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Underwater Music: Tuning Composition to the Sounds of Science

Author(s)
Helmreich, Stefan
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Creative Commons Attribution-Noncommercial-Share Alike http://creativecommons.org/licenses/by-nc-sa/4.0/
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Abstract
This article attempts to audit underwater music. There are two primary venues for underwater music: field settings of the ocean and lab settings of swimming pools. For the field tradition, underwater music emerges from the noise of the Cold War, revealing the songs of whales and harboring evidence of global warming, of sea creatures under stress, etc. For the lab tradition, the pool is a stage to realize the aesthetic of Cagean modernism. It becomes a space to play with meanings of water. While the field setting is “wild” and entangled with nonhuman sounds and the lab setting is more social, cultural, or anthropocentric, artists working in both settings seek to evoke an “immersive” experience. In both settings the transductive properties of water must be managed to invoke water as a material accomplice in this enterprise, this aim of soaking listeners in the sublime surround of sound submerged.
Date issued
2011-12
URI
http://hdl.handle.net/1721.1/114601
Department
Massachusetts Institute of Technology. Anthropology Program; Massachusetts Institute of Technology. Department of Humanities
Journal
The Oxford Handbook of Sound Studies
Publisher
Oxford University Press
Citation
Helmreich, Stefan. “Underwater Music: Tuning Composition to the Sounds of Science.” Oxford Handbooks Online (December 2, 2011).
Version: Original manuscript
ISBN
9780195388947

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