Noise music

Music genre

"Noise (music)" redirects here. For the general occurrence of noise in music, see Noise in music.

Noise music

Stylistic origins|

* Modernism
* electronic
* Futurism
* Dada
* Musique concrète

Cultural origins| 1910s, Italy
Derivative forms|

* Dark ambient
* industrial
* no wave
* outsider house
* danger music

Subgenres

* Power electronics
* harsh noise wall

Fusion genres

* Glitch
* noise pop
* noise rock
* power noise
* Noisecore

Regional scenes

* Japan
* Italy[1][2][3]

Other topics

* Ambient music
* avant-garde music
* electroacoustic music
* experimental music
* extratone
* found sound
* Fluxus
* free improvisation
* indeterminacy
* list of noise musicians
* lo-fi
* microsound
* musique concrète
* noise in music
* performance art
* sound sculpture
* Surrealism

Noise music is a genre of music that is characterised by the expressive use of noise. This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound.[4] Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect.

Noise music can feature acoustically or electronically generated noise, and both traditional and unconventional musical instruments. It may incorporate live machine sounds, non-musical vocal techniques, physically manipulated audio media, processed sound recordings, field recording, computer-generated noise, noise produced by stochastic processes, and other randomly produced electronic signals such as distortion, feedback, static, hiss and hum. There may also be emphasis on high volume levels and lengthy, continuous pieces. More generally noise music may contain aspects such as improvisation, extended technique, cacophony and indeterminacy. In many instances, conventional use of melody, harmony, rhythm or pulse is dispensed with.[5][6][7][8]

The Futurist art movement (with most notably Luigi Russolo's Intonarumori and L'Arte dei Rumori (The Art of Noises) manifesto) was important for the development of the noise aesthetic,[9] as was the Dada art movement (a prime example being the Antisymphony concert performed on April 30, 1919, in Berlin).[10][11] In the 1920s, the French composer Edgard Varèse was influenced by the ideals of New York Dada associated via Marcel Duchamp and Francis Picabia's magazine 391. He conceived of the elements of his music in terms of sound-masses. This resulted in his compositions Offrandes, Hyperprism, Octandre, and Intégrales of the early 1920s.[12] Varèse declared that "to stubbornly conditioned ears, anything new in music has always been called noise", and he posed the question: "What is music but organized noises?"[13]

Pierre Schaeffer's musique concrète 1948 compositions Cinq études de bruits (Five Noise Studies), that began with Etude aux Chemins de Fer (Railway Study) are key to this history.[14] Etude aux Chemins de Fer consisted of a set of recordings made at the train station Gare des Batignolles in Paris that included six steam locomotives whistling and trains accelerating and moving over the tracks. The piece was derived entirely from recorded noise sounds that were not musical, thus a realization of Russolo's conviction that noise could be an acceptable source of music. Cinq études de bruits premiered via a radio broadcast on October 5, 1948, called Concert de bruits (Noise Concert).[14]

Later in the 1960s, the Fluxus art movement played an important role, specifically the Fluxus artists Joe Jones, Yasunao Tone, George Brecht, Robert Watts, Wolf Vostell, Dieter Roth, Yoko Ono, Nam June Paik, Walter De Maria's Ocean Music, Milan Knížák's Broken Music Composition, early La Monte Young, Takehisa Kosugi,[15] and the Analog #1 (Noise Study) (1961) by Fluxus-related composer James Tenney.[16][17]

Contemporary noise music is often associated with extreme volume and distortion.[18] Notable genres that exploit such techniques include noise rock and no wave, industrial music, Japanoise, and postdigital music such as glitch.[19][20] In the domain of experimental rock, examples include Lou Reed's Metal Machine Music and Sonic Youth.[21] Other notable examples of composers and bands that feature noise based materials include works by Iannis Xenakis, Karlheinz Stockhausen, Helmut Lachenmann, Cornelius Cardew, Theatre of Eternal Music, Glenn Branca, Rhys Chatham, Ryoji Ikeda, Survival Research Laboratories, Whitehouse, Coil, Merzbow, Cabaret Voltaire, Psychic TV, Jean Tinguely's recordings of his sound sculpture (specifically Bascule VII), the music of Hermann Nitsch's Orgien Mysterien Theater, and La Monte Young's bowed gong works from the late 1960s.[22]

## Definitions

[edit]

According to Danish noise and music theorist Torben Sangild, no single definition of noise in music is possible. Sangild instead provides three basic definitions of noise: a musical acoustics definition, a second communicative definition based on distortion or disturbance of a communicative signal, and a third definition based in subjectivity (what is noise to one person can be meaningful to another; what was considered unpleasant sound yesterday is not today).[23]

According to Murray Schafer there are four types of noise: unwanted noise, unmusical sound, any loud sound, and a disturbance in any signaling system (such as static on a telephone).[24] Definitions regarding what is considered noise, relative to music, have changed over time.[25] Ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethoven's Grosse Fuge (1825) "sounded like noise" to his audience at the time. Indeed, Beethoven's publishers persuaded him to remove it from its original setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro. They subsequently published it separately.[26]

In attempting to define noise music and its value, Paul Hegarty (2007) cites the work of noted cultural critics Jean Baudrillard, Georges Bataille and Theodor Adorno and through their work traces the history of "noise". He defines noise at different times as "intrusive, unwanted", "lacking skill, not being appropriate" and "a threatening emptiness". He traces these trends starting with 18th-century concert hall music. Hegarty contends that John Cage's composition 4'33", in which an audience and performer sit through four and a half minutes of "silence" (Cage 1973), represents the beginning of noise music proper. For Hegarty, "noise music", as with 4'33", is that music made up of incidental sounds that represent perfectly the tension between "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music from Erik Satie to NON to Glenn Branca. Writing about Japanese noise music, Hegarty suggests that "it is not a genre, but it is also a genre that is multiple, and characterized by this very multiplicity ... Japanese noise music can come in all styles, referring to all other genres ... but crucially asks the question of genre—what does it mean to be categorized, categorizable, definable?"[27]

Writer Douglas Kahn, in his work Noise, Water, Meat: A History of Sound in the Arts (1999), discusses the use of noise 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.[28]

In Noise: The Political Economy of Music (1985), Jacques Attali explores the relationship between noise music and the future of society by considering noise music as not merely reflective of, but importantly pre-figurative of social transformations. He indicates that noise in music is a predictor of social change and demonstrates how noise acts as the subconscious of society—validating and testing new social and political realities.[29] His alternative view of the standard history of music, with his emphasis on noise, theorized culture in a way that influenced many noise music theoretical studies to follow, such as Brandon LaBelle's Background Noise: Perspectives on Sound Art (2006), Alan Licht's Sound Art: Beyond Music, between Categories (2007), Thomas Bey William Bailey's Micro Bionic: Radical Electronic Music and Sound Art in the 21st Century (2009), Caleb Kelly's Cracked Media: The Sound of Malfunction (2009), Joseph Nechvatal's Immersion Into Noise (2011), and Mark Delaere's Noise as a Constructive Element in Music Theoretical and Music-Analytical Perspectives (2022).

## Characteristics

[edit]

Like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in aesthetic and imaginative ways.[30]

White noise

10 second sample of white noise.

* * *

Problems playing this file? See media help.

In common use, the word noise means unwanted sound or noise pollution.[31] In electronics noise can refer to the electronic signal corresponding to acoustic noise (in an audio system) or the electronic signal corresponding to the (visual) noise commonly seen as 'snow' on a degraded television or video image.[32] In signal processing or computing it can be considered data without meaning; that is, data that is not being used to transmit a signal, but is simply produced as an unwanted by-product of other activities. Noise can block, distort, or change the meaning of a message in both human and electronic communication. White noise is a random signal (or process) with a flat power spectral density.[33] In other words, the signal contains equal power within a fixed bandwidth at any center frequency. White noise is considered analogous to white light which contains all frequencies.[34][35]

In much the same way the early modernists were inspired by naïve art, some contemporary digital art noise musicians are excited by the archaic audio technologies such as wire-recorders, the 8-track cartridge, and vinyl records.[36] Many artists not only build their own noise-generating devices, but even their own specialized recording equipment and custom software (for example, the C++ software used in creating the viral symphOny by Joseph Nechvatal).[37][38]

## 1910s–1960s

[edit]

### Origins

[edit]

In "Futurism and Musical Notes", Daniele Lombardi discussed the French composer Carol-Bérard; a pupil of Isaac Albéniz, who composed a Symphony of Mechanical Forces in 1910, wrote on the problems of the instrumentation of noise music, and developed a notation system.[39]

Luigi Russolo c. 1916

In 1913 Futurist artist Luigi Russolo wrote his manifesto, L'Arte dei Rumori, translated as The Art of Noises,[40] stating that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds. Russolo found traditional melodic music confining and envisioned noise music as its future replacement. He designed and constructed a number of noise-generating devices called intonarumori and assembled a noise orchestra to perform with them. Works entitled Risveglio di una città (Awakening of a City) and Convegno d'aeroplani e d'automobili (The Meeting of Aeroplanes and Automobiles) were both performed for the first time in 1914.[41]

A performance of his Gran Concerto Futuristico (1917) was met with strong disapproval and violence from the audience, as Russolo himself had predicted. None of his intoning devices have survived, though recently some have been reconstructed and used in performances. Although Russolo's works bear little resemblance to contemporary noise music such as Japanoise, his efforts helped to introduce noise as a musical aesthetic and broaden the perception of sound as an artistic medium.[42][43]

> At first the art of music sought purity, limpidity and sweetness of sound. Then different sounds were amalgamated, care being taken, however, to caress the ear with gentle harmonies. Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to noise-sound.

— Luigi Russolo The Art of Noises (1913)[44]

Antonio Russolo, Luigi's brother and fellow Italian Futurist composer, produced a recording of two works featuring the original intonarumori. The 1921 made phonograph with works entitled Corale and Serenata, combined conventional orchestral music set against the famous noise machines and is the only surviving sound recording.[45]

An early Dada-related work from 1916 by Marcel Duchamp also worked with noise, but in an almost silent way. One of the found object Readymades of Marcel Duchamp, A Bruit Secret (With Hidden Noise), was a collaborative work that created a noise instrument that Duchamp accomplished with Walter Arensberg.[46] What rattles inside when A Bruit Secret is shaken remains a mystery.[47]

### Found sound

[edit]

In the same period the utilisation of found sound as a musical resource was starting to be explored. An early example is Parade, a performance produced at the Chatelet Theatre, Paris, on May 18, 1917, that was conceived by Jean Cocteau, with design by Pablo Picasso, choreography by Leonid Massine, and music by Eric Satie. The extra-musical materials used in the production were referred to as trompe l'oreille sounds by Cocteau and included a dynamo, Morse code machine, sirens, steam engine, airplane motor, and typewriters.[48] Arseny Avraamov's composition Symphony of Factory Sirens involved navy ship sirens and whistles, bus and car horns, factory sirens, cannons, foghorns, artillery guns, machine guns, hydro-airplanes, a specially designed steam-whistle machine creating noisy renderings of Internationale and Marseillaise for a piece conducted by a team using flags and pistols when performed in the city of Baku in 1922.[49] In 1923, Arthur Honegger created Pacific 231, a modernist musical composition that imitates the sound of a steam locomotive.[50] Another example is Ottorino Respighi's 1924 orchestral piece Pines of Rome, which included the phonographic playback of a nightingale recording.[48] Also in 1924, George Antheil created a work titled Ballet Mécanique with instrumentation that included 16 pianos, 3 airplane propellers, and 7 electric bells. The work was originally conceived as music for the Dada film of the same name, by Dudley Murphy and Fernand Léger, but in 1926 it premiered independently as a concert piece.[51][52]

In 1930 Paul Hindemith and Ernst Toch recycled records to create sound montages and in 1936 Edgard Varèse experimented with records, playing them backwards, and at varying speeds.[53] Varese had earlier used sirens to create what he called a "continuous flowing curve" of sound that he could not achieve with acoustic instruments. In 1931, Varese's Ionisation for 13 players featured 2 sirens, a lion's roar, and used 37 percussion instruments to create a repertoire of unpitched sounds making it the first musical work to be organized solely on the basis of noise.[54][55] In remarking on Varese's contributions the American composer John Cage stated that Varese had "established the present nature of music" and that he had "moved into the field of sound itself while others were still discriminating 'musical tones' from noises".[56]

In an essay written in 1937, Cage expressed an interest in using extra-musical materials[57] and came to distinguish between found sounds, which he called noise, and musical sounds, examples of which included: rain, static between radio channels, and "a truck at fifty miles per hour". Essentially, Cage made no distinction, in his view all sounds have the potential to be used creatively. His aim was to capture and control elements of the sonic environment and employ a method of sound organisation, a term borrowed from Varese, to bring meaning to the sound materials.[58] Cage began in 1939 to create a series of works that explored his stated aims, the first being Imaginary Landscape #1 for instruments including two variable speed turntables with frequency recordings.[59]

In 1961, James Tenney composed Analogue #1: Noise Study (for tape) using computer synthesized noise and Collage No.1 (Blue Suede) (for tape) by sampling and manipulating a famous Elvis Presley recording.[60]

### Experimental music

[edit]

> I believe that the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.

— John Cage The Future of Music: Credo (1937)

In 1932, Bauhaus artists László Moholy-Nagy, Oskar Fischinger and Paul Arma experimented with modifying the physical contents of record grooves.[60]

Under the influence of Henry Cowell in San Francisco in the late 1940s,[61] Lou Harrison and John Cage began composing music for junk (waste) percussion ensembles, scouring junkyards and Chinatown antique shops for appropriately tuned brake drums, flower pots, gongs, and more.

In Europe, during the late 1940s, Pierre Schaeffer coined the term musique concrète to refer to the acousmatic nature of sounds on tape, separated from the source that generated them initially.[62] Pierre Schaeffer helped form Studio d'Essai of the Radiodiffusion-Télévision Française in Paris during World War II. Initially serving the French Resistance, Studio d'Essai became a hub for musical development centered around implementing electronic devices in compositions. It was from this group that musique concrète was developed. Musique concrète is a type of electroacoustic music characterized by its use of recorded sound, electronics, tape, animate and inanimate sound sources, and various manipulation techniques. The first of Schaeffer's Cinq études de bruits (Five Noise Etudes), called Étude aux chemins de fer (1948) consisted of transformed locomotive sounds.[14] The last étude, Étude pathétique (1948), makes use of sounds recorded from sauce pans and canal boats. Cinq études de bruits was premiered via a radio broadcast on October 5, 1948, titled Concert de bruits.

Following musique concrète, other modernist art music 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.[60] In late 1947, Antonin Artaud recorded Pour en Finir avec le Jugement de dieu (To Have Done with the Judgment of God), an audio piece full of the seemingly random cacophony of xylophonic sounds mixed with various percussive elements, mixed with the noise of alarming human cries, screams, grunts, onomatopoeia, and glossolalia.[63][64] In 1949, Nouveau Réalisme artist Yves Klein wrote The Monotone Symphony (formally The Monotone-Silence Symphony, conceived 1947–1948), a 40-minute orchestral piece that consisted of a single 20-minute sustained chord (followed by a 20-minute silence)[65]—showing how the sound of one drone could make music. Also in 1949, Pierre Boulez befriended John Cage, who was visiting Paris to do research on the music of Erik Satie. John Cage had been pushing music in even more startling directions during the war years, writing for prepared piano, junkyard percussion, and electronic gadgetry.[66]

In 1951, Cage's Imaginary Landscape #4, a work for twelve radio receivers, was premiered in New York. Performance of the composition necessitated the use of a score that contained indications for various wavelengths, durations, and dynamic levels, all of which had been determined using chance operations.[67][68] A year later in 1952, Cage applied his aleatoric methods to tape-based composition. Also in 1952, Karlheinz Stockhausen completed a modest musique concrète student piece entitled Etude. Cage's work resulted in his famous work Williams Mix, which was made up of some six hundred tape fragments arranged according to the demands of the I Ching. Cage's early radical phase reached its height that summer of 1952, when he unveiled the first art "happening" at Black Mountain College, and 4'33", the so-called controversial "silent piece". The premiere of 4'33" was performed by David Tudor. The audience saw him sit at the piano, and close the lid of the piano. Some time later, without having played any notes, he opened the lid. A while after that, again having played nothing, he closed the lid. And after a period of time, he opened the lid once more and rose from the piano. The piece had passed without a note being played, in fact without Tudor or anyone else on stage having made any deliberate sound, although he timed the lengths on a stopwatch while turning the pages of the score. Only then could the audience recognize what Cage insisted upon: that there is no such thing as silence. Noise is always happening that makes musical sound.[69] In 1957, Edgard Varèse created on tape an extended piece of electronic music using noises created by scraping, thumping and blowing titled Poème électronique.[70][71]

In 1960, John Cage completed his noise composition Cartridge Music for phono cartridges with foreign objects replacing the 'stylus' and small sounds amplified by contact microphones. Also in 1960, Nam June Paik composed Fluxusobjekt for fixed tape and hand-controlled tape playback head.[60] On May 8, 1960, six young Japanese musicians, including Takehisa Kosugi and Yasunao Tone, formed the Group Ongaku with two tape recordings of noise music: Automatism and Object. These recordings made use of a mixture of traditional musical instruments along with a vacuum cleaner, a radio, an oil drum, a doll, and a set of dishes. Moreover, the speed of the tape recording was manipulated, further distorting the sounds being recorded.[72] Canada's Nihilist Spasm Band, the world's longest-running noise act, was formed in 1965 in London, Ontario, and continues to perform and record to this day, having survived to work with many of the newer generation which they themselves had influenced, such as Thurston Moore of Sonic Youth and Jojo Hiroshige of Hijokaidan. In 1967, Musica Elettronica Viva, a live acoustic/electronic improvisational group formed in Rome, made a recording titled SpaceCraft[73] using contact microphones on such "non-musical" objects as panes of glass and motor oil cans that was recorded at the Akademie der Kunste in Berlin.[74] At the end of the sixties, they took part in the collective noise action called Lo Zoo initiated by the artist Michelangelo Pistoletto.

The art critic Rosalind Krauss argued that by 1968 artists such as Robert Morris, Robert Smithson, and Richard Serra had "entered a situation the logical conditions of which can no longer be described as modernist."[75] Sound art found itself in the same condition, but with an added emphasis on distribution.[76] Antiform process art became the terms used to describe this postmodern post-industrial culture and the process by which it is made.[77] Serious art music responded to this conjuncture in terms of intense noise, for example the La Monte Young Fluxus composition 89 VI 8 C. 1:42–1:52 AM Paris Encore from Poem For Chairs, Tables, Benches, Etc. Young's composition Two Sounds (1960) was composed for amplified percussion and window panes and his Poem for Tables, Chairs and Benches, Etc. (1960) used the sounds of furniture scraping across the floor. AllMusic assessed 1960s English experimental group AMM as originators of electronica, free improvisation and noise music, writing that "noise bands owe it to themselves to check out their primary source."[78]

### Popular music

[edit]

Freak Out!, the 1966 debut album by the Mothers of Invention made use of avant-garde sound collage—particularly the closing track "The Return of the Son of Monster Magnet".[79] The same year, art rock group the Velvet Underground made their first recording while produced by Andy Warhol, a track entitled "Noise".[80] AllMusic assessed the Godz as an early noise band: "the three squalling bits of avant-garde noise/junk they recorded from 1966–1968.[81]

"Tomorrow Never Knows" is the final track of the Beatles' 1966 studio album Revolver; credited as a Lennon–McCartney song, it was written primarily by John Lennon with major contributions to the arrangement by Paul McCartney. The track included looped tape effects. For the track, McCartney supplied a bag of 1⁄4-inch audio tape loops he had made at home after listening to Stockhausen's Gesang der Jünglinge. By disabling the erase head of a tape recorder and then spooling a continuous loop of tape through the machine while recording, the tape would constantly overdub itself, creating a saturation effect, a technique also used in musique concrète.[82] The Beatles would continue these efforts with "Revolution 9", a track produced in 1968 for The White Album. It made sole use of sound collage, credited to Lennon–McCartney, but created primarily by John Lennon with assistance from George Harrison and Yoko Ono.[83] In 2013, post-conceptual artist Rutherford Chang released a double vinyl noise music record, in a limited edition of 800, called White Album x 100 made by layering 100 copies of the Beatles’ 1968 double LP The White Album playing simultaneously.[84][85][86]

In 1967 the Jefferson Airplane released a noisy sound collage called A Small Package Of Value Will Come To You, Shortly on their album After Bathing at Baxter's. In 1975, Ned Lagin released an album of electronic noise music full of spacey rumblings and atmospherics filled with burps and bleeps entitled Seastones on Round Records.[87] The album was recorded in stereo quadraphonic sound and featured guest performances by members of the Grateful Dead, including Jerry Garcia playing treated guitar and Phil Lesh playing electronic Alembic bass.[88] David Crosby, Grace Slick and other members of the Jefferson Airplane also appear on the album.[89]

## 1970s–present

[edit]

### Noise rock, no wave, drone metal

[edit]

Main articles: Noise rock and No Wave

Lou Reed's double LP Metal Machine Music (1975) is cited as containing the primary characteristics of what would in time become a genre known as noise music.[90] The album, recorded on a three speed Uher machine and mastered/engineered by Bob Ludwig,[91] is an early, well-known example of commercial studio noise music that the music critic Lester Bangs has sarcastically called the "greatest album ever made in the history of the human eardrum".[92] It has also been cited as one of the "worst albums of all time".[93] In 1975, RCA also released a Quadrophonic version of the Metal Machine Music recording that was produced by playing the master tape back both forward and backward, and by flipping the tape over.[94] Reed was well aware of the drone music of La Monte Young and cites him as a major influence on Metal Machine Music.[91][95][96] Young's Theatre of Eternal Music was a proto-minimal music noise group in the mid-60s with John Cale, Marian Zazeela, Henry Flynt, Angus Maclise, Tony Conrad, and others.[97] The Theatre of Eternal Music's discordant sustained notes and loud amplification had influenced Cale's subsequent contribution to the Velvet Underground in his use of both discordance and feedback.[98] Cale and Conrad have released noise music recordings they made during the mid-sixties, such as Cale's Inside the Dream Syndicate series (The Dream Syndicate being the alternative name given by Cale and Conrad to their collective work with Young).[99] Krautrock bands such as Neu![100] and Faust[101] would incorporate noise into their compositions. Roni Sarig, author of The Secret History of Rock called Can's sophomore album Tago Mago "as close as it ever got to avant-garde noise music."[102]

The aptly named noise rock fuses rock to noise, usually with recognizable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of atonality, improvisation, and white noise. One notable band of this genre is Sonic Youth, who took inspiration from the No Wave composers Glenn Branca and Rhys Chatham (himself a student of La Monte Young).[103] Marc Masters, in his book on the No Wave, points out that aggressively innovative early dark noise groups like Mars and DNA drew on punk rock, avant-garde minimalism and performance art.[104] Important in this noise trajectory are the nine nights of noise music called Noise Fest that was organized by Thurston Moore of Sonic Youth in the NYC art space White Columns in June 1981[105][106] followed by the Speed Trials noise rock series organized by Live Skull members in May 1983.

Drone rock musician Dylan Carlson has described La Monte Young's Dream Syndicate as being a major influence on Earth's 1993 studio album Earth 2.[107] In 2015, Stephen O'Malley of the drone metal band Sunn O))) cites Earth 2 and La Monte Young as major influences on his music.[108]

### Industrial music

[edit]

Main article: Industrial music

See also: Post-industrial music

In the 1970s, the concept of art itself expanded and groups like Survival Research Laboratories, Borbetomagus and Elliott Sharp embraced and extended the most dissonant and least approachable aspects of these musical/spatial concepts. Around the same time, the first postmodern wave of industrial noise music appeared with the Pop Group,[109] Throbbing Gristle,[110] Cabaret Voltaire, and NON (aka Boyd Rice).[111] These cassette culture releases often featured zany tape editing, stark percussion and repetitive loops distorted to the point where they may degrade into harsh noise.[112] In the 1970s and 1980s, industrial noise groups like Killing Joke, Throbbing Gristle, Mark Stewart & the Mafia, Coil, Laibach, Thee Temple ov Psychick Youth, Smegma, Nurse with Wound and Einstürzende Neubauten performed industrial noise music mixing loud metal percussion, guitars, and unconventional "instruments" (such as jackhammers and bones) in elaborate stage performances. These industrial artists experimented with varying degrees of noise production techniques.[113] Interest in the use of shortwave radio also developed at this time, particularly evident in the recordings and live performances of John Duncan. Other postmodern art movements influential to post-industrial noise art are Conceptual Art and the Neo-Dada use of techniques such as assemblage, montage, bricolage, and appropriation. Bands like Test Dept, Clock DVA, Factrix, Autopsia, Nocturnal Emissions, Whitehouse, Severed Heads, Sutcliffe Jugend, and SPK soon followed. The sudden post-industrial affordability of home cassette recording technology in the 1970s, combined with the simultaneous influence of punk rock, established the No Wave aesthetic, and instigated what is commonly referred to as noise music today.[113]

### Japanese noise music

[edit]

Main article: Japanoise

Merzbow, prominent Japanoise musician, in 2007

Since the early 1980s,[114] Japan has produced a significant output of characteristically harsh artists and bands, sometimes referred to as Japanoise, with names such as Government Alpha, Alienlovers in Amagasaki and Koji Tano, and perhaps the best known being Merzbow (pseudonym for the Japanese noise artist Masami Akita who himself was inspired by the Dada artist Kurt Schwitters's Merz art project of psychological collage).[115][116] In the late 1970s and early 1980s, Akita took Metal Machine Music as a point of departure and further abstracted the noise aesthetic by freeing the sound from guitar based feedback alone. According to Hegarty (2007), "in many ways it only makes sense to talk of noise music since the advent of various types of noise produced in Japanese music, and in terms of quantity this is really to do with the 1990s onwards ... with the vast growth of Japanese noise, finally, noise music becomes a genre".[117] Other key Japanese noise artists that contributed to this upsurge of activity include Hijokaidan, Boredoms, C.C.C.C., Incapacitants, KK Null, Yamazaki Maso's Masonna, Solmania, K2, the Gerogerigegege and Hanatarash.[116][118] Nick Cain of The Wire identifies the "primacy of Japanese Noise artists like Merzbow, Hijokaidan and Incapacitants" as one of the major developments in noise music since 1990.[119]

## Compilations

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* An Anthology of Noise & Electronic Music Volumes 1–7 Sub Rosa, Various Artists (1920–2012)
* Just Another Asshole #5 (1981) compilation LP (CD reissue 1995 on Atavistic #ALP39CD), producers: Barbara Ess and Glenn Branca
* No New York (1978) Antilles, (2006) Lilith, B000B63ISE
* The Japanese-American Noise Treaty (1995) CD, Relapse
* New York Noise hour music video television program

## See also

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* Music portal
* Classical music portal

* Chiptune – Style of synthesized electronic music
* Circuit bending – Modification of an electronic device to create an instrument
* Colors of noise – Power spectrum of a noise signal
* Dark ambient – Music genre
* Death growl – Vocal style in music
* Digital hardcore – Music genre that melds hardcore punk with electronic music
* List of noise musicians
* List of Japanoise artists
* Lo-fi music – Music aesthetic
* Noise in music – Unpitched, indeterminate, uncontrolled, loud, unmusical, or unwanted sound
* Post-punk – Music genre
* Phonation – Process of creating phonetic sounds
* Screaming (music) – Vocal technique used in music
* Sonic artifact – Audible defect generated during the recording or editing of a sound

## References

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1. ^ "Samarinda noise music makes waves". The Jakarta Post. 16 November 2018. Retrieved 18 January 2021.
2. ^ "Musician collective to talk about noise". The Jakarta Post. 23 August 2019. Retrieved 18 January 2021.
3. ^ "A Look into Indonesia's Insane Noise Scene". Vice. 21 July 2015. Retrieved 18 January 2021.
4. ^ Priest, Eldritch. "Music Noise" in Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure, p. 132. London: Bloomsbury Publishing; New York: Bloomsbury Academic, 2013.
5. ^ Chris Atton, "Fan Discourse and the Construction of Noise Music as a Genre", Journal of Popular Music Studies 23, no. 3 (September 2011): 324–42. Citation on 326.
6. ^ Torben Sangild, The Aesthetics of Noise (Copenhagen: Datanom, 2002):[page needed]. ISBN 87-988955-0-8. Reprinted at UbuWeb.
7. ^ Paul Hegarty, Noise/Music: A History (London: Continuum International Publishing Group, 2007): 3–19.
8. ^ Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge, Ma.: MIT Press, 2009): 60–76.
9. ^ Nicolas Ballet, Shock Factory: The Visual Culture of Industrial Music, Intellect Books, pp. 135-140
10. ^ Matthew Biro, The Dada Cyborg: Visions of the New Human in Weimar Berlin, 2009, p. 50.
11. ^ Documents at The International Dada archive at The University of Iowa show that Antisymphonie was held at the Graphisches Kabinett, Kurfürstendamm 232, at 7:45 PM. The printed program lists five numbers: "Proclamation dada 1919" by Huelsenbeck, "Simultan-Gedicht" performed by seven people, "Bruitistisches Gedicht" performed by Huelsenbeck (these latter two pieces grouped together under the category "DADA-machine"), "Seelenautomobil" by Hausmann, and finally, Golyscheff's Antisymphonie in 3 movements, subtitled "Musikalische Kriegsguillotine". The three movements of Golyscheff's piece are titled "provokatorische Spritze", "chaotische Mundhöhle oder das submarine Flugzeug", and "zusammenklappbares Hyper-fis-chendur".
12. ^ Wen-chung, Chou (April 1966). "Varèse: A Sketch of the Man and His Music". The Musical Quarterly. 52 (2): 151–170\. JSTOR 741034.
13. ^ Wen-chung 1966, p. 11–19.
14. ^ a b c Alex Ross, The Rest Is Noise: Listening to the Twentieth Century (New York: Farrar, Straus and Giroux, 2007), p. 369.
15. ^ Owen Smith, Fluxus: The History of an Attitude (San Diego: San Diego State University Press, 1998), pp. 7 & 82.
16. ^ Kahn 2012, pp. 131–146.
17. ^ Wannamaker, Robert. "UI Press | Robert Wannamaker | The Music of James Tenney". www.press.uillinois.edu. pp. 68–76. Retrieved 2023-12-21.
18. ^ Piekut, Benjamin. Experimentalism Otherwise: The New York Avant-Garde and Its Limits. 2012. p. 193
19. ^ Paul Hegarty, Noise/Music: A History (London: Continuum International Publishing Group, 2007), pp. 189–92.
20. ^ Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge, Massachusetts: MIT Press, 2009), pp. 6–10.
21. ^ "Pitchfork: Interviews: Lou Reed". Pitchfork. 17 September 2007. Archived from the original on 2011-08-23.
22. ^ Such as 23 VIII 64 2:50:45 – 3:11 am The Volga Delta From Studies In The Bowed Disc from The Black Record (1969)
23. ^ Sangild, Torben, The Aesthetics of Noise. Copenhagen: Datanom, 2002. pp. 12–13
24. ^ Schafer, R. Murray (2006). The soundscape: our sonic environment and the tuning of the world. Rochester, Vt: Destiny Books [u.a.] p. 182\. ISBN 978-0-89281-455-8.
25. ^ Joseph Nechvatal, Immersion Into Noise (Ann Arbor: Open Humanities Press, 2012), p. 19.
26. ^ Watson 2009, 109–10.
27. ^ Hegarty, Paul (2007). Noise/music: a history. New York: Continuum. p. 133\. ISBN 978-0-8264-1726-8.
28. ^ Kahn, Douglas (2001). Noise, water, meat: a history of sound in the arts (1st MIT Press paperback ed.). Cambridge, Massachusetts London, England: The MIT Press. ISBN 978-0-262-61172-5.
29. ^ Allen S. Weiss, Phantasmic Radio (Durham, North Carolina: Duke University Press, 1995), p. 90.
30. ^ Ctheory.net Archived 2007-03-13 at the Wayback Machine Paul Hegarty, "Full With Noise: Theory and Japanese Noise Music", in Life in the Wires, edited by Arthur Kroker and Marilouise Kroker, 86–98 (Victoria, Canada: NWP CTheory Books, 2004).
31. ^ "About Noise and NPC". www.nonoise.org. Retrieved 2023-12-21.
32. ^ "Noise Generator". Archived from the original on 2000-03-06.
33. ^ white noise in wave(.wav) format[usurped].
34. ^ Hecht, Eugene (2001). Optics (4th ed.). Boston: Pearson Education.[page needed]
35. ^ "Catharsis in Cacophony: The Necessity of a 'Noise Phase'". KQED. 25 May 2017.
36. ^ UBU.com, Torben Sangild, "The Aesthetics of Noise", Datanom, 2002.
37. ^ UBU.com, Steven Mygind Pedersen, Joseph Nechvatal: viral symphOny (Alfred, New York: Institute for Electronic Arts, School of Art & Design, Alfred University, 2007).
38. ^ Observatori A.C. (ed.), Observatori 2008: After The Future (Valencia, Spain: Museo de Bellas Artes de Valencia, 2008), p. 80.
39. ^ Lombardi, Daniele (January 10, 1981). "FUTURISM AND MUSICAL NOTES".
40. ^ Russolo, Luigi. "The Art of Noises". www.unknown.nu. Retrieved 2023-12-21.
41. ^ Sitsky, Larry (2002-12-30). Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook. Bloomsbury Academic. pp. 415–419\. ISBN 978-0-313-29689-5.
42. ^ Paul Hegarty, Noise/Music: A History (London: Continuum International Publishing Group, 2007), pp. 13–14.
43. ^ László Moholy-Nagy in 1923 recognized the unprecedented efforts of the Italian Futurists to broaden our perception of sound using noise. In an article in Der Storm #7, he outlined the fundamentals of his own experimentation: "I have suggested to change the gramophone from a reproductive instrument to a productive one, so that on a record without prior acoustic information, the acoustic information, the acoustic phenomenon itself originates by engraving the necessary Ritchriftreihen (etched grooves)." He presents detailed descriptions for manipulating discs, creating "real sound forms" to train people to be "true music receivers and creators" (Rice 1994,[page needed]).
44. ^ Russolo, Luigi from The Art of Noises, March 1913.
45. ^ Albright, Daniel (ed.) Modernism and Music: An Anthology of Source. Chicago: University Of Chicago Press, 2004. p. 174
46. ^ Chilvers, Ian & Glaves-Smith, John eds., Dictionary of Modern and Contemporary Art, Oxford: Oxford University Press, 2009. pp. 587–588
47. ^ Michel Sanouillet & Elmer Peterson (Eds.), The Writings of Marcel Duchamp, Da Capo Press, p. 135.
48. ^ a b Chadabe 1996, p. 23
49. ^ Callanan, Martin John. "Sonification of You". Archived from the original on 2008-12-05. Retrieved 2020-07-24.
50. ^ Albright, Daniel (ed.) Modernism and Music: An Anthology of Source. Chicago: University Of Chicago Press, 2004. p. 386
51. ^ "About the Ballet Mécanique". Archived from the original on 2015-05-09.
52. ^ Chadabe 1996, pp. 23–24
53. ^ UbuWeb Papers A Brief history of Anti-Records and Conceptual Records by Ron Rice.
54. ^ Chadabe 1996, p. 59
55. ^ Nyman 1974, p. 44
56. ^ Chadabe 1996, p. 58
57. ^ Griffiths 1995, p. 27
58. ^ Chadabe 1996, p. 26
59. ^ Griffiths 1995, p. 20
60. ^ a b c d Doornbusch, Paul. "A Chronology / History of Electronic and Computer Music and Related Events 1906–2011". Archived from the original on 2020-08-18.
61. ^ Henry Cowell, "The Joys of Noise", in Audio Culture: Readings in Modern Music (New York: Continuum, 2004), pp. 22–24.
62. ^ D. Teruggi, "Technology and Musique Concrete: The Technical Developments of the Groupe de Recherches Musicales and Their Implication in Musical Composition", Organised Sound 12, no. 3 (2007): 213–31.
63. ^ Antonin Artaud Pour en finir avec le jugement de dieu, original recording, edited with an introduction by Marc Dachy. Compact Disc (Sub Rosa/aural documents, 1995).
64. ^ Paul Hegarty, Noise/Music: A History, pp. 25–26.
65. ^ "An account and sound recording of The Monotone Symphony performed March 9, 1960". Archived from the original on 2001-02-21.
66. ^ Alex Ross, The Rest Is Noise: Listening to the Twentieth Century(New York: Farrar, Straus and Giroux, 2007), p. 365.
67. ^ Griffiths 1995, p. 25
68. ^ John Cage, Silence: Lectures and Writings (Middletown, Connecticut: Wesleyan University Press, 1961), p. 59.
69. ^ Alex Ross, The Rest Is Noise: Listening to the Twentieth Century (New York: Farrar, Straus and Giroux, 2007), p. 401.
70. ^ "OHM- The Early Gurus of Electronic Music: Edgard Varese's "Poem Electronique"". Perfect Sound Forever. Archived from the original on 2004-06-03. Retrieved 20 October 2009.
71. ^ Albright, Daniel (ed.) Modernism and Music: An Anthology of Source. Chicago: University Of Chicago Press, 2004. p. 185.
72. ^ Charles Mereweather (ed.), Art Anti-Art Non-Art (Los Angeles: Getty Research Institute, 2007), pp. 13 & 16.
73. ^ Spacecraft was recorded in Cologne in 1967 by Bryant, Curran, Rzewski, Teitelbaum and Vandor
74. ^ [1] Liner Notes for Musica Elettronica Viva recording set MEV 40 (1967–2007) 80675-2 (4CDs)
75. ^ Rosalind E. Krauss, The Originality of the Avant Garde and Other Modernist Myths: Sculpture in the Expanded Field (Cambridge, Massachusetts: MIT Press, 1986), pp. 30–44.
76. ^ Joseph Nechvatal & Carlo McCormick essays in TellusTools liner notes (New York: Harvestworks ed., 2001).
77. ^ Rosalind Krauss, "Sculpture in the Expanded Field" Archived 2011-04-09 at the Wayback Machine, October 8 (Spring 1979), pp. 30–44.
78. ^ Olewnick, Brian. "Ammmusic Review by Brian Olewnick". AllMusic. Retrieved 23 August 2022.
79. ^ "Frank Zappa & The Mothers of Invention: The Freak Out Gatefold – Green and Black Music". 2 May 2017. Archived from the original on May 8, 2017. Retrieved 2023-05-05.
80. ^ [2] Warhol Live: Music and Dance in Andy Warhol's Workat the Frist Center for the Visual Arts by Robert Stalker
81. ^ "The Godz Biography, Songs, & Albums". AllMusic.
82. ^ Spitz 2005, p. 601.
83. ^ from Rolling Stone issues # 74 & 75 (21 Jan & 4 Feb, 1971). "John Lennon: The Rolling Stone Interview" by editor Jann Wenner
84. ^ [3] A Plain White Square, and Yet So Fascinating, Allan Kozinn Feb. 22, 2013 NYTimes
85. ^ [4] White Album x 100 on Sound Cloud
86. ^ [5] Helter Skelter! A Record Store that Only Stocks The White Album, February 21, 2013, Hyperallergic
87. ^ "Grateful Dead Family Discography: Seastones". www.deaddisc.com.
88. ^ "The Grateful Dead | Bio, Pictures, Videos | Rolling Stone". Rolling Stone. Archived from the original on 2012-02-10.
89. ^ Seastones was re-released in stereo on CD by Rykodisc in 1991. The CD version includes the original nine-section "Sea Stones" (42:34) from February 1975, and a live, previously unreleased, six-section version (31:05) from December 1975.
90. ^ Atton (2011:326)
91. ^ a b Alan Licht, Common Tones: Selected Interviews with Artists and Musicians 1995-2020, Blank Forms Edition, Interview with Lou Reed, p. 163
92. ^ Lester Bangs, Psychotic Reactions and Carburetor Dung: The Work of a Legendary Critic, Greil Marcus, ed. (1988) Anchor Press, p. 200.
93. ^ Charlie Gere, Art, Time and Technology: Histories of the Disappearing Body, (2005) Berg, p. 110.
94. ^ Alan Licht, Common Tones: Selected Interviews with Artists and Musicians 1995-2020, Blank Forms Edition, Interview with Lou Reed, p. 164
95. ^ Indeed, Reed mentions (and misspells) Young's name on the cover of Metal Machine Music: "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music".
96. ^ Asphodel.com Archived 2008-02-22 at the Wayback Machine Zeitkratzer Lou ReedMetal Machine Music.
97. ^ "Minimalism (music)", Encarta (Accessed 20 October 2009). Archived April 29, 2009, at the Wayback Machine 2009-11-01.
98. ^ Steven Watson, Factory Made: Warhol and the Sixties (2003) Pantheon, New York, p. 157.
99. ^ Watson, Factory Made, p. 103.
100. ^ Cumming, Tim (2001-08-10). "Neu! That's what I call music". The Guardian. ISSN 0261-3077. Retrieved 2023-05-05.
101. ^ "Bureau B". www.bureau-b.com. Retrieved 2023-05-05.
102. ^ Sarig, Roni (1998). The Secret History of Rock: The Most Influential Bands You'Ve Never Heard. Watson-Guptill Publications. p. 125. ISBN 0-8230-7669-5.
103. ^ "Rhys Chatham", Kalvos-Damien website. (Accessed 20 October 2009).
104. ^ Marc Masters, No Wave (London: Black Dog Publishing, 2007), pp. 42–44.
105. ^ Rob Young (ed.), The Wire Primers: A Guide To Modern Music (London: Verso, 2009), p. 43.
106. ^ Marc Masters, No Wave (London: Black Dog Publishing, 2007), pp. 170–71.
107. ^ Pouncey, Edwin (November 2005). "Earth". No. The Wire 261. The Wire. Archived from the original on September 27, 2007.
108. ^ [6] Stephen O’Malley Lecture (New York 2013) | Red Bull Music Academy by Red Bull Music Academy, Publication date 2015-04-17
109. ^ Gehr, Richard (7 November 2014). "The Oral History of the Pop Group: The Noisy Brits Who Were Too Punk for the Punks". Rolling Stone. Retrieved 29 December 2021.
110. ^ Nicolas Ballet, Shock Factory: The Visual Culture of Industrial Music. Intellect Books, pp. 205-209
111. ^ Media.hyperreal.org, Prehistory of Industrial Music 1995 Brian Duguid, esp. chapter "Access to Information".
112. ^ Rob Young (ed.), The Wire Primers: A Guide To Modern Music (London: Verso, 2009), p. 29.
113. ^ a b Media.hyperreal.org, Prehistory of Industrial Music 1995 Brian Duguid, esp. chapter "Organisational Autonomy / Extra-Musical Elements".
114. ^ Hegarty 2007, p. 133
115. ^ Paul Hegarty, "Full With Noise: Theory and Japanese Noise Music" Archived 2007-03-13 at the Wayback Machine, CTheory.net.
116. ^ a b Young, Rob (ed.), The Wire Primers: A Guide To Modern Music (London: Verso, 2009), p. 30.
117. ^ Hegarty (2007:133)
118. ^ Japanoise.net Archived 2012-03-26 at the Wayback Machine, japanoise noisicians profiled at japnoise.net.
119. ^ Nick Cain, "Noise" The Wire Primers: A Guide to Modern Music, Rob Young, ed., London: Verso, 2009, p. 29.

### Sources

[edit]

* Albright, Daniel (ed.) Modernism and Music: An Anthology of Source. Chicago: University Of Chicago Press, 2004.
* Attali, Jacques. Noise: The Political Economy of Music, translated by Brian Massumi, foreword by Fredric Jameson, afterword by Susan McClary. Minneapolis: University of Minnesota Press, 1985.
* Atton, Chris (2011). "Fan Discourse and the Construction of Noise Music as a Genre". Journal of Popular Music Studies, Volume 23, Issue 3, pages 324–42, September 2011.
* Ballet, Nicolas (2025) Shock Factory: The Visual Culture of Industrial Music. Intellect Books
* Bangs, Lester. Psychotic Reactions and Carburetor Dung: The Work of a Legendary Critic, collected writings,edited by Greil Marcus. Anchor Press, 1988.
* Biro, Matthew. The Dada Cyborg: Visions of the New Human in Weimar Berlin. Minneapolis: University of Minnesota Press, 2009.
* Cage, John. Silence: Lectures and Writings. Wesleyan University Press, 1961. Reprinted 1973.
* Cage, John. "The Future of Music: Credo (1937)". In John Cage, Documentary Monographs in Modern Art, edited by Richard Kostelanetz, Praeger Publishers, 1970
* Cahoone, Lawrence. From Modernism to Postmodernism: An Anthology. Cambridge, Mass: Blackwell, 1996.
* Cain, Nick "Noise" in The Wire Primers: A Guide to Modern Music, Rob Young, ed., London: Verso, 2009.
* Cascone, Kim. "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music".Computer Music Journal 24, no. 4 (Winter 2002): 12–18.
* Chadabe, Joel (1996). Electronic Sound: The Past and Promise of Electronic Music. New Jersey: Prentice Hall. p. 370\. ISBN 0-13-303231-0.
* Cowell, Henry. The Joys of Noise in Audio Culture. Readings in Modern Music, edited by Christoph Cox and Dan Warner, pp. 22–24. New York: Continuum, 2004. ISBN 0-8264-1614-4 (hardcover) ISBN 0-8264-1615-2 (pbk)
* Ocean Music[usurped] by De Maria, Walter (1968)][full citation needed]
* Gere, Charles. Art, Time and Technology: Histories of the Disappearing Body. Oxford: Berg Publishers, 2005.
* Griffiths, Paul (1995). Modern Music and After: Directions Since 1945. Oxford: Oxford University Press. p. 373\. ISBN 0-19-816511-0.
* Goodman, Steve. 2009. "Contagious Noise: From Digital Glitches to Audio Viruses". In The Spam Book: On Viruses, Porn and Other Anomalies From the Dark Side of Digital Culture, edited by Jussi Parikka and Tony D. Sampson, 125–40.. Cresskill, New Jersey: Hampton Press.
* Hecht, Eugene. Optics, 4th edition. Boston: Pearson Education, 2001.
* Hegarty, Paul. 2004. "Full with Noise: Theory and Japanese Noise Music". In Life in the Wires, edited by Arthur Kroker and Marilouise Kroker, 86–98. Victoria, Canada: NWPCTheory Books.
* Hegarty, Paul. Noise/Music: A History. London: Continuum International Publishing Group, 2007.
* Piekut, Benjamin. Experimentalism Otherwise: The New York Avant-Garde and Its Limits. Berkeley: University of California Press, 2012.
* Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts. Cambridge: MIT Press, 1999.
* Kahn, Douglas (2012). "James Tenney at Bell Labs". In Hannah Higgins; Douglas Kahn (eds.). Mainframe Experimentalism: Early Digital Computing in the Experimental Arts. Berkeley and Los Angeles: University of California Press. pp. 131–146.
* Kelly, Caleb. Cracked Media: The Sound of Malfunction Cambridge, Ma.: MIT Press, 2009.
* Kemp, Mark. 1992. "She Who Laughs Last: Yoko Ono Reconsidered". Option Magazine (July–August): 74–81.
* Krauss, Rosalind E. 1979\. The Originality of the Avant Garde and Other Modernist Myths. Cambridge: MIT Press. Reprinted as Sculpture in the Expanded Field. Cambridge: MIT Press, 1986.
* LaBelle, Brandon. 2006. Background Noise: Perspectives on Sound Art. New York and London: Continuum International Publishing.
* Landy, Leigh (2007),Understanding the Art of Sound Organization, Cambridge, Massachusetts: MIT Press, xiv, 303p.
* Lewisohn, Mark. 1988. The Beatles Recording Sessions. New York: Harmony Books.
* Lombardi, Daniele. 1981. "Futurism and Musical Notes". Artforum January 1981. FUTURISM AND MUSICAL NOTES
* McCartney, Paul (1995). The Beatles Anthology (DVD). Event occurs at Special Features, Back at Abbey Road May 1995, 0:12:17.
* MacDonald, Ian (2005). Revolution in the Head: The Beatles' Records and the Sixties (Second Revised ed.). London: Pimlico (Rand). ISBN 1-84413-828-3.
* Martin, George (1994). Summer of Love: The Making of Sgt Pepper. MacMillan London Ltd. ISBN 0-333-60398-2.
* Masters, Marc. 2007. No Wave London: Black Dog Publishing.
* Mereweather, Charles (ed.). 2007. Art Anti-Art Non-Art. Los Angeles: Getty Research Institute.
* Miles, Barry (1997). Many Years From Now. Vintage – Random House. ISBN 0-7493-8658-4.
* Nechvatal, Joseph. 2012. Immersion Into Noise. Ann Arbor: Open Humanities Press. ISBN 978-1-60785-241-4.
* Nechvatal, Joseph. 2000. Towards a Sound Ecstatic Electronica. New York: The Thing Post.thing.net
* Nyman, Michael (1974). Experimental Music: Cage and Beyond. London: Studio Vista. p. 196\. ISBN 0-19-816511-0.
* Pedersen, Steven Mygind. 2007. Notes on Joseph Nechvatal: Viral SymphOny. Alfred, New York: Institute for Electronic Arts, School of Art & Design, Alfred University.
* Petrusich, Amanda. "Interview: Lou Reed[usurped] Pitchfork net. (Accessed 13 September 2009)
* Priest, Eldritch. "Music Noise". In his Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure, 128–39. London: Bloomsbury Publishing; New York: Bloomsbury Academic, 2013. ISBN 978-1-4411-2475-3; ISBN 978-1-4411-2213-1 (pbk).
* Rice, Ron. 1994. A Brief History of Anti-Records and Conceptual Records. Unfiled: Music under New Technology 0402 [i.e., vol. 1, no. 2]: [page needed]Republished online, Ubuweb Papers (Accessed 4 December 2009).
* Ross, Alex. 2007. The Rest Is Noise: Listening to the Twentieth Century. New York: Farrar, Straus and Giroux.
* Sangild, Torben. 2002. The Aesthetics of Noise. Copenhagen: Datanom. ISBN 87-988955-0-8. Reprinted at UbuWeb
* Sanouillet, Michel, and Elmer Peterson (eds.). 1989. The Writings of Marcel Duchamp. New York: Da Capo Press.
* Smith, Owen. 1998. Fluxus: The History of an Attitude. San Diego: San Diego State University Press.
* Spitz, Bob (2005). The Beatles: The Biography. New York: Little, Brown and Company. ISBN 1-84513-160-6.
* Tunbridge, Laura. 2011. The Song Cycle. Cambridge and New York: Cambridge University Press. ISBN 0-521-72107-5.
* Watson, Ben. "Noise as Permanent Revolution: or, Why Culture Is a Sow Which Devours Its Own Farrow". In Noise & Capitalism, edited by Anthony and Mattin Iles, 104–20. Kritika Series. Donostia-San Sebastián: Arteleku Audiolab, 2009.
* Watson, Steven. 2003. Factory Made: Warhol and the Sixties. New York: Pantheon.
* Weiss, Allen S. 1995. Phantasmic Radio. Durham NC: Duke University Press.
* Young, Rob (ed.). 2009. The Wire Primers: A Guide To Modern Music. London: Verso.
* Van Nort, Doug. (2006), Noise/music and representation systems, Organised Sound, 11(2), Cambridge University Press, pp 173–178.

## Further reading

[edit]

* Álvarez-Fernández, Miguel. "Dissonance, Sex and Noise: (Re)Building (Hi)Stories of Electroacoustic Music". In ICMC 2005: Free Sound Conference Proceedings. Barcelona: International Computer Music Conference; International Computer Music Association; SuviSoft Oy Ltd., 2005.
* Thomas Bey William Bailey, Unofficial Release: Self-Released And Handmade Audio In Post-Industrial Society, Belsona Books Ltd., 2012
* Barthes, Roland. "Listening". In his The Responsibility of Forms: Critical Essays on Music, Art, and Representation, translated from the French by Richard Howard. New York: Hill and Wang, 1985. ISBN 0-8090-8075-3 Reprinted Berkeley: University of California Press, 1991. ISBN 0-520-07238-3 (pbk.)
* Brassier, Ray. "Genre is Obsolete". Multitudes, no. 28 (Spring 2007) Multitudes.samizdat.net.
* Cobussen, Marcel. "Noise and Ethics: On Evan Parker and Alain Badiou". Culture, Theory & Critique, 46(1) pp. 29–42. 2005.
* Collins, Nicolas (ed.) "Leonardo Music Journal" Vol 13: "Groove, Pit and Wave: Recording, Transmission and Music" 2003.
* Court, Paula. New York Noise: Art and Music from the New York Underground 1978–88. London: Soul Jazz Publishing, in association with Soul Jazz Records, 2007. ISBN 0-9554817-0-8
* DeLone, Leon (ed.), Aspects of Twentieth-Century Music. Englewood Cliffs, New Jersey: Prentice-Hall, 1975.
* Demers, Joanna. Listening Through The Noise. New York: Oxford University Press. 2010.
* Dempsey, Amy. Art in the Modern Era: A Guide to Schools and Movements. New York: Harry A. Abrams, 2002.
* Doss, Erika. Twentieth-Century American Art. Oxford and New York: Oxford University Press, 2002
* Foege, Alec. Confusion Is Next: The Sonic Youth Story. New York: St. Martin's Press, 1994.
* Gere, Charlie. Digital Culture, second edition. London: Reaktion, 2000. ISBN 1-86189-388-4
* Goldberg, RoseLee. Performance: Live Art Since 1960. New York: Harry N. Abrams, 1998.
* Goodman, Steve a.k.a. kode9. Sonic Warfare: Sound, Affect, and the Ecology of Fear. Cambridge, Ma.: MIT Press, 2010.
* Hainge, Greg (ed.). Culture, Theory and Critique 46, no. 1 (Issue on Noise, 2005)
* Harrison, Charles, and Paul Wood. Art in Theory, 1900–2000: An Anthology of Changing Ideas. Oxford: Blackwell Publishing, 1992.
* Harrison, Thomas J. 1910: The Emancipation of Dissonance. Berkeley: University of California Press, 1996.
* Hegarty, Paul The Art of Noise[usurped]. Talk given to Visual Arts Society at University College Cork, 2005.
* Hegarty, Paul. Noise/Music: A History. New York, London: Continuum, 2007. ISBN 978-0-8264-1726-8 (cloth); ISBN 978-0-8264-1727-5 (pbk).
* Hensley, Chad. "The Beauty of Noise: An Interview with Masami Akita of Merzbow". In Audio Culture: Readings in Modern Music, edited by C. Cox and Dan Warner, pp. 59–61. New York: Continuum, 2004.
* Helmholtz, Hermann von. On the Sensations of Tone as a Physiological Basis for the Theory of Music, 2nd English edition, translated by Alexander J. Ellis. New York: Longmans & Co. 1885. Reprinted New York: Dover Publications, 1954.
* Hinant, Guy-Marc. "TOHU BOHU: Considerations on the nature of noise, in 78 fragments". In Leonardo Music Journal Vol 13: Groove, Pit and Wave: Recording, Transmission and Music. 2003. pp. 43–47
* Huyssen, Andreas. Twilight Memories: Marking Time in a Culture of Amnesia. New York: Routledge, 1995.
* Iles, Anthony & Mattin (eds) Noise & Capitalism. Donostia-San Sebastián: Arteleku Audiolab (Kritika series). 2009.
* Juno, Andrea, and Vivian Vale (eds.). Industrial Culture Handbook. RE/Search 6/7. San Francisco: RE/Search Publications, 1983. ISBN 0-940642-07-7
* Kahn, Douglas, and Gregory Whitehead (eds.). Wireless Imagination: Sound, Radio and the Avant-Garde. Cambridge, Ma.: MIT Press, 1992.
* Kocur, Zoya, and Simon Leung. Theory in Contemporary Art Since 1985. Boston: Blackwell Publishing, 2005.
* LaBelle, Brandon. Noise Aesthetics in Background Noise: Perspectives on Sound Art, New York and London: Continuum International Publishing, pp 222–225. 2006.
* Lander, Dan. Sound by Artists. Toronto: Art Metropole, 1990.
* Licht, Alan. Sound Art: Beyond Music, between Categories. New York: Rizzoli, 2007.
* Lombardi, Daniele. Futurism and Musical Notes, translated by Meg Shore. Artforum U B U W E B :: Futurism and Musical Notes Writings By D.L.
* Malaspina, Cecile. Introduction by Brassier, Ray. An Epistemology of Noise. Bloomsbury Academic. 2018.
* Malpas, Simon. The Postmodern. New York: Routledge, 2005.
* McGowan, John P. Postmodernism and Its Critics. Ithaca: Cornell University Press, 1991.
* Miller, Paul D. [a.k.a. DJ Spooky] (ed.). Sound Unbound: Sampling Digital Music and Culture. Cambridge, Ma.: MIT Press, 2008.
* Morgan, Robert P. "A New Musical Reality: Futurism, Modernism, and 'The Art of Noises'", Modernism/Modernity 1, no. 3 (September 1994): 129–51. Reprinted at UbuWeb.
* Moore, Thurston. Mix Tape: The Art of Cassette Culture. Seattle: Universe, 2004.
* Nechvatal, Joseph. Immersion Into Noise. Open Humanities Press in conjunction with the University of Michigan Library's Scholarly Publishing Office. Ann Arbor. 2011.
* David Novak, Japanoise: Music at the Edge of Circulation, Duke University Press. 2013
* Nyman, Michael. Experimental Music: Cage and Beyond, 2nd edition. Music in the Twentieth Century. Cambridge and New York: Cambridge University Press, 1999.ISBN 0-521-65297-9 (cloth) ISBN 0-521-65383-5 (pbk)
* Pratella, Francesco Balilla. "Manifesto of Futurist Musicians" from Apollonio, Umbro, ed. Documents of 20th-century Art: Futurist Manifestos. Brain, Robert, R.W. Flint, J.C. Higgitt, and Caroline Tisdall, trans. New York: Viking Press, pp. 31–38. 1973.
* Popper, Frank. From Technological to Virtual Art. Cambridge: MIT Press/Leonardo Books, 2007.
* Popper, Frank. Art of the Electronic Age. New York: Harry N. Abrams; London: Thames & Hudson, 1993. ISBN 0-8109-1928-1 (New York); ISBN 0-8109-1930-3 (New York); ISBN 0-500-23650-X (London); Paperback reprint, New York: Thames & Hudson, 1997. ISBN 0-500-27918-7.
* Ruhrberg, Karl, Manfred Schneckenburger, Christiane Fricke, and Ingo F. Walther. Art of the 20th Century. Cologne and London: Taschen, 2000. ISBN 3-8228-5907-9
* Russolo, Luigi. The Art of Noises. New York: Pendragon, 1986.
* Samson, Jim. Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920. New York: W. W. Norton & Company, 1977.
* Schaeffer, Pierre. "Solfege de l'objet sonore". Le Solfège de l'Objet Sonore (Music Theory of the Sound Object), a sound recording that accompanied Traité des Objets Musicaux (Treatise on Musical Objects) by Pierre Schaeffer, was issued by ORTF (French Broadcasting Authority) as a long-playing record in 1967.
* Schafer, R. Murray. The Soundscape Rochester, Vt: Destiny Books, 1993. ISBN 978-0-89281-455-8
* Sheppard, Richard. Modernism-Dada-Postmodernism. Chicago: Northwestern University Press, 2000.
* Steiner, Wendy. Venus in Exile: The Rejection of Beauty in 20th-Century Art. New York: The Free Press, 2001.
* Stuart, Caleb. "Damaged Sound: Glitching and Skipping Compact Discs in the Audio of Yasunao Tone, Nicolas Collins and Oval" In Leonardo Music Journal Vol 13: Groove, Pit and Wave: Recording, Transmission and Music. 2003. pp. 47–52
* Tenney, James. A History of "Consonance" and "Dissonance". White Plains, New York: Excelsior; New York: Gordon and Breach, 1988.
* Thompson, Emily. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933. Cambridge, Ma.: MIT Press, 2002.
* Voegelin, Salome. Listening to Noise and Silence: Towards a Philosophy of Sound Art. London: Continuum. 2010. Chapter 2 Noise, pp. 41–76.
* Woods, Michael. Art of the Western World. Mandaluyong: Summit Books, 1989.
* Woodward, Brett (ed.). Merzbook: The Pleasuredome of Noise. Melbourne and Cologne: Extreme, 1999.
* Young, Rob (ed.) Undercurrents: The Hidden Wiring of Modern Music. London: Continuum Books. 2002.

## External links

[edit]

Wikimedia Commons has media related to Noise music.

* Noise generator to explore different types of noise
* PNF-library.org, Free Noise Manifesto
* Torben Sangild: "The Aesthetics of Noise"

* v
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Futurism

Italian Futurists|

* Giacomo Balla (list of works)
* "Barbara"
* Umberto Boccioni
* Anton Bragaglia
* Benedetta Cappa
* Carlo Carrà
* Franco Casavola
* Nikolay Diulgheroff
* Luigi De Giudici
* F. T. Marinetti
* Marisa Mori
* Bruno Munari
* Aldo Palazzeschi
* Ugo Piatti
* Francesco Balilla Pratella
* Antonio Russolo
* Luigi Russolo
* Antonio Sant'Elia
* Gino Severini
* Ardengo Soffici

Ego-Futurists|

* Graal Arelsky
* Vasilisk Gnedov
* Boris Gusman
* Georgy Ivanov
* Igor Severyanin
* Dmitri Kryuchkov
* Konstantin Olimpov
* Rurik Ivnev
* Pavel Shirokov

Russian Futurists and
Cubo-Futurists|

* Alexander Archipenko
* Nikolai Aseev
* Vladimir Baranoff-Rossine
* Lilya Brik
* Osip Brik
* Alexander Bogomazov
* Kseniya Boguslavskaya
* David Burliuk
* Vladimir Burliuk
* Joseph Chaikov
* Aleksandra Ekster
* Nina Genke-Meller
* Natalia Goncharova
* Elena Guro
* Vasily Kamensky
* Velimir Khlebnikov
* Ivan Kliun
* Aleksei Kruchyonykh
* Nikolai Kulbin
* Mikhail Larionov
* Aristarkh Lentulov
* El Lissitzky
* Benedikt Livshits
* Kazimir Malevich
* Mikhail Matyushin
* Vladimir Mayakovsky
* Boris Pasternak
* Victor Palmov
* Lyubov Popova
* Ivan Puni
* Olga Rozanova
* Vadim Shershenevich
* Nadezhda Udaltsova
* Ilia Zdanevich (Iliazd)

Aeropittura|

* Giacomo Balla
* "Barbara"
* Benedetta Cappa
* Giuseppe Caselli
* Tullio Crali
* Fortunato Depero
* Gerardo Dottori
* Fillìa
* Sante Monachesi
* Marisa Mori
* Enrico Prampolini

Other Futurists|

* Alice Bailly
* Mina Loy
* Almada Negreiros
* C. R. W. Nevinson
* Emilio Pettoruti
* Valentine de Saint-Point
* Jules Schmalzigaug
* Mykhaylo Semenko
* Amadeo de Souza-Cardoso
* Frances Simpson Stevens
* Mary Swanzy
* Růžena Zátková

Techniques, sub-genres
and inventions|

* Anti-neutral suit
* Intonarumori
* Italian futurism in cinema
* Futurist architecture
* Futurist cooking
* Futurist literature
* Futurist music
* Noise music
* Zaum

Selected output|

* Abstract Speed + Sound
* Antigrazioso
* The Art of Noises
* BÏF§ZF+18
* The City Rises
* Cyclist
* Development of a Bottle in Space
* Drama in the Futurists' Cabaret No. 13
* Dyr bul shchyl
* Dynamism of a Car
* Dynamism of a Cyclist
* Dynamism of a Dog on a Leash
* Dynamism of a Human Body: Boxer
* Dynamism of a Soccer Player
* Dynamism of a Speeding Horse + Houses
* Futurist Painting: Technical Manifesto
* The Knifegrinder
* Girl Running on a Balcony
* The Hand of the Violinist
* Lacerba
* Man of Smoke
* Manifesto of Futurism
* Manifesto of Futurist Musicians
* Mercury Passing Before the Sun
* The Poem of the End
* Poesia
* The Street Enters the House
* The Street Light
* Thaïs
* Tango with Cows
* Unique Forms of Continuity in Space
* Universal War
* Victory over the Sun
* Vladimir Mayakovsky
* Zangezi
* Zang Tumb Tumb

Associated people|

* Luisa, Marchesa Casati
* Gabriele D'Annunzio
* Sergei Diaghilev
* Benito Mussolini
* Wyndham Lewis
* Léonide Massine
* Igor Stravinsky

Groups influenced|

* Agitprop
* Agit-train
* Constructivism
* Dadaism
* Donkey's Tail
* Grosvenor School
* Jack of Diamonds
* Neo-Primitivism
* Oberiu
* Panfuturism
* Precisionism
* Rayonism
* Soyuz Molodyozhi
* Suprematism
* Supremus
* Vorticism

See also|

* 0,10 Exhibition
* 5×5=25
* Cubism
* Divisionism
* Estorick Collection of Modern Italian Art
* Le Chahut
* Pointillism
* Primitivism
* Robert René Meyer-Sée
* Russian avant-garde
* Russian Ballet
* Sackville Gallery
* Ukrainian avant-garde
* Verbovka Village Folk Centre
* Zveno (art)

* v
* t
* e

Avant-garde movements

Visual art|

* Abstract expressionism
* Art Nouveau
* Art & Language
* Conceptual art
* Constructivism
* Proto-Cubism
* Cubism
* Functionalism
* Bauhaus
* Grosvenor School
* Devětsil
* Divisionism
* Fauvism
* Impressionism
* Neo-Impressionism
* Post-Impressionism
* Color Field
* Incoherents
* Lyrical Abstraction
* Mail art
* Minimalism
* Mir iskusstva
* Multidimensional art
* Neoplasticism
* De Stijl
* Neue Slowenische Kunst
* Nonconformism
* Nouveau réalisme
* Orphism
* Performance art
* Pop art
* Process art
* Purism
* Rayonism
* Suprematism
* Temporary art
* Vorticism

Literature
and poetry|

* Acmeism
* Angry Penguins
* Asemic writing
* Conceptual poetry
* Cyberpunk
* Ego-Futurism
* Experimental literature
* Flarf poetry
* Hungry generation
* Imaginism
* Imagism
* Language poets
* Neoavanguardia
* Neoteric
* Nouveau roman
* Oberiu
* Oulipo
* Slam poetry
* Ultraísmo
* Visual poetry
* Zaum

Music|

| By style|

* Funk
* Jazz
* Free funk
* Yass
* Pop
* Rock
* Prog
* Punk
* Metal

|

Others|

* Aleatoric music
* Ars nova
* Ars subtilior
* Atonal music
* Electroacoustic music
* Electronic music
* Industrial music
* Experimental pop
* Free jazz
* Free improvisation
* Futurism
* Microtonal music
* Minimal music
* Drone music
* Music theatre
* Musique concrète
* New Complexity
* No wave
* Noise music
* Post-rock
* Rock in Opposition
* Second Viennese School
* Serialism
* Spectral music
* Stochastic music
* Textural music
* Totalism
* Twelve-tone technique

Cinema
and theatre|

* Cinéma pur
* Dogme 95
* Drop Art
* Epic theatre
* Experimental film
* Experimental theatre
* Modernist film
* Poetic realism
* Postdramatic theatre
* Remodernist film
* Structural film
* Theatre of the Absurd
* Theatre of Cruelty

General|

* Constructivism
* Dada
* Expressionism
* Fluxus
* Futurism
* Russian Futurism
* Cubo-Futurism
* Lettrism
* Modernism
* Minimalism
* Postminimalism
* Neo-minimalism
* Neo-Dada
* Neoism
* Postmodernism
* Postmodernist film
* Late modernism
* Primitivism
* Situationist International
* Social realism
* Socialist realism
* Surrealism
* Symbolism
* Russian symbolism

* v
* t
* e

Experimental music

Related contemporary
classical music genres

* Aleatoric
* indeterminacy
* Avant-garde
* Drone
* Electroacoustic
* Acousmatic music
* Tape music
* Minimal
* Musique concrete
* Noise
* Danger

Experimental popular
music genres

| By style|

* Avant-garde jazz
* Avant-garde metal
* Post-metal
* Avant-pop
* Avant-prog
* Avant-punk
* Biomusic
* Deconstructed club
* Experimental pop
* Experimental rock
* krautrock
* math rock
* neo-prog
* no wave
* noise rock
* post-punk
* post-rock
* Intelligent dance music
* Neofolk
* Wave

|

Related|

* Art pop
* Art punk
* Art rock
* Avant-funk
* Ambient
* Drone metal
* Free improvisation
* Free jazz
* Glitch
* Hyperpop
* Industrial
* Progressive jazz
* Punk jazz
* Witch house

Extended techniques|

* 3rd bridge
* Circuit bending
* Frippertronics
* Plunderphonics
* Prepared guitar
* Prepared piano
* Scordatura
* Turntablism

Related concepts|

* Cymatics
* Dada
* Data sonification
* Experimental musical instrument
* Experimental luthier
* Fluxus
* Progressive music
* Sound art
* Sound collage
* Sound installation
* Sound sculpture
* Soundscape
* Electroacoustic improvisation

Events and lists|

* List of experimental music festivals
* List of electronic music festivals
* List of experimental musicians

* v
* t
* e

Electronic-based music styles

Electronic dance music · Electronica

Genres by
decade of origin|

| Early|

* Amplified guitar
* Electric blues
* Hawaiian guitar
* Jùjú
* Rock
* List of rock genres
* Western swing
* Biomusic
* Computer music
* Electroacoustic music
* Acousmatic music
* Musique concrète
* Tape music
* Elektronische Musik
* Live electronics
* Noise
* Sound system (Jamaican)
* Space age pop

|

1960s|

* Ambient
* Drone
* Dub
* Electronic rock
* Jazz-funk
* Krautrock
* New-age music
* Progressive rock
* Psychedelic music
* Psychedelic funk
* Psychedelic rock
* Sampledelia
* Space music
* Space rock

1970s|

* Afro/cosmic music
* Space disco
* Boogie
* Chiptune
* Dancehall
* Electropunk
* Eurodisco
* Hi-NRG
* Industrial
* Industrial rock
* Japanoise
* New wave
* Cold wave
* Dark wave
* Minimal wave
* Post-disco
* Dance-punk
* Dance-rock
* Italo disco
* Reggae fusion
* Synth-pop

1980s|

* Alternative dance
* Baggy
* Ambient pop
* Breakbeat
* Florida breaks
* Contemporary R&B
* New jack swing
* Dark ambient
* Dubtronica
* Electro
* Freestyle
* Electro-industrial
* Electronic body music
* Electropop
* Ethnic electronica
* Funk carioca
* Kuduro
* Kwaito
* Tecnocumbia
* Turbo-folk
* Eurobeat
* Eurodance
* Grebo
* House
* Acid
* Ambient
* Balearic beat
* Chicago
* Deep
* Garage
* Funky
* Italo
* Jersey sound
* Hip house
* Latin
* Tech
* Tribal
* Industrial hip hop
* Industrial metal
* Martial industrial
* Miami bass
* New beat
* Power electronics
* Ragga
* Sophisti-pop
* Synth-metal
* Techno
* Acid techno
* Bleep techno
* Detroit techno
* Tracker music

1990s|

* Ambient dub
* Ambient techno
* Asian underground
* Baltimore club
* Bhangragga
* Big beat
* Bitpop
* Breakbeat hardcore
* Darkcore
* Happy hardcore
* Toytown techno
* Broken beat
* Changa tuki
* Chopped and screwed
* Dark electro
* Denpa song
* Digital hardcore
* Disco polo
* Diva house
* Hardbag
* Downtempo
* Bristol sound
* Psybient
* Trip hop
* Drum and bass
* Heavy
* Darkstep
* Hardstep
* Neurofunk
* Techstep
* Jungle
* Ragga jungle
* Light
* Atmospheric
* Intelligent
* Jazzstep
* Liquid funk
* Dub techno
* Dungeon synth
* Electroclash
* Folktronica
* French house
* Nu disco
* Funkot
* Futurepop
* Ghetto house
* Footwork
* Ghettotech
* Glitch
* Hardcore
* Belgian techno
* Bouncy techno
* Breakcore
* Free tekno
* Frenchcore
* Gabber
* Hardstyle
* Lento violento
* J-core
* Mákina
* Speedcore
* Harsh noise wall
* Illbient
* Indietronica
* Industrial techno
* Intelligent dance music
* Drill 'n' bass
* Kidandali
* Livetronica
* Merenhouse
* Microhouse
* Minimal techno
* Schaffel
* Nu jazz
* Electro swing
* Nu metal
* Nu skool breaks
* Post-rock
* Power noise
* Progressive house
* Psydub
* Reggaeton
* Dembow
* Trance
* Acid
* Balearic
* Dream
* Goa
* Hands Up
* Hard
* Progressive
* Psy
* Tech
* Uplifting
* Vocal
* UK garage
* 2-step
* Breakstep
* Speed garage
* UK hard house
* Hardbass
* Hard NRG

2000s|

* Afrobeats
* Bassline
* Budots
* Christian electronic dance music
* Cloud rap
* Coupé-décalé
* Crunk
* Crunkcore
* Dancehall pop
* Dubstep
* Reggaestep
* Electro house
* Complextro
* Dutch house
* Fidget house
* Electronicore
* Future garage
* Grime
* Grindie
* Hauntology
* Hypnagogic pop
* Chillwave
* Glo-fi
* Jersey club
* Juke house
* Jumpstyle
* Mainstream hardcore
* Nightcore
* Nintendocore
* Nortec
* Phonk
* Post-punk revival
* New rave
* Rabòday
* Reductionism
* Lowercase
* Onkyokei
* Russ music
* Sambass
* Shangaan electro
* Skweee
* Synthwave
* Sovietwave
* Tecno brega
* Trival
* UK bass
* UK funky
* Funkstep
* Vocaloid music
* Witch house
* Wonky
* Wonky pop

2010s|

* Afroswing
* Algorave
* Amapiano
* Azonto
* Big room house
* Black MIDI
* Brazilian bass
* Bro-country
* Deconstructed club
* Dreampunk
* Funktronica
* Future bass
* Kawaii future bass
* Future house
* Future soul
* Hyperpop
* Gqom
* Jungle terror
* Lofi hip hop
* Mahraganat
* Melbourne bounce
* Moombahton
* Moombahcore
* Moombahsoul
* Mumble rap
* Outsider house
* Plugg
* Post-dubstep
* Brostep
* Riddim
* Rara tech
* Seapunk
* Shamstep
* EDM trap
* Tropical house
* Vaporwave
* Hardvapour
* Mallsoft
* Slowed and reverb
* Wave
* Hardwave
* Weird SoundCloud

2020s|

* Drift phonk
* Hyperpop microgenres
* Plugg microgenres
* Rage
* Lowend
* Jerk
* Sigilkore

Other topics|

| Culture|

* Beat drop
* Club drug
* Disc jockey
* DJ mix
* Sound system
* Turntablism
* Mashup
* Microgenre
* Nightclub
* Rave
* Acid house party
* Circuit party
* Doof
* EDM festival
* Free party
* Teknival
* Remix
* Sampling
* Plunderphonics
* Rare groove
* Riddim
* Street dance
* House dance
* Rave dance

|

Genres|

* Bass music
* Celtic fusion
* Chill-out music
* Lounge music
* Disco
* Doujin music
* Lo-fi music
* Madchester
* Progressive electronica
* Rave music
* Reggae
* Sound collage
* Video game music
* Adaptive music

Tools|

* Bass
* Data sonification
* Digital audio workstation
* Drum break
* List
* Electronic musical instrument
* Drum machine
* Sampler
* Synthesizer
* Electronics in rock music
* MIDI
* Music technology (electronic and digital)
* Recording studio as an instrument

* v
* t
* e

Futurism and noise music

People|

* George Antheil
* Alexander Mosolov
* Leo Ornstein
* Francesco Balilla Pratella
* Antonio Russolo
* Luigi Russolo

Techniques|

* Intonarumori

Compositions|

* Ballet Mécanique

Other|

* The Art of Noises
* Manifesto of Futurist Musicians
* Modernism (music)

* v
* t
* e

Modernist music

List of modernist composers

Composers|

| Europe|

* Austria
* Berg
* Krenek
* Mahler
* Schoenberg
* Webern
* Belgium
* Pousseur
* Czechia
* Hába
* France
* Debussy
* Henry
* Jolivet
* Koechlin
* Messiaen
* Milhaud
* Poulenc
* Varèse
* Germany
* Reger
* Strauss
* Greece
* Skalkottas
* Hungary
* Bartók
* Poland
* Szymanowski
* Russia
* Prokofiev
* Scriabin
* Stravinsky

|

Americas|

* United States
* Antheil
* Babbitt
* Carter
* Cowell
* Ives

Genres and
techniques

* Atonality
* Experimental
* Expressionism
* Futurism
* Microtonal
* Modes of limited transposition
* Neotonality
* New Complexity
* New Objectivity
* Noise
* Pandiatonicism
* Polyrhythms
* Polytonality
* Post-romanticism
* Process
* Quartal and quintal harmony
* Serialism
* Sound mass
* Spectral
* Stochastic
* Surrealism
* Tone cluster
* Twelve-tone technique

Schools of composition|

* Second Viennese School
* Darmstadt School

← Romantic music

* Category
* Portal

Authority control databases

National|

* United States
* Latvia
* Israel

Other|

* Yale LUX

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