Date of Award
Bachelor of Music (Honours)
Western Australian Academy of Performing Arts (WAAPA)
Faculty of Education and Arts
Dr Lindsay Vickery
The term noise as it pertains to music is a subjective one and open to interpretation. What we find is that over 20th century discourse, the term noise has been used as a broad label to encapsulate all musical sound that functions in a way that opposes what would widely be considered 'musical'. While much of the literature covers the categorisation and political theory of noise in music, there is comparatively little literature that analyses musical construction of noise music beyond that of a purely aesthetic or political reaction.
This thesis seeks to explore the world of noise music with reference to musical relationships. Here two noise works are examined, one acoustic - Ligeti's Volumina (1962) - and one electronic - Merzbow's Canaanda (2011) - and an attempt to chart how these works function musically with respect to recognizable musical structures and relationships.
Gillies, S. (2012). Investigating the structure of acoustic and electronic noise : an analysis of 'Volumina' by Gyorgy Ligeti and 'Canaanda' by Merzbow. Retrieved from http://ro.ecu.edu.au/theses_hons/75