Sound Sculptures and Sound Installations in the Evolution of Intermedia Art Forms

Sound sculptures and sound installations are genres within the wide field of sound art, with the sound installation in particular playing a key role. The article at hand first gives an overview on the different, not by any means well-defined notions. I then elaborate on historical prototypes and the...

Ausführliche Beschreibung

Gespeichert in:
Bibliographische Detailangaben
Veröffentlicht in:Music in art 2019-03, Vol.44 (1/2), p.239-252
1. Verfasser: Fink, Monika
Format: Artikel
Sprache:eng
Online-Zugang:Volltext
Tags: Tag hinzufügen
Keine Tags, Fügen Sie den ersten Tag hinzu!
container_end_page 252
container_issue 1/2
container_start_page 239
container_title Music in art
container_volume 44
creator Fink, Monika
description Sound sculptures and sound installations are genres within the wide field of sound art, with the sound installation in particular playing a key role. The article at hand first gives an overview on the different, not by any means well-defined notions. I then elaborate on historical prototypes and the development of sound art. Examples created from the 1950s to the 1980s include works by Jean Tinguely (Switzerland), Bernard and François Baschet (France), and Max Henry Neuhaus, Alvin Lucier and Bill Fontana (USA). Following this retrospect, I present contemporary examples, focusing on projects by “bonn hoeren” with works by the Japanese sound artist Akio Suzuki and works by the winners of the only European competition for sound art “sonotopia”, Philipp Hawlitschek (2016) and Nika Schmitt (2018).
format Article
fullrecord <record><control><sourceid>jstor</sourceid><recordid>TN_cdi_jstor_primary_26896098</recordid><sourceformat>XML</sourceformat><sourcesystem>PC</sourcesystem><jstor_id>26896098</jstor_id><sourcerecordid>26896098</sourcerecordid><originalsourceid>FETCH-LOGICAL-j92t-7520282c43984332c00d96291ebce033caddcc76e85f7d133f5be62c197fcfc03</originalsourceid><addsrcrecordid>eNotjNtKAzEYhIMouNQ-gpAXCGT_ZHO4LKXVQkFKe1_SHHCX7KYkWcG3t1Xn5mM-hnlADbRCE82VekRN2wEQyQV_RstSBnoLp8CFatDhmObJ4aOd47XO2Rds7vVX7qZSTYym9mkquJ9w_fR485XifDc4hdui-jx61xu8yhVvUx7LC3oKJha__OcCnbab0_qd7D_eduvVngwaKpEdUFBgOdOKMwaWUqcF6NZfrKeMWeOctVJ41QXpWsZCd_ECbKtlsMFStkCvf7dDqSmfr7kfTf4-g1BaUK3YDxKBSrU</addsrcrecordid><sourcetype>Publisher</sourcetype><iscdi>true</iscdi><recordtype>article</recordtype></control><display><type>article</type><title>Sound Sculptures and Sound Installations in the Evolution of Intermedia Art Forms</title><source>JSTOR</source><creator>Fink, Monika</creator><creatorcontrib>Fink, Monika</creatorcontrib><description>Sound sculptures and sound installations are genres within the wide field of sound art, with the sound installation in particular playing a key role. The article at hand first gives an overview on the different, not by any means well-defined notions. I then elaborate on historical prototypes and the development of sound art. Examples created from the 1950s to the 1980s include works by Jean Tinguely (Switzerland), Bernard and François Baschet (France), and Max Henry Neuhaus, Alvin Lucier and Bill Fontana (USA). Following this retrospect, I present contemporary examples, focusing on projects by “bonn hoeren” with works by the Japanese sound artist Akio Suzuki and works by the winners of the only European competition for sound art “sonotopia”, Philipp Hawlitschek (2016) and Nika Schmitt (2018).</description><identifier>ISSN: 1522-7464</identifier><identifier>EISSN: 2169-9488</identifier><language>eng</language><publisher>Research Center for Music Iconography, The Graduate Center, City University of New York</publisher><ispartof>Music in art, 2019-03, Vol.44 (1/2), p.239-252</ispartof><rights>2019 Research Center for Music Iconography CUNY</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktopdf>$$Uhttps://www.jstor.org/stable/pdf/26896098$$EPDF$$P50$$Gjstor$$H</linktopdf><linktohtml>$$Uhttps://www.jstor.org/stable/26896098$$EHTML$$P50$$Gjstor$$H</linktohtml><link.rule.ids>314,776,780,799,57992,58225</link.rule.ids></links><search><creatorcontrib>Fink, Monika</creatorcontrib><title>Sound Sculptures and Sound Installations in the Evolution of Intermedia Art Forms</title><title>Music in art</title><description>Sound sculptures and sound installations are genres within the wide field of sound art, with the sound installation in particular playing a key role. The article at hand first gives an overview on the different, not by any means well-defined notions. I then elaborate on historical prototypes and the development of sound art. Examples created from the 1950s to the 1980s include works by Jean Tinguely (Switzerland), Bernard and François Baschet (France), and Max Henry Neuhaus, Alvin Lucier and Bill Fontana (USA). Following this retrospect, I present contemporary examples, focusing on projects by “bonn hoeren” with works by the Japanese sound artist Akio Suzuki and works by the winners of the only European competition for sound art “sonotopia”, Philipp Hawlitschek (2016) and Nika Schmitt (2018).</description><issn>1522-7464</issn><issn>2169-9488</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2019</creationdate><recordtype>article</recordtype><sourceid/><recordid>eNotjNtKAzEYhIMouNQ-gpAXCGT_ZHO4LKXVQkFKe1_SHHCX7KYkWcG3t1Xn5mM-hnlADbRCE82VekRN2wEQyQV_RstSBnoLp8CFatDhmObJ4aOd47XO2Rds7vVX7qZSTYym9mkquJ9w_fR485XifDc4hdui-jx61xu8yhVvUx7LC3oKJha__OcCnbab0_qd7D_eduvVngwaKpEdUFBgOdOKMwaWUqcF6NZfrKeMWeOctVJ41QXpWsZCd_ECbKtlsMFStkCvf7dDqSmfr7kfTf4-g1BaUK3YDxKBSrU</recordid><startdate>20190301</startdate><enddate>20190301</enddate><creator>Fink, Monika</creator><general>Research Center for Music Iconography, The Graduate Center, City University of New York</general><scope/></search><sort><creationdate>20190301</creationdate><title>Sound Sculptures and Sound Installations in the Evolution of Intermedia Art Forms</title><author>Fink, Monika</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-LOGICAL-j92t-7520282c43984332c00d96291ebce033caddcc76e85f7d133f5be62c197fcfc03</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2019</creationdate><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>Fink, Monika</creatorcontrib><jtitle>Music in art</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Fink, Monika</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>Sound Sculptures and Sound Installations in the Evolution of Intermedia Art Forms</atitle><jtitle>Music in art</jtitle><date>2019-03-01</date><risdate>2019</risdate><volume>44</volume><issue>1/2</issue><spage>239</spage><epage>252</epage><pages>239-252</pages><issn>1522-7464</issn><eissn>2169-9488</eissn><abstract>Sound sculptures and sound installations are genres within the wide field of sound art, with the sound installation in particular playing a key role. The article at hand first gives an overview on the different, not by any means well-defined notions. I then elaborate on historical prototypes and the development of sound art. Examples created from the 1950s to the 1980s include works by Jean Tinguely (Switzerland), Bernard and François Baschet (France), and Max Henry Neuhaus, Alvin Lucier and Bill Fontana (USA). Following this retrospect, I present contemporary examples, focusing on projects by “bonn hoeren” with works by the Japanese sound artist Akio Suzuki and works by the winners of the only European competition for sound art “sonotopia”, Philipp Hawlitschek (2016) and Nika Schmitt (2018).</abstract><pub>Research Center for Music Iconography, The Graduate Center, City University of New York</pub><tpages>14</tpages></addata></record>
fulltext fulltext
identifier ISSN: 1522-7464
ispartof Music in art, 2019-03, Vol.44 (1/2), p.239-252
issn 1522-7464
2169-9488
language eng
recordid cdi_jstor_primary_26896098
source JSTOR
title Sound Sculptures and Sound Installations in the Evolution of Intermedia Art Forms
url https://sfx.bib-bvb.de/sfx_tum?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2025-02-11T22%3A41%3A54IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-jstor&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=Sound%20Sculptures%20and%20Sound%20Installations%20in%20the%20Evolution%20of%20Intermedia%20Art%20Forms&rft.jtitle=Music%20in%20art&rft.au=Fink,%20Monika&rft.date=2019-03-01&rft.volume=44&rft.issue=1/2&rft.spage=239&rft.epage=252&rft.pages=239-252&rft.issn=1522-7464&rft.eissn=2169-9488&rft_id=info:doi/&rft_dat=%3Cjstor%3E26896098%3C/jstor%3E%3Curl%3E%3C/url%3E&disable_directlink=true&sfx.directlink=off&sfx.report_link=0&rft_id=info:oai/&rft_id=info:pmid/&rft_jstor_id=26896098&rfr_iscdi=true