Hostname: page-component-745bb68f8f-g4j75 Total loading time: 0 Render date: 2025-01-19T00:14:35.337Z Has data issue: false hasContentIssue false
  • English
  • Français

International Perspectives on the Historic Intersections of Electroacoustic Music and the Radio Medium

Published online by Cambridge University Press:  30 June 2014

Colin Black
Colin Black*
Affiliation:
The International Radio Art (and Creative Audio for Trans-media) Research Group (IRARG), PO Box 92, Seaforth, NSW, 2092, Australia
*
E-mail: [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

Radio studios including Club d'Essai de la Radiodiffusion–Television Française (Paris), Studio für Elektronische Musik (Cologne), BBC Radiophonic Workshop (London) and others have historically played a key role in the development of international approaches to electroacoustic music. Nevertheless few publications explore the pre-musique-concrète sound-based experimental works of the 1920s and 1930s arising from activities undertaken at radio studios, or the dimensions, properties, implications and impact of the radio medium itself. This article explores the impact of the radio medium on creative practice and argues that radio art is not inherently a subset of sonic art, as it may first appear when nuanced from electroacoustic music practice, but can be viewed as its own art form with idiosyncratic international standpoints and transdisciplinary properties. In addition to a historical discussion, this article offers an insight into the potential for radio art practice to cross-pollinate with music practice and explore new creative territory and hybrid working modalities.

Type
Articles
Information
Organised Sound , Volume 19 , Special Issue 2: The Sound of Cultures , August 2014 , pp. 182 - 191
Copyright
Copyright © Cambridge University Press 2014 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

ABC Classic FM. n.d. Australian Music: Classic/Amp: In The Head The Fire (1966) Australian Broadcasting Corporation, http://www.abc.net.au/classic/australianmusic/stories/s2937532.htm (accessed 27 February 2012).Google Scholar
Andreessen, M. n.d. Mosaic: The First Global Web Browser, Livinginternet.com, http://www.livinginternet.com/w/wi_mosaic.htm (accessed 3 April 2012).Google Scholar
ARTE Radio, n.d. ENGLISH, ARTE Radio, http://www.arteradio.com/static/6/int_english (accessed 31 July 2012).Google Scholar
Ascott, R. 1990. Beyond Time-Based Art: ESP, PDP & PU. New Observations 76: 18–20.Google Scholar
Crook, T. 1999. Radio Drama: Theory and Practice. London and New York: Routledge.Google Scholar
Crook, T. 2012. The Sound Handbook. Abingdon and New York: Routledge.Google Scholar
Cory, M. 1992. Soundplay: The Polyphonous Tradition of German Radio Art. In D Kahn and G Whitehead (eds.), Wireless Imagination: Sound, Radio, and the Avant-Garde. Cambridge, MA: The MIT Press, 1992.Google Scholar
Dyson, F. 1992. The Ears That Would Hear Sounds in Themselves: John Cage 1935–1965. In D. Kahn and G. Whitehead (eds.), Wireless Imagination: Sound, Radio, and the Avant-Garde. Cambridge, MA: The MIT Press, 1992.Google Scholar
Emmerson, S. 1986. The Language of Electroacoustic Music. London: Macmillan.CrossRefGoogle Scholar
Emmerson, S., Smalley, D. n.d. Electro-Acoustic Music. In Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/08695 (accessed 8 November 2011).Google Scholar
Freire, S. 2003. Early Musical Impressions from Both Sides of the Loudspeaker. Leonardo Music Journal 13 (2003).CrossRefGoogle Scholar
Gibbs, T. 2007. The Fundamentals of Sonic Art & Sound Design. Lausanne and London: AVA Academia.Google Scholar
Gilfillan, D. 2008. Networked Radio Space and Broadcast Simultaneity. In E. Zimmermann, H. Grundmann, R. Braun, D. Daniels, A. Hirsch and A. Thurmann-Jajes (eds.), Re-Inventing Radio: Aspects of Radio as Art. Frankfurt am Main: Revolver, 2008.Google Scholar
Gilfillan, D. 2009. Pieces of Sound: German Experimental Radio. Minneapolis: University of Minnesota Press, 2009.Google Scholar
Gorman, L., McLean, D. 2003. Media and Society in the Twentieth Century: A Historical Introduction. Malden, MA, and Oxford: Blackwell Publishing.Google Scholar
Grundmann, H. 1994. The Geometry of Silence. In D. Augaitis and D. Lander (eds.), Radio Rethink: Art, Sound and Transmission. Banff: Walter Phillips Gallery.Google Scholar
Grundmann, H. 2007. Beyond Broadcasting: The WIENCOUVER Series. In Erik G. Jensen and B. LaBelle (eds.), Radio Territories. Los Angeles and Copenhagen: Errant Bodies Press.Google Scholar
Holmes, T. 2002. Electronic and Experimental Music: Pioneers in Technology and Composition, 2nd ed. London: Routledge.Google Scholar
Huwiler, E. 2005. Storytelling by Sound: A Theoretical Frame for Radio Drama Analysis. The Radio Journal: International Studies in Broadcast and Audio Media 3(1).Google Scholar
Jessop, J. 1998. Radio As Music: Glenn Gould in Conversation with John Jessop (1971) in The School of Sound conference, London, 16–19 April.Google Scholar
Knilli, F. 1961. Das Hörspiel: Mittel und Möglichkeiten eines totalen Schallspieles (Stuttgart, 1961).Google Scholar
Kunstradio , n.d. Toward a Definition of Radio Art, http://www.kunstradio.at/TEXTS/manifesto.html (accessed 3 April 2012).Google Scholar
LaBelle, B. 2006. Background Noise: Perspectives on Sound Art. New York: Continuum.Google Scholar
Landy, L. 2007. Understanding the Art of Sound Organisation. Cambridge, MA: The MIT Press.CrossRefGoogle Scholar
Licht, A. 2007. Sound Art: Beyond Music, Between Categories. New York: Rizzoli.Google Scholar
Marinetti, F., Masnata, P. n.d. La Radia (1933), Kunstradio, http://www.kunstradio.at/THEORIE/theorymain.html (accessed 8 November 2011).Google Scholar
McLuhan, M., Fiore, Q., Agel, J. 1967. The Medium Is the Massage. Harmondsworth: Penguin.Google Scholar
McWhinnie, D. 1957. Private Dreams and Public Nightmares. Radio Times, 4 October.Google Scholar
McWhinnie, D. 1959. The Art of Radio. London: Faber and Faber.Google Scholar
Media Art Net. n.d. WDR Studio Akustische Kunst [WDR Studio Acoustic Art], http://www.medienkunstnetz.de/works/wdr-studio/http://www.medienkunstnetz.de/works/wdr-studio (accessed 13 November 2011).Google Scholar
Niebur, L. 2010. Special Sound: The Creation and Legacy of the BBC Radiophonic Workshop. New York and Oxford: Oxford University Press.CrossRefGoogle Scholar
Oxford Dictionaries. n.d. Radiophonic, http://www.oxforddictionaries.com/definition/english/radiophonic (accessed 16 January 2014).Google Scholar
Pacifica Radio Archives, n.d. History of Pacifica, http://pacificaradioarchives.org/pacifica/timeline.html (accessed 15 February 2012).Google Scholar
Pauli, H. 1971. Für wen komponieren Sie eigentlich?. Frankfurt am Main: Fischer.Google Scholar
Rataj, M. 2010. Electroacoustic Music and Selected Concepts of Radio Art. Saarbrucken: PFAU-Verlag.Google Scholar
Richards, D. 2003. The Creative Ear: The ABC's the Listening Room and the Nurturing of Sound Art in Australia. PhD diss., University of Western Sydney.Google Scholar
Richter, H. 1949. Experiments with Celluloid. Penguin Film Review 9.Google Scholar
Russolo, L. 1986. The Art of Noises, trans. Barclay Brown. New York: Pendragon Press.Google Scholar
Tanaka, A. 2002. Prométhée Numérique Frankensteins Netz, 1 March 2002, http://www.ataut.net/site/IMG/pdf/AtauTanaka-PrometheeNumerique-2.pdf (accessed 2 April 2012).Google Scholar
Tanaka, A. 2004. Promethee Numerique – Frankensteins Netz: Hoerspiel for Radio and Internet, DMA diss., Stanford University, 2004.Google Scholar
Warburton, D. 1998. Luc Ferrari Interview by Dan Warburton. Paris Transatlantic Magazine (22 July 1998), http://www.paristransatlantic.com/magazine/interviews/ferrari.html (accessed 22 November 2011).Google Scholar
Weill, K. 1993. Radio and the Restructuring of Musical Life. In N. Strauss and D. Mandl (eds.), Radio Text(E) Semiotext(E) #16. New York: Semiotext(e).Google Scholar
Wennersten, M. 2007. To See With Each Other's Ears: SR c and Ambiguous Radio. In E.G. Jensen and B. LaBelle (eds.), Radio Territories. Los Angeles and Copenhagen: Errant Bodies Press.Google Scholar
Wishart, T. 1985. On Sonic Art. York: Imagineering Press.Google Scholar

Discography

Samuel Beckett Works for Radio, CD disc 1, Samuel Beckett, All That Fall, BBC Radio 1957 broadcast, produced by Donald McWhinnie, British Library Board: NSACD 24 -27, 2006.Google Scholar