Antonio Russolo, brother Luigi and fellow Italian futurist composer, produced a recording of two works featuring original intonarumori . 1921 made a record with works titled Corale and Serenata , combining conventional orchestral music with the famous noise engine and is the only sound recording that survive.

Early chest-related work from 1916 by Marcel Duchamp also worked with noise, but in a nearly silent way. One of the objects found by Readymades of Marcel Duchamp, A Bruit Secret (With Noise Hidden), is a collaborative work that created the noise instrument that Duchamp accomplished with Walter Arensberg. What trembles inside when the Secret Bruit is shaken remains a mystery.

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In the same period, the utilization of sounds found as a source of music began to be explored. The first example was the Parade , a show produced at Chatelet Theater, Paris, on May 18, 1917, conceived by Jean Cocteau, designed by Pablo Picasso, choreographed by Leonid Massine, and music by Eric Satie. The extra-musical ingredients used in production are referred to as Cocteau's trompe l'oreille voice and include dynamos, Morse code machines, sirens, steam engines, plane motors, and typewriters. The composition of Arseny Avraamov Symphony of Factory Sirens involves sirens and whistles of naval vessels, bus and car horns, siren factories, cannons, foghorns, artillery guns, machine guns, hydro planes, steam whistle machines specially designed rendering noisy Internationale and Marseillaise for a piece made by a team that used flags and pistols when performed in Baku in 1922. In 1923, Arthur Honegger created > Pacific 231 , a modern musical composition that mimics the sound of steam locomotives. Another example is the work of the orchestra Ottorino Respighi in 1924 Pines of Rome , which includes the phonographic play of the nightingale recordings. Also in 1924, George Antheil created a work entitled Ballet MÃÆ'Â © canique with instrumentation that included 16 pianos, 3 airplane propellers, and 7 electric bells. The work was originally conceived as music for the movie Dada of the same name, by Dudley Murphy and Fernand LÃÆ' Â © ger, but in 1926 it was aired independently as a concert work.

In 1930 Paul Hindemith and Ernst Toch recorded recycled to make a voice montage and in 1936 Edgard VarÃÆ'¨se experimented with recording, turning it backwards, and at varying speeds. Varese previously used a siren to create what he calls a "continuous flowing sound" that he can not accomplish with acoustic instruments. In 1931, Varese's Ionisation for 13 players featured 2 sirens, a roar of lions, and used 37 percussion instruments to create an unwarranted repertoire of sounds making it the first musical work to be performed solely on the basis of noise.. In commenting on the contributions of Varese American composer John Cage stated that Varese has "determined the nature of current music" and that he "moved into the field of sound itself while others still distinguish the 'musical tones' from the voices".

In an essay written in 1937, Cage expressed an interest in using extra musical material and came to distinguish between the sounds he found, what he called sounds, and musical sounds, for example including: rain, static between radio channels, and "a truck in fifty miles per hour ". Basically, Cage makes no difference, in his view all voices have the potential to be used creatively. The goal is to capture and control the elements of the sonic environment and to use the sound organization method, a term borrowed from Varese, to give meaning to sound material. Cage began in 1939 to create a series of works that explored the stated purpose, the first being Imaginary Landscape # 1 for instruments including two variable speed turntables with frequency recording.

In 1961, James Tenney composed Analogue # 1: Noise Study (for recording) using synthesized computer sounds and Collage No.1 (Blue Suede) (for recording) with sampling and manipulating the famous recordings of Elvis Presley.

Experimental music

I believe that the use of noise to make music will continue and increase until we reach the music generated through the help of power tools that will make available for every musical purpose and all audible sounds.

In 1932, Bauhaus artists LÃÆ'¡szlÃÆ'³ Moholy-Nagy, Oskar Fischinger and Paul Arma experimented with modifying the physical content of the recording path.

Under the influence of Henry Cowell in San Francisco in the late 1940s, Lou Harrison and John Cage began composing music for junk (junk) percussion, exploring junkyard and antique Chinatown store for the right drum brake , flower pot, gong, and more.

In Europe, in the late 1940s, Pierre Schaeffer sparked the term "musique concrÃÆ'¨te" to refer to the peculiar nature of sound on the tape, separate from the source that produced it initially. Pierre Schaeffer helped form the Studio d'Essai de la Radiodiffusion-TÃÆ' © lÃÆ'  © vision FranÃÆ'§ise in France during World War II. Originally serving the French Resistance, Studio d'Essai became a center of musical development centered around implementing electronic devices in composition. It was from this group that musique concrÃÆ'¨te was developed. A type of electroacoustic music, musique concrÃÆ'¨te is characterized by the use of sound recording, electronics, tape, animation and sound sources die, and various manipulation techniques. The first of Schaeffer's Cinq ÃÆ'  © tudes de bruits , or Five Noise Etudes , comprises a changed locomotive sound. The last à © à © tude, ÃÆ' â € ° tude pathÃÆ' © tique , utilizes sound recorded from a saucepan and canal boat.

Following the musique concrÃÆ'¨te, other modernist music artist 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. At the end of 1947, Antonin Artaud recorded Poured en Finir avec le Jugement de dieu ( To Finish with Judgment of God ), a piece of audio filled with seemingly random frenzy of xylophonic sound mixed with various percussion elements, mixed with the alarming shouting of humans, screams, snorting, onomatopoeia, and glossolalia. In 1949, Nouveau RÃÆ'Â © alisme artist Yves Klein wrote The Monotone Symphony (formally The Monotone-Silence Symphony , compiled 1947-1948), a 40 minute orchestra consisting of a one minute continuous 20 minutes (followed by a 20 minute silence) - shows how the sound of an unmanned aircraft can make music. Also in 1949, Pierre Boulez made friends with John Cage, who visited Paris to conduct research on Erik Satie's music. John Cage has pushed the music in a more surprising direction during the war years, writing to prepare pianos, junkyard percussions, and electronic gadgets.

In 1951, Cage's Imaginary Landscape # 4 , a work for twelve radio receivers, aired in New York. Composition performance requires the use of scores that contain indications for different wavelengths, durations, and dynamic levels, all of which have been determined using opportunity operations. A year later in 1952, Cage applied his aleatoric method to a tape based composition. Also in 1952, Karlheinz Stockhausen completed a simple student work entitled Etude . Cage's work produces his famous Williams Mix, which consists of about six hundred pieces of footage compiled in accordance with I Ching's demands. Cage's early radical stages peaked in the summer of 1952, when he launched the first art "to happen" in Black Mountain College, and 4'33 ", called a controversial" silent piece. " > 4'33 " done by David Tudor. The audience sees him sitting on the piano, and closes the piano lid. Some time later, without playing any notes, he opened the lid. Moments after that, again not playing anything, he closed the lid. And after a while, he opened the lid once more and got up from the piano. The piece has passed without a record being played, even without the Tudor or anyone onstage who has made a deliberate sound, even though he counts the duration on the stopwatch while turning the score page. Only then, the audience can recognize what Cage demands: that there is no such thing as silence. Noise always happens which makes the music sound. In 1957, Edgard VarÃÆ'¨se made an expanded electronic music recording using sounds made by scratching, punching and blowing titled PoÃÆ'¨me ÃÆ' Â © lectronique .

In 1960, John Cage completed the composition of his voice Cartridge Music for a phono cartridge with a foreign object replacing 'stylus' and a small sound reinforced by a contact microphone. Also in 1960, Nam June Paik compiled Fluxusobjekt for fixed recordings and hand-controlled recording playback heads. On May 8, 1960, six young Japanese musicians, including Takehisa Kosugi and Nada Yasunao, formed the Ongaku Group with two sound recording sound recordings: Automatism and Object . These recordings use a mix of traditional musical instruments along with vacuum cleaners, radio, oil drums, dolls, and a set of dishes. In addition, the recording speed of the tape is manipulated, further distorting the recorded sound. Canada Nihilist Spasm Band, the world's longest noise act, was formed in 1965 in London, Ontario and continues to perform and record to this day, having survived to work with many new generations that they themselves have influenced, such as Thurston Moore of Sonic Youth and Jojo Hiroshige from Hijokaidan. In 1967, Musica Elettronica Viva, an acoustic/electronic live improvisation group formed in Rome, made a recording titled SpaceCraft using a contact microphone on "non-musical" objects such as glass panels and motor oil cans recorded on Akademie der Kunste in Berlin. In the late sixties, they took part in a collective noise action called Lo Zoo initiated by artist Michelangelo Pistoletto.

Art critic Rosalind Krauss argues that in 1968 artists such as Robert Morris, Robert Smithson, and Richard Serra had "entered a state of logical conditions that can no longer be described as modernists." Sound art finds itself in the same conditions, but with an emphasis on distribution. The art of the antiform process becomes the term used to describe this postmodern post-industrial culture and its manufacturing process. Serious art music responds to this conjuncture in terms of intense noise, for example the composition of La Monte Young Fluxus 89 VI 8 C. 1: 42-1: 52 AM Paris Encore from Poems For Chairs, Tables , Benches, Etc. The Young Composition Two Sounds (1960) is composed for percussion and reinforced window panes and his book Poems for Tables, Chairs and Stools, Etc. (1960) uses sounds of furniture that scratch the floor.

Popular music

The sound recorded in popular music can be heard as early as in Spike Jones's work, which in the 1930s performed and released footage of buckets, cans, whistles, neighbors, sounds and chirping noises. Then in rock music, the 1964 song "Walking in the Rain", performed by The Ronettes and produced by Phil Spector contains thunder and lightning effects, which makes engineer Larry Levine a Grammy nomination. In 1966, Pet Sounds by American rock band The Beach Boys featured arrangements that included unconventional instruments such as bicycle bells, dog whistles, Coca-Cola cans and barking dogs, along with more ordinary keyboard and guitar.. The album closed with a recording of a passing train. Freak Out! , The Mothers of Invention debut album uses avant-garde sound collage - especially the 1966 song The Return of the Child from Magnet Monster . That same year, rock art group The Velvet Underground made their first recordings produced by Andy Warhol, a song called "Noise".

"Tomorrow Never Knows" is the last song from The Beatles' 1966 Revolver studio album; credited as the Lennon-McCartney song, was written primarily by John Lennon with major contributions to the arrangement by Paul McCartney. The song includes a circular tape effect. For the trajectory, McCartney provided a basket of ^{/ ₄} audio tapes he made at home after listening to Stockhausen's Gesang der JÃÆ'¼nglinge . By disabling the tape recorder removal head and then spooling the continuous loop of recording through the machine while recording, the tape will constantly overdub itself, creating a saturation effect, a technique that is also used in conspiracy music. The Beatles will continue this effort with "Revolution 9", a song produced in 1968 for The White Album . It only uses a sound collage, credited to Lennon-McCartney, but made primarily by John Lennon with the help of George Harrison and Yoko Ono.

In 1975, Ned Lagin released an electronic sound music album full of rowdy and atmospheric filled with burp and bleeps titled Seastones in Round Records. The album was recorded in quadraphonic stereo sound and featured guest performances by Grateful Dead members, including Jerry Garcia who played guitar being treated and Phil Lesh played Alembic electronic bass. David Crosby, Grace Slick, and other Jefferson Airplane members also appeared on the album.

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1970s-present

Noise and no wave

Lou Reed's double LP Metal Machine Music (1975) is cited as containing the main characteristics of what in time will become a genre known as noise music. This album is an example of the famous early commercial studio noise music by Lester Bangs music critics sarcastically referred to as "the greatest album ever made in the history of the human ear drum". It has also been called one of the "worst albums of all time". Reed was well aware of La Monte Young's drone music. Young's Theater of Eternal Music is a minimal noise band in the mid 60's with John Cale, Marian Zazeela, Henry Flynt, Angus Maclise, Tony Conrad, and others. The sickness record of The Theater of Eternal Music and its loud speakers has influenced Cale's next contribution to The Velvet Underground in its use both from disagreement and feedback. Cale and Conrad have released the noisy music recordings they made during the mid-sixties, such as Cale's Inside the Dream Syndicate series ( The Dream Syndicate being an alternate name given by Cale and Conrad to their collective work with Young). The so-called noise rock combines rock to noise, usually with recognizable "rock" instrumentation, but with the use of distortions and greater electronic effects, varying degrees of irregularity, improvisation, and white noise. One of the famous bands of this genre is Sonic Youth who took inspiration from No Wave composer Glenn Branca and Rhys Chatham (himself a student of LaMonte Young). Marc Masters, in his book on No Wave, points out that innovative aggressive early dark noise groups such as Mars and DNA appeal to punk rock, minimalist avant-garde and performing arts. Important in this noise trajectory is the nine night noise music called Noise Fest held by Thurston Moore of Sonic Youth in the NYC White Columns art hall in June 1981 followed by Speed ​​Exam > the noise of the rock series organized by Live Skull members in May 1983.

Industrial music

In the 1970s, the concept of art itself expanded and groups such as Survival Research Laboratories, Borbetomagus and Elliott Sharp embraced and expanded the most dissonant and most approachable aspects of this musical/spatial concept. Around the same time, the first wave of postmodern music noise industry appeared with Throbbing Gristle, Cabaret Voltaire, and NON (aka Boyd Rice). These cassette culture releases often feature zany tape edits, flashy percussions and repeated loops distorted to the point where they can degrade into loud noises. In the 1970s and 1980s, industrial noise groups such as Current 93, Hafler Trio, Throbbing Gristle, Coil, Laibach, Steven Stapleton, Thee Temple, ov Psychick Youth, Smegma, Nurse with Wound, EinstÃÆ'¼rzende Neubauten, The Haters , and The New Blockaders conducted the industry. musical noise mixes hard metal percussion, guitar, and unusual "instruments" (such as jackhammers and bones) in an elaborate stage show. The artists of this industry are experimenting with various levels of noise production techniques. Interest in the use of shortwave radio is also evolving today, especially in the recording and live performances of John Duncan. Other postmodern art movements affecting the art of post-industrial noise are Conceptual Art and the use of Neo-Dada techniques such as collections, montage, bricolage, and appropriation. Bands like Test Dept, DVA Clock, Factrix, Autopsia, Nokturnal Emotion, Whitehouse, Severed Heads, Sutcliffe JÃÆ'¼gend, and SPK soon follow. The sudden sudden post-industrial industry affordability of the 1970s, combined with the simultaneous influence of punk rock, formed No Wave aesthetics, and instigated what is commonly referred to as current noise music.

Japanese music sound

Since the early 1980s, Japan has produced significant output from loud bands, sometimes referred to under the portmanteau Japanoise, with perhaps the most notable being Merzbow (a pseudonym for Japanese voice artist Masami Akita who herself is inspired by Dada artist, Kurt Schwitters Merz psychological collage art project). In the late 1970s and early 1980s, Akita took Metal Machine Music as a starting point and further obscured the sound of aesthetics by freeing sound from guitar-based bait only, a development that allegedly had been heralded < i> music voice as genre. According to Hegarty (2007), "in many ways it only makes sense to talk about the noise of music since the emergence of different types of noise generated in Japanese music, and in terms of quantity this really has to do with the 1990s and so on... with growth big Japanese voice, finally, the music becomes the genre of noise ". Other Japanese voice artists who contributed to this increased activity include Hijokaidan, Boredoms, C.C.C.C., Incapacitants, KK Null, Masonna from Yamazaki Maso, Solmania, K2, Gerogerigegege, and Hanatarash. Nick Cain of The Wire identifies the "excellence of Japanese Noise artists such as Merzbow, Hijokaidan and Incapacitants" as one of the major developments in noise music since 1990.

Post-digital music

After the advent of industrial noise, rock noise, no waves, and loud noise, there has been a flood of noise musicians whose ambient, miksound, or error-based jobs are often smoother to the ears. Kim Cascone refers to this development as a postdigital movement and describes it as "aesthetic failure." Some of these music have seen a wide distribution thanks to the peer-to-peer and netlabels file sharing services that offer free releases. Goodman characterizes the widespread outpouring of this free noise-based medium as a "noise virus".

src: blog.sciencemuseum.org.uk

Compilation

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

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See also

Footnote

src: www.future-tense.band

References

src: www.future-tense.band

Further reading

src: savagethrills.com

External links

• Nor Noise 119 minutes of documentary 2004 by Tom Hovinbole on UbuWeb.
• Noise Short-noise music documentary film by N.O. Smith
• Freshwidow.com, Marcel Duchamp plays and discusses his finished voice With Noise Hidden
• Paul Hegarty, Noise: Noise and Noisy Japanese at Ctheory.net
• Future of Music: Credo , John Cage (1937) from Silence , John Cage, Wesleyan University Press
• Alphamanbeast sound directory Basic information with links to artists and voice labels
• Format white noise in wave (.wav) (1 minute)
• UBU.armob.ca La Monte Young 89 VI 8 c. 1: 42-1: 52 AM Paris Encore (10:33) in Tellus Audio Cassette Magazinearchive held at UbuWeb
• Voice generator to explore different kinds of interruptions
• PNF-library.org, Free Noise Manifesto
• Torben Sangild: "Aesthetics of Noise"
• UBU.com, mp3 audio file from noisy music Luigi Russolo on UbuWeb
• Noiseweb
• List of noise bands in Noise Wiki created by sound artists for noise artists
• # 13 Power Electronics at Tellus Audio Cassette Magazine is stored in UbuWeb
• MP3 files by rough voice artists
• UBU.com, Wolf Vostell's De/Collage LP Fluxus Multhipla, Italy (1980) on UbuWeb
• UBU.wfmu.org, music voice Antonio Russolo from Tellus Audio Cassette Magazine
• Noise.as, Noise: NZ/Japan
• UBU.artmob.ca Walter De Maria Oceanic Music (1968)
• Torben Sangild: "Aesthetics of Noise"
• Weirdmusic.net WeirdMusic.net, an e-zine dedicated to weird experimental music
• Japanoise.net
• Dotdotmusic.com, Paul Hegarty, General Voice of Ecology: Japanese Noise Music as Low Form (2005)
• UBU.artmob.ca, audio quote from The Monotone Symphony by Yves Klein
• UBU.com, Genesis P-Orridge on the origins of Throbbing Gristle: an interview by Tony Oursler on UbuWeb
• UBU.com, Ongaku Group (1960-61) at Ubuweb Recorded in 1960 & amp; 1961 at Sogetsu Art Center, Tokyo
• RWM.macba.cat, radio lecture mp3 about Fluxus noise music
• Continuo.wordpress.com, The sound recording of the sculpture statue by Nicolas SchÃÆ'¶fère comes from an exhibition DVD at Espace Gantner, France, 2004, titled Prà © m ireurà © de l'art cybernÃÆ'  © tique .
• Marc Weidenbaum, "Classic Tellus Noise MP3s (Controlled Bleeding, Merzbow, etc.)", Tellus Classic Cassette Magazine
• Nam June Paik on UbuWeb Sound

Source of the article : Wikipedia