Date of Award

2012

Degree Type

Thesis

Degree Name

Bachelor of Music (Honours)

School

Western Australian Academy of Performing Arts (WAAPA)

Faculty

Faculty of Education and Arts

First Advisor

Dr Lindsay Vickery

Abstract

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.

Included in

Music Theory Commons

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