Editing Noise music

{{Short description|Music genre}}
{{Redirect|Noise (music)|the general occurrence of noise in music|Noise in music}}
{{Infobox music genre
| name              = Noise music
| image             = 
| stylistic_origins = {{hlist|[[Modernism (music)|Modernism]]|[[electronic music|electronic]]|[[Futurism (music)|Futurism]]|[[Dada]]|[[Musique concrète]]}}
| cultural_origins  = 1910s, Italy
| derivatives       = {{hlist|[[Dark ambient]]|[[industrial music|industrial]]|[[no wave]]|[[outsider house]]|[[danger music]]}}
| subgenres         = {{hlist|[[Power electronics (music)|Power electronics]]|[[harsh noise wall]]}}
| fusiongenres      = {{hlist|[[Glitch (music)|Glitch]]|[[noise pop]]||[[noise rock]]|[[power noise]]|}}
| regional_scenes   = {{hlist|[[Japanoise|Japan]]|[[Italy]]<ref>{{Cite web|url=https://www.thejakartapost.com/life/2018/11/16/samarinda-noise-music-makes-waves.html|title=Samarinda noise music makes waves|website=The Jakarta Post|date=16 November 2018|access-date=18 January 2021}}</ref><ref>{{Cite web|url=https://www.thejakartapost.com/life/2019/08/23/musician-collective-to-talk-about-noise.html|title=Musician collective to talk about noise|website=The Jakarta Post|date=23 August 2019|access-date=18 January 2021}}</ref><ref>{{Cite web|url=https://www.vice.com/en/article/indonesias-insane-noise-scene/|title=A Look into Indonesia's Insane Noise Scene|website=Vice|date=21 July 2015|access-date=18 January 2021}}</ref>}}
| local_scenes      = 
| other_topics      = {{hlist|[[Ambient music]]|[[avant-garde music]]|[[electroacoustic music]]|[[experimental music]]|[[extratone]]|[[found sound]]|[[Fluxus]]|[[free improvisation]]|[[Indeterminacy in music|indeterminacy]]|[[list of noise musicians]]|[[lo-fi]]|[[microsound]]|[[musique concrète]]|[[noise in music]]|[[performance art]]|[[sound sculpture]]|[[Surrealism]]}}
}}

'''Noise music''' is a genre of music that is characterised by the expressive use of [[noise]]. This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound.<ref>Priest, Eldritch. "Music Noise" in ''Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure'', p. 132. London: Bloomsbury Publishing; New York: Bloomsbury Academic, 2013.</ref> Noise music includes a wide range of [[music genre|musical styles]] and [[sound art|sound-based]] creative practices that feature noise as a primary [[aspect of music|aspect]].

Noise music can feature acoustically or electronically generated noise, and both traditional and unconventional musical instruments. It may incorporate live machine sounds, non-musical [[Vocals#Vocal technique|vocal techniques]], physically manipulated audio media, [[Sound effect|processed sound]] recordings, [[field recording]], [[Computer music|computer-generated]] noise, [[stochastic process]], and other randomly produced electronic signals such as [[Distortion (music)|distortion]], [[Audio feedback|feedback]], [[Noise (radio)|static]], hiss and hum. There may also be emphasis on high volume levels and lengthy, continuous pieces. More generally noise music may contain aspects such as [[improvisation]], [[extended technique]], [[Phonaesthetics|cacophony]] and [[Indeterminacy (music)|indeterminacy]]. In many instances, conventional use of melody, harmony, rhythm or pulse is dispensed with.<ref>Chris Atton, "Fan Discourse and the Construction of Noise Music as a Genre", ''Journal of Popular Music Studies'' 23, no. 3 (September 2011): 324–42. Citation on 326.</ref><ref>Torben Sangild, ''[http://www.ubu.com/papers/noise.html The Aesthetics of Noise]'' (Copenhagen: Datanom, 2002):{{Page needed|date=January 2013}}. {{ISBN|87-988955-0-8}}. Reprinted at [[UbuWeb]].</ref><ref>Paul Hegarty, ''Noise/Music: A History'' (London: Continuum International Publishing Group, 2007): 3–19.</ref><ref>Caleb Kelly, ''Cracked Media: The Sound of Malfunction'' (Cambridge, Ma.: [[MIT Press]], 2009): 60–76.</ref>

The [[Futurism|Futurist]] art movement (with most notably [[Luigi Russolo]]'s [[Intonarumori]] and [[The Art of Noises|''L'Arte dei Rumori'' (''The Art of Noises'')]] manifesto) was important for the development of the noise aesthetic, as was the [[Dada]] art movement (a prime example being the ''Antisymphony'' concert performed on April 30, 1919, in Berlin).<ref>Matthew Biro, ''The Dada Cyborg: Visions of the New Human in Weimar Berlin'', 2009, p. 50.</ref><ref>Documents at The International Dada archive at The University of Iowa show that ''Antisymphonie'' was held at the Graphisches Kabinett, Kurfürstendamm 232, at 7:45 PM. The printed program lists five numbers: "Proclamation dada 1919" by Huelsenbeck, "Simultan-Gedicht" performed by seven people, "Bruitistisches Gedicht" performed by Huelsenbeck (these latter two pieces grouped together under the category "DADA-machine"), "Seelenautomobil" by Hausmann, and finally, [[Yefim Golyshev|Golyscheff]]'s Antisymphonie in 3 movements, subtitled "Musikalische Kriegsguillotine". The three movements of Golyscheff's piece are titled "provokatorische Spritze", "chaotische Mundhöhle oder das submarine Flugzeug", and "zusammenklappbares Hyper-fis-chendur".</ref> In the 1920s, the French composer [[Edgard Varèse]], when [[New York Dada]] associated via [[Marcel Duchamp]] and [[Francis Picabia]]'s magazine [[391 (magazine)|''391'']], conceived of the elements of his music in terms of [[Sound mass|sound-masses]]; writing in the first half of the 1920s, ''Offrandes'', ''Hyperprism'', ''[[Octandre]]'', and ''[[Intégrales]]''.<ref>{{cite journal|author=[[Chou Wen-chung]]|date=April 1966b|title=Varèse: A Sketch of the Man and His Music|journal=[[The Musical Quarterly]]|volume=52|number=2|pages=151–170|jstor=741034}}</ref>{{sfn|Ouellette|1973|p=50}} Varèse thought that "to stubbornly conditioned ears, anything new in music has always been called [[Noise in music|noise]]", and he posed the question: "what is music but organized noises?"{{sfn|Varèse|1966|p=11–19}}

[[Pierre Schaeffer]]'s ''[[musique concrète]]'' 1948 compositions ''[[Cinq études de bruits]]'' (''Five Noise Studies''), that began with {{Lang|fr|Etude aux Chemins de Fer}} (''Railway Study'') are key to this history.<ref name="Alex Ross 2007 p. 369">Alex Ross, ''The Rest Is Noise: Listening to the Twentieth Century'' (New York: Farrar, Straus and Giroux, 2007), p. 369.</ref> {{Lang|fr|Etude aux Chemins de Fer}} consisted of a set of recordings made at the train station Gare des Batignolles in Paris that included six steam locomotives whistling and trains accelerating and moving over the tracks. The piece was derived entirely from recorded noise sounds that were not musical, thus a realization of Russolo's conviction that noise could be an acceptable source of music. ''[[Cinq études de bruits]]'' premiered via a radio broadcast on October 5, 1948, called {{Lang|fr|Concert de bruits}} (''Noise Concert'').<ref name="Alex Ross 2007 p. 369"/>

Later in the 1960s, the [[Fluxus]] art movement played an important role, specifically the Fluxus artists [[Joe Jones (Fluxus artist)|Joe Jones]], [[Yasunao Tone]], [[George Brecht]], [[Robert Watts (artist)|Robert Watts]], [[Wolf Vostell]], [[Dieter Roth]], [[Yoko Ono]], [[Nam June Paik]], [[Walter De Maria]]'s ''Ocean Music'', [[Milan Knížák]]'s ''Broken Music Composition'', early [[La Monte Young]], [[Takehisa Kosugi]],<ref>Owen Smith, ''Fluxus: The History of an Attitude'' (San Diego: San Diego State University Press, 1998), pp. 7 & 82.</ref> and the ''Analog #1 (Noise Study)'' (1961) by Fluxus-related composer [[James Tenney]].{{sfn|Kahn|2012|pp=131–146}}<ref name="''Analog '' (1968)">{{Cite web |last=Wannamaker |first=Robert |title=UI Press {{!}} Robert Wannamaker {{!}} The Music of James Tenney |url=https://www.press.uillinois.edu/books/?id=c043673 |access-date=2023-12-21 |website=www.press.uillinois.edu |pages=68–76 |language=en}}</ref>

Contemporary noise music is often associated with extreme volume and distortion.<ref>Piekut, Benjamin. ''Experimentalism Otherwise: The New York Avant-Garde and Its Limits''. 2012. p. 193</ref> Notable genres that exploit such techniques include [[noise rock]] and [[no wave]], [[industrial music]], [[Japanoise]], and [[postdigital]] music such as [[glitch (music)|glitch]].<ref>Paul Hegarty, ''Noise/Music: A History'' (London: Continuum International Publishing Group, 2007), pp. 189–92.</ref><ref>[[Caleb Kelly (curator)|Caleb Kelly]], ''Cracked Media: The Sound of Malfunction'' (Cambridge, Massachusetts: MIT Press, 2009), pp. 6–10.</ref> In the domain of [[experimental rock]], examples include [[Lou Reed]]'s ''[[Metal Machine Music]]'' and [[Sonic Youth]].<ref>{{Cite web |title=Pitchfork: Interviews: Lou Reed |website=[[Pitchfork (website)|Pitchfork]] |date=17 September 2007 |url=http://pitchfork.com/features/interviews/6690-lou-reed/|archive-url=https://web.archive.org/web/20110823033630/http://pitchfork.com/features/interviews/6690-lou-reed/ |archive-date=2011-08-23 }}</ref> Other notable examples of composers and bands that feature noise based materials include works by [[Iannis Xenakis]], [[Karlheinz Stockhausen]], [[Helmut Lachenmann]], [[Cornelius Cardew]], [[Theatre of Eternal Music]], [[Glenn Branca]], [[Rhys Chatham]], [[Ryoji Ikeda]], [[Survival Research Laboratories]], [[Whitehouse (band)|Whitehouse]], [[Coil (band)|Coil]], [[Merzbow]], [[Cabaret Voltaire (band)|Cabaret Voltaire]], [[Psychic TV]], [[Jean Tinguely]]'s recordings of his [[sound sculpture]] (specifically ''Bascule VII''), the music of [[Hermann Nitsch]]'s ''Orgien Mysterien Theater'', and [[La Monte Young]]'s bowed gong works from the late 1960s.<ref>Such as ''23 VIII 64 2:50:45 – 3:11 am The Volga Delta From Studies In The Bowed Disc'' from ''The Black Record (1969)''</ref>

==Definitions==
According to Danish noise and music theorist Torben Sangild, one single definition of noise in music is not possible. Sangild instead provides three basic definitions of noise: a [[musical acoustics]] definition, a second communicative definition based on [[distortion]] or disturbance of a communicative signal, and a third definition based in [[subjectivity]] (what is noise to one person can be meaningful to another; what was considered unpleasant sound yesterday is not today).<ref>Sangild, Torben, ''The Aesthetics of Noise''. Copenhagen: Datanom, 2002. pp.&nbsp;12–13</ref>

According to [[Murray Schafer]] there are four types of noise: unwanted noise, unmusical sound, any loud sound, and a disturbance in any signaling system (such as static on a telephone).<ref>Schafer 1994:182</ref> Definitions regarding what is considered noise, relative to music, have changed over time.<ref>Joseph Nechvatal, ''Immersion Into Noise'' (Ann Arbor: Open Humanities Press, 2012), p. 19.</ref> [[Ben Watson (music writer)|Ben Watson]], in his article ''Noise as Permanent Revolution'', points out that [[Ludwig van Beethoven]]'s ''Grosse Fuge'' (1825) "sounded like noise" to his audience at the time. Indeed, Beethoven's publishers persuaded him to remove it from its original setting as the last movement of a string quartet. He did so, replacing it with a sparkling ''Allegro''. They subsequently published it separately.<ref>Watson 2009, 109–10.</ref>

In attempting to define noise music and its value, Paul Hegarty (2007) cites the work of noted cultural critics [[Jean Baudrillard]], [[Georges Bataille]] and [[Theodor Adorno]] and through their work traces the history of "noise". He defines noise at different times as "intrusive, unwanted", "lacking skill, not being appropriate" and "a threatening emptiness". He traces these trends starting with 18th-century concert hall music. Hegarty contends that it is [[John Cage]]'s composition ''[[4'33"]]'', in which an audience sits through four and a half minutes of "silence" (Cage 1973), that represents the beginning of noise music proper. For Hegarty, "noise music", as with ''4'33"'', is that music made up of incidental sounds that represent perfectly the tension between "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music from [[Erik Satie]] to [[Boyd Rice|NON]] to [[Glenn Branca]]. Writing about [[Japanese noise music]], Hegarty suggests that "it is not a genre, but it is also a genre that is multiple, and characterized by this very multiplicity&nbsp;... Japanese noise music can come in all styles, referring to all other genres&nbsp;... but crucially asks the question of genre—what does it mean to be categorized, categorizable, definable?" (Hegarty 2007:133).

Writer [[Douglas Kahn]], in his work ''Noise, Water, Meat: A History of Sound in the Arts'' (1999), discusses the use of noise as a medium and explores the ideas of [[Antonin Artaud]], [[George Brecht]], [[William Burroughs]], [[Sergei Eisenstein]], [[Fluxus]], [[Allan Kaprow]], [[Michael McClure]], [[Yoko Ono]], [[Jackson Pollock]], [[Luigi Russolo]], and [[Dziga Vertov]].

In ''[[Noise: The Political Economy of Music]]'' (1985), [[Jacques Attali]] explores the relationship between noise music and the future of society by considering noise music as not merely reflective of, but importantly pre-figurative of social transformations. He indicates that noise in music is a predictor of social change and demonstrates how noise acts as the [[subconscious]] of society—validating and testing new social and political realities.<ref>Allen S. Weiss, ''Phantasmic Radio'' (Durham, North Carolina: Duke University Press, 1995), p. 90.</ref> His alternative view of the standard history of music, with his emphasis on noise, theorized culture in a way that influenced many noise music theoretical studies to follow, such as [[Brandon LaBelle]]'s ''Background Noise: Perspectives on Sound Art'' (2006), [[Alan Licht]]'s ''Sound Art: Beyond Music, between Categories'' (2007), Thomas Bey William Bailey's ''Micro Bionic: Radical Electronic Music and Sound Art in the 21st Century'' (2009), [[Caleb Kelly (curator)|Caleb Kelly]]'s ''Cracked Media: The Sound of Malfunction'' (2009), [[Joseph Nechvatal]]'s ''Immersion Into Noise'' (2011), and Mark Delaere's ''Noise as a Constructive Element in Music Theoretical and Music-Analytical Perspectives'' (2022).

==Characteristics==
Like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in [[aesthetic]] and imaginative ways.<ref>[http://www.ctheory.net/articles.aspx?id=314 Ctheory.net] {{Webarchive|url=https://web.archive.org/web/20070313140453/http://www.ctheory.net/articles.aspx?id=314 |date=2007-03-13 }} Paul Hegarty, "Full With Noise: Theory and Japanese Noise Music", in ''Life in the Wires'', edited by Arthur Kroker and Marilouise Kroker, 86–98 (Victoria, Canada: NWP [[CTheory]] Books, 2004).</ref>
{{Listen
| filename    = Whitenoisesound.ogg
| title       = White noise
| description = 10 second sample of white noise.
| format      = [[Ogg]]}}

In common use, the word [[noise]] means unwanted sound or [[noise pollution]].<ref>{{Cite web |title=About Noise and NPC |url=https://www.nonoise.org/aboutno.htm |access-date=2023-12-21 |website=www.nonoise.org}}</ref>
In electronics noise can refer to the electronic signal corresponding to acoustic noise (in an audio system) or the electronic signal corresponding to the (visual) noise commonly seen as 'snow' on a degraded television or video image.<ref>{{Cite web |title=Noise Generator |url=http://socrates.berkeley.edu/~phylabs/bsc/Supplementary/NoiseGenerator.html|archive-url=https://web.archive.org/web/20000306123256/http://socrates.berkeley.edu/~phylabs/bsc/Supplementary/NoiseGenerator.html |archive-date=2000-03-06 }}</ref> In signal processing or computing it can be considered data without meaning; that is, data that is not being used to transmit a signal, but is simply produced as an unwanted by-product of other activities. Noise can block, distort, or change the meaning of a message in both human and electronic communication.
[[White noise]] is a random [[signal (electronics)|signal]] (or process) with a flat [[power spectral density]].<ref>{{usurped|1=[https://web.archive.org/web/20220311040500/http://whitenoisemp3s.com/?p=22 white noise in wave(.wav) format]}}.</ref> In other words, the signal contains equal power within a fixed [[Bandwidth (signal processing)|bandwidth]] at any center frequency. White noise is considered analogous to [[Electromagnetic spectrum#Visible radiation .28light.29|white light]] which contains all frequencies.<ref>{{cite book|first=Eugene|last=Hecht|title=Optics|edition=4th|location=Boston|publisher=Pearson Education|year=2001}}{{Page needed|date=September 2009}}</ref><ref>{{cite web |title=Catharsis in Cacophony: The Necessity of a 'Noise Phase' |url=https://www.kqed.org/arts/13297489/catharsis-in-cacophany-the-necessity-of-a-noise-phase |website=KQED |date=25 May 2017 |language=en-us}}</ref>

In much the same way the early [[modernists]] were inspired by [[naïve art]], some contemporary [[digital art]] noise musicians are excited by the archaic audio technologies such as wire-recorders, the [[8-track cartridge]], and [[vinyl record]]s.<ref>[http://www.ubu.com/papers/noise.html UBU.com], Torben Sangild, "The Aesthetics of Noise", Datanom, 2002.</ref> Many artists not only build their own noise-generating devices, but even their own specialized recording equipment and custom [[software]] (for example, the [[C++]] software used in creating the ''[[viral symphOny]]'' by [[Joseph Nechvatal]]).<ref>[http://www.ubu.com/sound/nechvatal.html UBU.com], Steven Mygind Pedersen, [[Joseph Nechvatal]]: ''[[viral symphOny]]'' (Alfred, New York: Institute for Electronic Arts, School of Art & Design, [[Alfred University]], 2007).</ref><ref>Observatori A.C. (ed.), ''Observatori 2008: After The Future'' (Valencia, Spain: Museo de Bellas Artes de Valencia, 2008), p. 80.</ref>

==1910s–1960s==
===Origins===
In "Futurism and Musical Notes", Daniele Lombardi discussed the French composer Carol-Bérard; a pupil of [[Isaac Albéniz]], who composed a ''Symphony of Mechanical Force''s in 1910, wrote on the problems of the instrumentation of noise music, and developed a notation system.<ref>{{Cite web|url=https://www.artforum.com/features/futurism-and-musical-notes-208728/|title=FUTURISM AND MUSICAL NOTES|first=Daniele|last=Lombardi|date=January 10, 1981}}</ref>

[[File:Luigi Russolo ca. 1916.gif|thumb|right|200px|[[Luigi Russolo]] c. 1916]]
In 1913 [[Futurism|Futurist]] artist [[Luigi Russolo]] wrote his manifesto, ''L'Arte dei Rumori'', translated as ''[[The Art of Noises]]'',<ref>{{Cite web |last=Russolo |first=Luigi |author-link=Luigi Russolo |title=The Art of Noises |url=https://www.unknown.nu/futurism/noises.html |access-date=2023-12-21 |website=www.unknown.nu}}</ref> stating that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds. Russolo found traditional melodic music confining and envisioned noise music as its future replacement. He designed and constructed a number of noise-generating devices called ''[[intonarumori]]'' and assembled a noise [[orchestra]] to perform with them. Works entitled ''Risveglio di una città'' (Awakening of a City) and ''Convegno d'aeroplani e d'automobili'' (The Meeting of Aeroplanes and Automobiles) were both performed for the first time in 1914.<ref>{{Cite book |last=Sitsky |first=Larry |url=https://books.google.com/books?id=9-M_jhnOuboC&dq=russolo+riot&pg=PA415 |title=Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook |date=2002-12-30 |publisher=Bloomsbury Academic |isbn=978-0-313-29689-5 |pages=415–419 |language=en}}</ref>

A performance of his ''Gran Concerto Futuristico'' (1917) was met with strong disapproval and violence from the audience, as Russolo himself had predicted. None of his intoning devices have survived, though recently some have been reconstructed and used in performances. Although Russolo's works bear little resemblance to contemporary noise music such as [[Japanoise]], his efforts helped to introduce noise as a musical [[aesthetic]] and broaden the perception of sound as an artistic medium.<ref>Paul Hegarty, ''Noise/Music: A History'' (London: Continuum International Publishing Group, 2007), pp. 13–14.</ref><ref>[[László Moholy-Nagy]] in 1923 recognized the unprecedented efforts of the Italian Futurists to broaden our perception of sound using noise. In an article in ''Der Storm #7'', he outlined the fundamentals of his own experimentation: "I have suggested to change the gramophone from a reproductive instrument to a productive one, so that on a record without prior acoustic information, the acoustic information, the acoustic phenomenon itself originates by engraving the necessary Ritchriftreihen (etched grooves)." He presents detailed descriptions for manipulating discs, creating "real sound forms" to train people to be "true music receivers and creators" ([http://ubu.com/papers/rice.html Rice 1994],{{Page needed|date=December 2009}}<!--Even though a website version is offered, a page reference to the original, paper publication is needed, since it is more permanent and websites tend to vanish without warning.-->).</ref>

{{Blockquote|At first the art of music sought purity, limpidity and sweetness of sound. Then different sounds were amalgamated, care being taken, however, to caress the ear with gentle harmonies. Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to ''noise-sound.''|[[Luigi Russolo]] ''The Art of Noises'' (1913)<ref>[[Luigi Russolo|Russolo, Luigi]] from [http://www.unknown.nu/futurism/noises.html ''The Art of Noises''], March 1913.</ref>}}

[[Antonio Russolo]], Luigi's brother and fellow Italian [[Futurism|Futurist]] composer, produced a recording of two works featuring the original ''intonarumori''. The 1921 made [[phonograph]] with works entitled ''Corale'' and ''Serenata'', combined conventional orchestral music set against the famous noise machines and is the only surviving sound recording.<ref>[[Daniel Albright|Albright, Daniel]] (ed.) ''Modernism and Music: An Anthology of Source''. Chicago: University Of Chicago Press, 2004. p. 174</ref>

An early [[Dada]]-related work from 1916 by [[Marcel Duchamp]] also worked with noise, but in an almost silent way. One of the [[found object]] [[Readymades of Marcel Duchamp]], ''A Bruit Secret'' (With Hidden Noise), was a collaborative work that created a noise instrument that Duchamp accomplished with [[Walter Arensberg]].<ref>Chilvers, Ian & Glaves-Smith, John eds., ''Dictionary of Modern and Contemporary Art'', Oxford: [[Oxford University Press]], 2009. pp.&nbsp;587–588</ref> What rattles inside when ''A Bruit Secret'' is shaken remains a mystery.<ref>[[Michel Sanouillet]] & Elmer Peterson (Eds.), ''The Writings of Marcel Duchamp'', [[Da Capo Press]], p. 135.</ref>

===Found sound===
In the same period the utilisation of [[found sound]] as a musical resource was starting to be explored. An early example is ''Parade'', a performance produced at the Chatelet Theatre, Paris, on May 18, 1917, that was conceived by [[Jean Cocteau]], with design by [[Pablo Picasso]], choreography by [[Leonid Massine]], and music by [[Eric Satie]]. The extra-musical materials used in the production were referred to as ''trompe l'oreille'' sounds by Cocteau and included a [[dynamo]], [[Morse code]] machine, sirens, steam engine, airplane motor, and typewriters.<ref name="Chadabe 1996 p=23">{{harvnb|Chadabe|1996|p=23}}</ref> [[Arseny Avraamov]]'s composition ''Symphony of Factory Sirens'' involved navy ship sirens and whistles, bus and car horns, factory sirens, cannons, foghorns, artillery guns, machine guns, hydro-airplanes, a specially designed steam-whistle machine creating noisy renderings of ''[[Internationale]]'' and ''[[Marseillaise]]'' for a piece conducted by a team using flags and pistols when performed in the city of [[Baku]] in 1922.<ref>{{Cite web |url=http://sonification.eu/avraamov |author-link=Martin John Callanan (artist) |first=Martin John |last=Callanan |title=Sonification of You |access-date=2020-07-24 |archive-date=2008-12-05 |archive-url=https://web.archive.org/web/20081205002508/http://sonification.eu/avraamov |url-status=bot: unknown }}</ref> In 1923, [[Arthur Honegger]] created ''[[Pacific 231]]'', a [[modernist]] musical composition that imitates the sound of a steam locomotive.<ref>[[Daniel Albright|Albright, Daniel]] (ed.) ''Modernism and Music: An Anthology of Source''. Chicago: University Of Chicago Press, 2004. p. 386</ref> Another example is [[Ottorino Respighi]]'s 1924 orchestral piece ''[[Pines of Rome]]'', which included the [[phonographic]] playback of a nightingale recording.<ref name="Chadabe 1996 p=23"/> Also in 1924, [[George Antheil]] created a work titled [[Ballet Mécanique]] with instrumentation that included 16 [[player piano|pianos]], 3 [[propeller|airplane propellers]], and 7 [[electric bell]]s. The work was originally conceived as music for the [[Dada]] film of the same name, by [[Dudley Murphy]] and [[Fernand Léger]], but in 1926 it premiered independently as a concert piece.<ref>{{Cite web |title=About the Ballet Mécanique |url=http://www.antheil.org/balletmec.html |archive-url=https://web.archive.org/web/20150509025902fw_/http://www.antheil.org/balletmec.html |url-status=dead |archive-date=2015-05-09 }}</ref><ref name="Chadabe 1996 pp=23-24">{{harvnb|Chadabe|1996|pp=23–24}}</ref>

In 1930 [[Paul Hindemith]] and [[Ernst Toch]] recycled records to create sound montages and in 1936 [[Edgard Varèse]] experimented with records, playing them backwards, and at varying speeds.<ref>UbuWeb Papers ''A Brief history of Anti-Records and Conceptual Records'' by Ron Rice.</ref> Varese had earlier used sirens to create what he called a "continuous flowing curve" of sound that he could not achieve with acoustic instruments. In 1931, Varese's ''[[Ionisation (Varese)|Ionisation]]'' for 13 players featured 2 sirens, a [[lion's roar (instrument)|lion's roar]], and used 37 percussion instruments to create a repertoire of unpitched sounds making it the first musical work to be organized solely on the basis of noise.<ref name="Chadabe 1996 p=59">{{harvnb|Chadabe|1996|p=59}}</ref><ref name="Nyman 1974 p=44">{{harvnb|Nyman|1974|p=44}}</ref> In remarking on Varese's contributions the American composer [[John Cage]] stated that Varese had "established the present nature of music" and that he had "moved into the field of sound itself while others were still discriminating 'musical tones' from noises".<ref name="Chadabe 1996 p=58">{{harvnb|Chadabe|1996|p=58}}</ref>

In an essay written in 1937, Cage expressed an interest in using extra-musical materials<ref name="Griffiths 1995 p=27">{{harvnb|Griffiths|1995|p=27}}</ref> and came to distinguish between found sounds, which he called noise, and musical sounds, examples of which included: rain, static between radio channels, and "a truck at fifty miles per hour". Essentially, Cage made no distinction, in his view all sounds have the potential to be used creatively. His aim was to capture and control elements of the sonic environment and employ a method of sound organisation, a term borrowed from Varese, to bring meaning to the sound materials.<ref name="Chadabe 1996 p=26">{{harvnb|Chadabe|1996|p=26}}</ref> Cage began in 1939 to create a series of works that explored his stated aims, the first being ''[[Imaginary Landscape|Imaginary Landscape #1]]'' for instruments including two variable speed turntables with frequency recordings.<ref name="Griffiths 1995 p=20">{{harvnb|Griffiths|1995|p=20}}</ref>

In 1961, [[James Tenney]] composed ''Analogue #1: Noise Study'' (for tape) using computer synthesized noise and ''Collage No.1 (Blue Suede)'' (for tape) by sampling and manipulating a famous [[Elvis Presley]] recording.<ref name="doornbusch.net">{{Cite web |first=Paul |last=Doornbusch |title=A Chronology / History of Electronic and Computer Music and Related Events 1906–2011 |url=http://www.doornbusch.net/chronology/|archive-url=https://web.archive.org/web/20200818111237/http://www.doornbusch.net/chronology/ |archive-date=2020-08-18 }}</ref>

===Experimental music===

{{Blockquote|I believe that the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.|[[John Cage]] ''The Future of Music: Credo'' (1937)}}
In 1932, [[Bauhaus]] artists [[László Moholy-Nagy]], [[Oskar Fischinger]] and [[Paul Arma]] experimented with modifying the physical contents of record grooves.<ref name="doornbusch.net"/>

Under the influence of [[Henry Cowell (musician)|Henry Cowell]] in San Francisco in the late 1940s,<ref>[[Henry Cowell (musician)|Henry Cowell]], "The Joys of Noise", in ''Audio Culture: Readings in Modern Music'' (New York: Continuum, 2004), pp. 22–24.</ref> [[Lou Harrison]] and [[John Cage]] began composing music for ''junk'' ([[waste]]) percussion ensembles, scouring junkyards and Chinatown antique shops for appropriately tuned brake drums, flower pots, gongs, and more.

In Europe, during the late 1940s, [[Pierre Schaeffer]] coined the term ''[[musique concrète]]'' to refer to the peculiar nature of sounds on tape, separated from the source that generated them initially.<ref>D. Teruggi, "Technology and Musique Concrete: The Technical Developments of the Groupe de Recherches Musicales and Their Implication in Musical Composition", ''Organised Sound'' 12, no. 3 (2007): 213–31.</ref> Pierre Schaeffer helped form [[Studio d'Essai]] of the [[Radiodiffusion-Télévision Française]] in Paris during World War&nbsp;II. Initially serving the [[French Resistance]], Studio d'Essai became a hub for musical development centered around implementing electronic devices in compositions. It was from this group that musique concrète was developed. A type of [[electroacoustic music]], musique concrète is characterized by its use of recorded sound, electronics, tape, animate and inanimate sound sources, and various manipulation techniques. The first of Schaeffer's ''[[Cinq études de bruits]]'' (''Five Noise Etudes''), called ''Étude aux chemins de fer'' (1948) consisted of transformed locomotive sounds.<ref name="Alex Ross 2007 p. 369"/> The last étude, ''Étude pathétique'' (1948), makes use of sounds recorded from sauce pans and canal boats. ''Cinq études de bruits'' was premiered via a radio broadcast on October 5, 1948, titled ''Concert de bruits''.

Following musique concrète, other modernist [[art music]] composers such as [[Richard Maxfield]], [[Karlheinz Stockhausen]], [[Gottfried Michael Koenig]], [[Pierre Henry]], [[Iannis Xenakis]], [[La Monte Young]], and [[David Tudor]], composed significant electronic, vocal, and instrumental works, sometimes using found sounds.<ref name="doornbusch.net"/> In late 1947, [[Antonin Artaud]] recorded ''{{lang|fr|Pour en Finir avec le Jugement de dieu}}'' (''To Have Done with the Judgment of God''), an audio piece full of the seemingly random cacophony of [[xylophone|xylophonic]] sounds mixed with various [[percussion|percussive]] elements, mixed with the noise of alarming human cries, screams, grunts, [[onomatopoeia]], and [[glossolalia]].<ref>[[Antonin Artaud]] ''{{lang|fr|Pour en finir avec le jugement de dieu}}'', original recording, edited with an introduction by Marc Dachy. Compact Disc (Sub Rosa/aural documents, 1995).</ref><ref>Paul Hegarty, ''Noise/Music: A History'', pp. 25–26.</ref> In 1949, [[Nouveau Réalisme]] artist [[Yves Klein]] wrote ''The Monotone Symphony'' (formally ''The Monotone-Silence Symphony'', conceived 1947–1948), a 40-minute orchestral piece that consisted of a single 20-minute sustained chord (followed by a 20-minute silence)<ref>{{Cite web |url=http://www.artep.net/kam/symphony.html |title=An account and sound recording of ''The Monotone Symphony'' performed March 9, 1960|archive-url=https://web.archive.org/web/20010221151727/http://www.artep.net/kam/symphony.html |archive-date=2001-02-21 }}</ref>—showing how the sound of one [[drone (music)|drone]] could make music. Also in 1949, [[Pierre Boulez]] befriended [[John Cage]], who was visiting Paris to do research on the music of [[Erik Satie]]. John Cage had been pushing music in even more startling directions during the war years, writing for prepared piano, junkyard percussion, and electronic gadgetry.<ref>Alex Ross, ''The Rest Is Noise: Listening to the Twentieth Century''(New York: Farrar, Straus and Giroux, 2007), p. 365.</ref>

In 1951, Cage's ''Imaginary Landscape #4'', a work for twelve radio receivers, was premiered in New York. Performance of the composition necessitated the use of a score that contained indications for various wavelengths, durations, and dynamic levels, all of which had been determined using [[aleatoric music|chance operations]].<ref name="Griffiths 1995 p=25">{{harvnb|Griffiths|1995|p=25}}</ref><ref>[[John Cage]], ''Silence: Lectures and Writings'' (Middletown, Connecticut: Wesleyan University Press, 1961), p. 59.</ref>
A year later in 1952, Cage applied his [[aleatoric]] methods to tape-based composition. Also in 1952, [[Karlheinz Stockhausen]] completed a modest [[musique concrète]] student piece entitled ''Etude''. Cage's work resulted in his famous work ''[[Williams Mix]]'', which was made up of some six hundred tape fragments arranged according to the demands of the ''[[I Ching]]''. Cage's early radical phase reached its height that summer of 1952, when he unveiled the first art "[[happening]]" at [[Black Mountain College]], and ''[[4'33"]]'', the so-called controversial "silent piece". The premiere of ''[[4'33"]]'' was performed by [[David Tudor]]. The audience saw him sit at the piano, and close the lid of the piano. Some time later, without having played any notes, he opened the lid. A while after that, again having played nothing, he closed the lid. And after a period of time, he opened the lid once more and rose from the piano. The piece had passed without a note being played, in fact without Tudor or anyone else on stage having made any deliberate sound, although he timed the lengths on a stopwatch while turning the pages of the score. Only then could the audience recognize what Cage insisted upon: that there is no such thing as silence. Noise is always happening that makes musical sound.<ref>Alex Ross, ''The Rest Is Noise: Listening to the Twentieth Century'' (New York: Farrar, Straus and Giroux, 2007), p. 401.</ref> In 1957, [[Edgard Varèse]] created on tape an extended piece of electronic music using noises created by scraping, thumping and blowing titled ''[[Poème électronique]]''.<ref>{{Cite web|title=OHM- The Early Gurus of Electronic Music: Edgard Varese's "Poem Electronique" |url=http://www.furious.com/perfect/ohm/varese.html |work=Perfect Sound Forever |archive-url=https://web.archive.org/web/20040603210336/http://www.furious.com/perfect/ohm/varese.html |access-date=20 October 2009|archive-date=2004-06-03 }}</ref><ref>[[Daniel Albright|Albright, Daniel]] (ed.) ''Modernism and Music: An Anthology of Source''. Chicago: University Of Chicago Press, 2004. p. 185.</ref>

In 1960, John Cage completed his noise composition ''Cartridge Music'' for phono cartridges with foreign objects replacing the 'stylus' and small sounds amplified by contact microphones. Also in 1960, [[Nam June Paik]] composed ''Fluxusobjekt'' for fixed tape and hand-controlled tape playback head.<ref name="doornbusch.net"/> On May 8, 1960, six young Japanese musicians, including [[Takehisa Kosugi]] and [[Yasunao Tone]], formed the Group Ongaku with two tape recordings of noise music: ''Automatism'' and ''Object''. These recordings made use of a mixture of traditional musical instruments along with a vacuum cleaner, a radio, an oil drum, a doll, and a set of dishes. Moreover, the speed of the tape recording was manipulated, further distorting the sounds being recorded.<ref>Charles Mereweather (ed.), ''Art Anti-Art Non-Art'' (Los Angeles: Getty Research Institute, 2007), pp. 13 & 16.</ref> Canada's [[Nihilist Spasm Band]], the world's longest-running noise act, was formed in 1965 in London, Ontario, and continues to perform and record to this day, having survived to work with many of the newer generation which they themselves had influenced, such as Thurston Moore of [[Sonic Youth]] and Jojo Hiroshige of [[Hijokaidan]]. In 1967, [[Musica Elettronica Viva]], a live acoustic/electronic improvisational group formed in Rome, made a recording titled ''SpaceCraft''<ref>''Spacecraft'' was recorded in Cologne in 1967 by Bryant, Curran, Rzewski, Teitelbaum and Vandor</ref> using contact microphones on such "non-musical" objects as panes of glass and motor oil cans that was recorded at the Akademie der Kunste in Berlin.<ref>[http://www.dramonline.org/albums/mev-40-1967-2007/notes] ''Liner Notes'' for [[Musica Elettronica Viva]] recording set ''MEV 40 (1967–2007)'' 80675-2 (4CDs)</ref> At the end of the sixties, they took part in the collective noise action called ''Lo Zoo'' initiated by the artist [[Michelangelo Pistoletto]].

The [[art critic]] [[Rosalind Krauss]] argued that by 1968 artists such as [[Robert Morris (artist)|Robert Morris]], [[Robert Smithson]], and [[Richard Serra]] had "entered a situation the logical conditions of which can no longer be described as modernist."<ref>[[Rosalind E. Krauss]], ''The Originality of the Avant Garde and Other Modernist Myths: Sculpture in the Expanded Field'' (Cambridge, Massachusetts: MIT Press, 1986), pp. 30–44.</ref> [[Sound art]] found itself in the same condition, but with an added emphasis on [[distribution (business)|distribution]].<ref name="TellusTools' 2001">[[Joseph Nechvatal]] & [[Carlo McCormick]] essays in ''TellusTools'' liner notes (New York: Harvestworks ed., 2001).</ref> Antiform [[process art]] became the terms used to describe this [[postmodern]] [[post-industrial]] culture and the process by which it is made.<ref>Rosalind Krauss, [http://www.situations.org.uk/_uploaded_pdfs/Krauss.pdf "Sculpture in the Expanded Field"] {{Webarchive|url=https://web.archive.org/web/20110409235759/http://www.situations.org.uk/_uploaded_pdfs/Krauss.pdf |date=2011-04-09 }}, ''October'' 8 (Spring 1979), pp. 30–44.</ref> Serious [[art music]] responded to this conjuncture in terms of intense noise, for example the [[La Monte Young]] [[Fluxus]] composition ''89 VI 8 C. 1:42–1:52 AM Paris Encore'' from ''Poem For Chairs, Tables, Benches, Etc.'' Young's composition ''Two Sounds'' (1960) was composed for amplified percussion and window panes and his ''Poem for Tables, Chairs and Benches, Etc.'' (1960) used the sounds of furniture scraping across the floor. [[AllMusic]] assessed 1960s English experimental group [[AMM (band)|AMM]] as originators of [[electronica]], [[free improvisation]] and noise music, writing that "noise bands owe it to themselves to check out their primary source."<ref>{{cite web |last1=Olewnick |first1=Brian |title=Ammmusic Review by Brian Olewnick |url=https://www.allmusic.com/album/ammmusic-mw0000026381 |access-date=23 August 2022 |website=AllMusic}}</ref>

===Popular music===

''[[Freak Out!]]'', the 1966 debut album by [[the Mothers of Invention]] made use of avant-garde [[sound collage]]—particularly the closing track "[[The Return of the Son of Monster Magnet]]".<ref>{{Cite web |title=Frank Zappa & The Mothers of Invention: The Freak Out Gatefold – Green and Black Music |date=2 May 2017 |url=https://greenandblackmusic.com/home/2017/05/02/frank-zappa-the-mothers-of-invention-the-freak-out-gatefold/ |archive-url=https://web.archive.org/web/20170508115215/http://greenandblackmusic.com/home/2017/05/02/frank-zappa-the-mothers-of-invention-the-freak-out-gatefold/ |url-status=usurped |archive-date=May 8, 2017 |access-date=2023-05-05 |language=en-US}}</ref> The same year, art rock group [[the Velvet Underground]] made their first recording while produced by [[Andy Warhol]], a track entitled "Noise".<ref>[http://zoolander52.tripod.com/theartsection5.8/id21.html] Warhol Live: Music and Dance in [[Andy Warhol]]'s Workat the Frist Center for the Visual Arts by Robert Stalker</ref> [[AllMusic]] assessed [[The Godz (New York band)|the Godz]] as an early noise band: "the three squalling bits of [[Avant-garde music|avant-garde]] noise/junk they recorded from 1966–1968.<ref>{{cite web |title=The Godz Biography, Songs, & Albums |url=https://www.allmusic.com/artist/the-godz-mn0000763611/biography |website=[[AllMusic]]}}</ref>

"[[Tomorrow Never Knows]]" is the final track of [[the Beatles]]' 1966 studio album ''[[Revolver (The Beatles album)|Revolver]]''; credited as a [[Lennon–McCartney]] song, it was written primarily by [[John Lennon]] with major contributions to the arrangement by [[Paul McCartney]]. The track included [[Tape loop|looped tape]] effects. For the track, McCartney supplied a bag of {{frac|1|4}}-inch audio tape loops he had made at home after listening to [[Stockhausen]]'s ''[[Gesang der Jünglinge]]''. By disabling the [[Tape head|erase head]] of a tape recorder and then spooling a continuous loop of tape through the machine while recording, the tape would constantly [[overdub]] itself, creating a saturation effect, a technique also used in [[musique concrète]].{{sfn|Spitz|2005|p=601}} The Beatles would continue these efforts with "[[Revolution 9]]", a track produced in 1968 for ''[[The Beatles (album)|The White Album]]''. It made sole use of [[sound collage]], credited to [[Lennon–McCartney]], but created primarily by [[John Lennon]] with assistance from [[George Harrison]] and [[Yoko Ono]].<ref>from ''[[Rolling Stone]]'' issues # 74 & 75 (21 Jan & 4 Feb, 1971). "John Lennon: The Rolling Stone Interview" by editor [[Jann Wenner]]</ref> In 2013, [[post-conceptual]] artist [[Rutherford Chang]] released a double vinyl noise music record, in a limited edition of 800, called ''White Album x 100'' made by layering 100 copies of the [[Beatles]]’ 1968 double LP ''[[The Beatles (album)|The White Album]]'' playing simultaneously.<ref>[https://www.nytimes.com/2013/02/23/arts/design/artists-obsession-with-beatles-white-album-on-display.html] A Plain White Square, and Yet So Fascinating, Allan Kozinn Feb. 22, 2013 NYTimes</ref><ref>[https://soundcloud.com/dustandgrooves/white-album-side-1-x-100] ''White Album x 100'' on Sound Cloud</ref><ref>[https://hyperallergic.com/65570/we-sell-white-albums/] Helter Skelter! A Record Store that Only Stocks the ''[[The Beatles (album)|The White Album]]'', February 21, 2013, [[Hyperallergic]]</ref>

In 1967 the [[Jefferson Airplane]] released a noisy sound collage called ''A Small Package Of Value Will Come To You, Shortly'' on their album ''[[After Bathing at Baxter's]]''. In 1975, [[Ned Lagin]] released an album of electronic noise music full of spacey rumblings and atmospherics filled with burps and bleeps entitled ''[[Seastones]]'' on [[Round Records]].<ref>{{Cite web|url=http://www.deaddisc.com/disc/Seastones.htm|title=Grateful Dead Family Discography: Seastones|website=www.deaddisc.com}}</ref> The album was recorded in [[Quadraphonic sound#SQ .2F Stereo Quadraphonic|stereo quadraphonic]] sound and featured guest performances by members of the [[Grateful Dead]], including [[Jerry Garcia]] playing treated guitar and [[Phil Lesh]] playing electronic [[Alembic Inc|Alembic]] [[Bass guitar|bass]].<ref>{{Cite magazine |title=The Grateful Dead {{!}} Bio, Pictures, Videos {{!}} Rolling Stone |magazine=[[Rolling Stone]] |url=https://www.rollingstone.com/music/artists/the-grateful-dead/biography|archive-url=https://web.archive.org/web/20120210154243/https://www.rollingstone.com/music/artists/the-grateful-dead/biography |archive-date=2012-02-10 }}</ref> [[David Crosby]], [[Grace Slick]] and other members of the [[Jefferson Airplane]] also appear on the album.<ref>''Seastones'' was re-released in stereo on CD by [[Rykodisc]] in 1991. The CD version includes the original nine-section "Sea Stones" (42:34) from February 1975, and a live, previously unreleased, six-section version (31:05) from December 1975.</ref>

==1970s–present==
===Noise rock, no wave, drone metal===
{{Main|Noise rock|No Wave}}
[[Lou Reed]]'s double LP ''[[Metal Machine Music]]'' (1975) is cited as containing the primary characteristics of what would in time become a genre known as noise music.<ref>Atton (2011:326)</ref> The album, recorded on a three speed [[Uher (brand)|Uher machine]] and mastered/engineered by [[Bob Ludwig]],<ref name="Common Tones p. 163">[[Alan Licht]], ''Common Tones: Selected Interviews with Artists and Musicians 1995-2020'', [[Blank Forms]] Edition, ''Interview with Lou Reed'', p. 163</ref> is an early, well-known example of commercial studio noise music that the music critic [[Lester Bangs]] has sarcastically called the "greatest album ever made in the history of the human [[eardrum]]".<ref>Lester Bangs, ''Psychotic Reactions and Carburetor Dung: The Work of a Legendary Critic'', [[Greil Marcus]], ed. (1988) Anchor Press, p. 200.</ref> It has also been cited as one of the "[[List of music considered the worst|worst albums of all time]]".<ref>[[Charlie Gere]], ''Art, Time and Technology: Histories of the Disappearing Body'', (2005) Berg, p. 110.</ref> In 1975, RCA also released a [[Quadrophonic]] version of the ''Metal Machine Music'' recording that was produced by playing the master tape back both forward and backward, and by flipping the tape over.<ref>[[Alan Licht]], ''Common Tones: Selected Interviews with Artists and Musicians 1995-2020'', [[Blank Forms]] Edition, ''Interview with Lou Reed'', p. 164</ref> Reed was well aware of the [[drone music]] of [[La Monte Young]] and cites him as a major influence on ''Metal Machine Music''.<ref name="Common Tones p. 163"/><ref>Indeed, Reed mentions (and misspells) Young's name on the cover of ''Metal Machine Music'': "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music".</ref><ref>[http://www.asphodel.com/releases/view.php?Id=100 Asphodel.com] {{Webarchive|url=https://web.archive.org/web/20080222031632/http://asphodel.com/releases/view.php?Id=100 |date=2008-02-22 }} Zeitkratzer Lou Reed''Metal Machine Music''.</ref> Young's [[Theatre of Eternal Music]] was a proto-[[minimal music]] noise group in the mid-60s with [[John Cale]], [[Marian Zazeela]], [[Henry Flynt]], [[Angus Maclise]], [[Tony Conrad]], and others.<ref>[http://encarta.msn.com/encyclopedia_701610421/Minimalism_(music).html "Minimalism (music)"], ''Encarta'' (Accessed 20 October 2009). {{webarchive |url=https://web.archive.org/web/20090429204058/http://encarta.msn.com/encyclopedia_701610421/Minimalism_(music).html |date=April 29, 2009 }} 2009-11-01.</ref> The Theatre of Eternal Music's discordant sustained notes and loud amplification had influenced Cale's subsequent contribution to [[the Velvet Underground]] in his use of both discordance and feedback.<ref>[[Steven Watson (author)|Steven Watson]], ''Factory Made: Warhol and the Sixties'' (2003) Pantheon, New York, p. 157.</ref> Cale and Conrad have released noise music recordings they made during the mid-sixties, such as Cale's ''Inside the Dream Syndicate'' series (''The Dream Syndicate'' being the alternative name given by Cale and Conrad to their collective work with Young).<ref>Watson, ''Factory Made'', p. 103.</ref> [[Krautrock]] bands such as [[Neu!]]<ref>{{Cite news |last=Cumming |first=Tim |date=2001-08-10 |title=Neu! That's what I call music |language=en-GB |work=The Guardian |url=https://www.theguardian.com/books/2001/aug/11/books.guardianreview1 |access-date=2023-05-05 |issn=0261-3077}}</ref> and [[Faust (band)|Faust]]<ref>{{Cite web |title=Bureau B |url=http://www.bureau-b.com/faust.php |access-date=2023-05-05 |website=www.bureau-b.com}}</ref> would incorporate noise into their compositions. Roni Sarig, author of ''The Secret History of Rock'' called [[Can (band)|Can's]] sophomore album [[Tago Mago]] "as close as it ever got to avant-garde noise music."<ref name="Secret History of Rock">{{cite book |last=Sarig |first=Roni |url=https://archive.org/details/secrethistoryofr00sari/page/125 |title=The Secret History of Rock: The Most Influential Bands You'Ve Never Heard |publisher=Watson-Guptill Publications |year=1998 |isbn=0-8230-7669-5 |page=[https://archive.org/details/secrethistoryofr00sari/page/125 125]}}</ref>

The aptly named [[noise rock]] fuses [[rock music|rock]] to noise, usually with recognizable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of [[atonality]], improvisation, and [[white noise]]. One notable band of this genre is [[Sonic Youth]], who took inspiration from the [[No Wave]] composers [[Glenn Branca]] and [[Rhys Chatham]] (himself a student of [[La Monte Young]]).<ref>[http://kalvos.org/chatham.html "Rhys Chatham"], ''Kalvos-Damien'' website. (Accessed 20 October 2009).</ref> Marc Masters, in his book on the No Wave, points out that aggressively innovative early dark noise groups like [[Mars (band)|Mars]] and [[DNA (American band)|DNA]] drew on [[punk rock]], avant-garde [[minimalism]] and [[performance art]].<ref>Marc Masters, ''No Wave'' (London: Black Dog Publishing, 2007), pp. 42–44.</ref> Important in this noise trajectory are the nine nights of noise music called ''[[Noise Fest]]'' that was organized by [[Thurston Moore]] of [[Sonic Youth]] in the NYC art space [[White Columns]] in June 1981<ref>[[Rob Young (writer)|Rob Young]] (ed.), ''The Wire Primers: A Guide To Modern Music'' (London: Verso, 2009), p. 43.</ref><ref>Marc Masters, ''No Wave'' (London: Black Dog Publishing, 2007), pp. 170–71.</ref> followed by the ''Speed Trials'' [[noise rock]] series organized by [[Live Skull]] members in May 1983.

[[Drone music|Drone rock]] musician [[Dylan Carlson (musician)|Dylan Carlson]] has described La Monte Young's Dream Syndicate as being a major influence on [[Earth (American band)|Earth]]'s 1993 studio album ''[[Earth 2 (album)|Earth 2]]''.<ref name="wire">{{cite news
|url=http://www.thewire.co.uk/web/unpublished/earth.html
|publisher=[[The Wire (magazine)|The Wire]]
|title= Earth
|issue=The Wire 261
|author= Pouncey, Edwin
|date=November 2005
|archive-date=September 27, 2007
|archive-url=https://web.archive.org/web/20070927202130/http://www.thewire.co.uk/web/unpublished/earth.html
|author-link=Savage Pencil
}}</ref> In 2015, [[Stephen O'Malley]] of the [[drone metal]] band [[Sunn O)))]] cites ''[[Earth 2 (album)|Earth 2]]'' and La Monte Young as major influences on his music.<ref>[https://archive.org/details/youtube-m-ZdB7pEvAs] Stephen O’Malley Lecture (New York 2013) | Red Bull Music Academy by Red Bull Music Academy, Publication date 2015-04-17</ref>

===Industrial music===
{{Main|Industrial music}}{{See also|Post-industrial music}}

In the 1970s, the concept of art itself expanded and groups like [[Survival Research Laboratories]], [[Borbetomagus]] and [[Elliott Sharp]] embraced and extended the most dissonant and least approachable aspects of these musical/spatial concepts. Around the same time, the first postmodern wave of industrial noise music appeared with the Pop Group,<ref>{{cite magazine|url=https://www.rollingstone.com/music/music-news/the-oral-history-of-the-pop-group-the-noisy-brits-who-were-too-punk-for-the-punks-53493/|title= The Oral History of the Pop Group: The Noisy Brits Who Were Too Punk for the Punks | first=Richard | last=Gehr |magazine=Rolling Stone|date= 7 November 2014 | access-date=29 December 2021}}</ref> [[Throbbing Gristle]], [[Cabaret Voltaire (band)|Cabaret Voltaire]], and NON (aka [[Boyd Rice]]).<ref>[http://media.hyperreal.org/zines/est/articles/preindex.html Media.hyperreal.org], ''Prehistory of Industrial Music'' 1995 Brian Duguid, esp. chapter "Access to Information".</ref> These [[cassette culture]] releases often featured zany tape editing, stark percussion and repetitive loops distorted to the point where they may degrade into harsh noise.<ref>[[Rob Young (writer)|Rob Young]] (ed.), ''The Wire Primers: A Guide To Modern Music'' (London: Verso, 2009), p. 29.</ref> In the 1970s and 1980s, industrial noise groups like [[Killing Joke]], [[Throbbing Gristle]], Mark Stewart & the Mafia, [[Coil (band)|Coil]], [[Laibach (band)|Laibach]], [[Thee Temple ov Psychick Youth]], [[Smegma (band)|Smegma]], [[Nurse with Wound]] and  [[Einstürzende Neubauten]] performed industrial noise music mixing loud metal percussion, guitars, and unconventional "instruments" (such as jackhammers and bones) in elaborate stage performances. These industrial artists experimented with varying degrees of noise production techniques.<ref name="organisational autonomy / extra-musical elements"/> Interest in the use of [[shortwave radio]] also developed at this time, particularly evident in the recordings and live performances of [[John Duncan (artist)|John Duncan]]. Other [[postmodern]] art movements influential to post-industrial noise art are [[Conceptual Art]] and the [[Neo-Dada]] use of techniques such as [[assemblage (art)|assemblage]], [[photomontage|montage]], [[bricolage]], and [[appropriation (art)|appropriation]]. Bands like [[Test Dept]], [[Clock DVA]], [[Factrix]], [[Autopsia]], [[Nocturnal Emissions]], [[Whitehouse (band)|Whitehouse]], [[Severed Heads]], Sutcliffe Jügend, and [[SPK (band)|SPK]] soon followed.
The sudden post-industrial affordability of home cassette recording technology in the 1970s, combined with the simultaneous influence of [[punk rock]], established the [[No Wave]] aesthetic, and instigated what is commonly referred to as noise music today.<ref name="organisational autonomy / extra-musical elements">[http://media.hyperreal.org/zines/est/articles/preindex.html Media.hyperreal.org], ''Prehistory of Industrial Music'' 1995 Brian Duguid, esp. chapter "Organisational Autonomy / Extra-Musical Elements".</ref>

===Japanese noise music===
{{Main|Japanoise}}
[[File:Masami Akita 5267969.jpg|thumb|right|Merzbow, prominent Japanoise musician, in 2007]]
Since the early 1980s,<ref>Hegarty 2007, p. 133</ref> Japan has produced a significant output of characteristically harsh artists and bands, sometimes referred to as ''[[Japanoise]]'', with names such as [[Government Alpha]], Alienlovers in Amagasaki and Koji Tano, and perhaps the best known being [[Merzbow]] (pseudonym for the Japanese noise artist [[Masami Akita]] who himself was inspired by the [[Dada]] artist [[Kurt Schwitters]]'s ''Merz'' art project of [[psychological]] [[collage]]).<ref>Paul Hegarty, [http://www.ctheory.net/articles.aspx?id=314 "Full With Noise: Theory and Japanese Noise Music"] {{Webarchive|url=https://web.archive.org/web/20070313140453/http://www.ctheory.net/articles.aspx?id=314 |date=2007-03-13 }}, CTheory.net.</ref><ref name="Young 2009. p. 30">[[Rob Young (writer)|Young, Rob]] (ed.), ''The Wire Primers: A Guide To Modern Music'' (London: Verso, 2009), p. 30.</ref> In the late 1970s and early 1980s, Akita took ''Metal Machine Music'' as a point of departure and further abstracted the noise aesthetic by freeing the sound from guitar based feedback alone. According to Hegarty (2007), "in many ways it only makes sense to talk of noise music since the advent of various types of noise produced in Japanese music, and in terms of quantity this is really to do with the 1990s onwards&nbsp;... with the vast growth of Japanese noise, finally, noise music becomes a genre".<ref>Hegarty (2007:133)</ref> Other key Japanese noise artists that contributed to this upsurge of activity include [[Hijokaidan]], [[Boredoms]], [[C.C.C.C. (band)|C.C.C.C.]], [[Incapacitants]], [[KK Null]], [[Yamazaki Maso]]'s [[Masonna]], [[Solmania]], K2, [[the Gerogerigegege]] and [[Hanatarash]].<ref name="Young 2009. p. 30"/><ref>[http://www.japanoise.net/profile/electronics.htm Japanoise.net] {{Webarchive|url=https://web.archive.org/web/20120326005450/http://www.japanoise.net/profile/electronics.htm |date=2012-03-26 }}, japanoise noisicians profiled at japnoise.net.</ref> Nick Cain of ''[[The Wire (magazine)|The Wire]]'' identifies the "primacy of Japanese Noise artists like Merzbow, Hijokaidan and Incapacitants" as one of the major developments in noise music since 1990.<ref>Nick Cain, "Noise" ''The Wire Primers: A Guide to Modern Music'', Rob Young, ed., London: Verso, 2009, p. 29.</ref>

==Compilations==
* ''[[An Anthology of Noise & Electronic Music]] Volumes 1–7'' [[Sub Rosa (label)|Sub Rosa]], Various Artists (1920–2012)
* ''[[Just Another Asshole]]'' #5 (1981) compilation [[Long player|LP]] (CD reissue 1995 on Atavistic #ALP39CD), producers: [[Barbara Ess]] and [[Glenn Branca]]
* ''[[No New York]]'' (1978) [[Antilles Records|Antilles]], (2006) Lilith, B000B63ISE
* ''The Japanese-American Noise Treaty'' (1995) CD, Relapse
* ''[[New York Noise]]'' hour music video television program

==See also==
{{Portal|Music|Classical music}}
<!-- alphabetical order please [[WP:SEEALSO]] -->
<!-- please add a short description [[WP:SEEALSO]], via {{subst:AnnotatedListOfLinks}} or {{Annotated link}} -->
{{div col|colwidth=20em|small=yes}}
* {{Annotated link |Chiptune}}
* {{Annotated link |Circuit bending}}
* {{Annotated link |Colors of noise}}
* {{Annotated link |Dark ambient}}
* {{Annotated link |Death growl}}
* {{Annotated link |Digital hardcore}}
* {{Annotated link |List of noise musicians}}
* {{Annotated link |List of Japanoise artists}}
* {{Annotated link |Lo-fi music}}
* {{Annotated link |Noise in music}}
* {{Annotated link |Post-punk}}
* {{Annotated link |Phonation}}
* {{Annotated link |Screaming (music)}}
* {{Annotated link |Sonic artifact}}
{{div col end}}
<!-- alphabetical order please [[WP:SEEALSO]] -->

==References==
{{Reflist}}

===Sources===
{{Refbegin|30em}}
* [[Daniel Albright|Albright, Daniel]] (ed.) ''Modernism and Music: An Anthology of Source''. Chicago: University Of Chicago Press, 2004.
* [[Jacques Attali|Attali, Jacques]]. ''[[Noise: The Political Economy of Music]]'', translated by [[Brian Massumi]], foreword by [[Fredric Jameson]], afterword by [[Susan McClary]]. Minneapolis: [[University of Minnesota]] Press, 1985.
* Atton, Chris (2011). "Fan Discourse and the Construction of Noise Music as a Genre". ''Journal of Popular Music Studies'', Volume 23, Issue 3, pages 324–42, September 2011.
* [[Lester Bangs|Bangs, Lester]]. ''Psychotic Reactions and Carburetor Dung: The Work of a Legendary Critic'', collected writings,edited by [[Greil Marcus]]. Anchor Press, 1988.
* Biro, Matthew. ''The Dada Cyborg: Visions of the New Human in Weimar Berlin''. Minneapolis: University of Minnesota Press, 2009.
* [[John Cage|Cage, John]]. ''Silence: Lectures and Writings''. [[Wesleyan University]] Press, 1961. Reprinted 1973.
* Cage, John. "[http://www.ele-mental.org/ele_ment/said&did/future_of_music.html The Future of Music: Credo (1937)]". In John Cage, ''Documentary Monographs in Modern Art'', edited by [[Richard Kostelanetz]], Praeger Publishers, 1970
* Cahoone, Lawrence. ''From Modernism to Postmodernism: An Anthology''. Cambridge, Mass: Blackwell, 1996.
* Cain, Nick  "Noise" in ''The Wire Primers: A Guide to Modern Music'', Rob Young, ed., London: Verso, 2009.
* [[Kim Cascone|Cascone, Kim]]. "[http://subsol.c3.hu/subsol_2/contributors3/casconetext.html The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music]".''Computer Music Journal'' 24, no. 4 (Winter 2002): 12–18.
* {{cite book|last=Chadabe|first=Joel|author-link=Joel Chadabe|title=Electronic Sound: The Past and Promise of Electronic Music|publisher=[[Prentice Hall]]|location=New Jersey|pages=370|isbn=0-13-303231-0|year=1996}}
* [[Henry Cowell (musician)|Cowell, Henry]]. ''The Joys of Noise'' in ''Audio Culture. Readings in Modern Music'', edited by Christoph Cox and Dan Warner, pp.&nbsp;22–24. New York: Continuum, 2004. {{ISBN|0-8264-1614-4}} (hardcover) {{ISBN|0-8264-1615-2}} (pbk)
* {{usurped|1=[https://web.archive.org/web/20100922134150/http://ubu.artmob.ca/sound/demaria_walter/drums_and_nature/Demaria-Walter_Ocean-Music_1968.mp3 ''Ocean Music'']}} by [[Walter De Maria|De Maria, Walter]] (1968)]{{Full citation needed|date=March 2014}}<!--Presuming this is a book or a musical score, place, publisher, and year of publication (assuming 1968 is a year of composition, rather than of publication) are needed.-->
* [[Charlie Gere|Gere, Charles]]. ''Art, Time and Technology: Histories of the Disappearing Body''. Oxford: Berg Publishers, 2005.
* {{cite book|last=Griffiths|first=Paul|title=Modern Music and After: Directions Since 1945|publisher=[[Oxford University Press]]|location=Oxford|pages=373|isbn=0-19-816511-0|year=1995}}
* Goodman, Steve. 2009. "Contagious Noise: From Digital Glitches to Audio Viruses". In ''The Spam Book: On Viruses, Porn and Other Anomalies From the Dark Side of Digital Culture'', edited by [[Jussi Parikka]] and Tony D. Sampson, 125–40.. Cresskill, New Jersey: Hampton Press.
* Hecht, Eugene. ''Optics'', 4th edition. Boston: Pearson Education, 2001.
* [[Paul Hegarty (musician)|Hegarty, Paul]]. 2004. "Full with Noise: Theory and Japanese Noise Music". In ''Life in the Wires'', edited by [[Arthur Kroker]] and Marilouise Kroker, 86–98. Victoria, Canada: NWP[[CTheory]] Books.
* [[Paul Hegarty (musician)|Hegarty, Paul]]. ''Noise/Music: A History''. London: Continuum International Publishing Group, 2007.
* Piekut, Benjamin. ''Experimentalism Otherwise: The New York Avant-Garde and Its Limits''. Berkeley: University of California Press, 2012.
*[[Douglas Kahn|Kahn, Douglas]]. ''Noise, Water, Meat: A History of Sound in the Arts''. Cambridge: MIT Press, 1999.
*Kelly, Caleb. ''Cracked Media: The Sound of Malfunction'' Cambridge, Ma.: MIT Press, 2009.
*[[Mark Kemp|Kemp, Mark]]. 1992. "She Who Laughs Last: [[Yoko Ono]] Reconsidered".  ''Option Magazine'' (July–August): 74–81.
*[[Rosalind E. Krauss|Krauss, Rosalind E.]] 1979. ''The Originality of the Avant Garde and Other Modernist Myths''. Cambridge: MIT Press. Reprinted as ''Sculpture in the Expanded Field''. Cambridge: MIT Press, 1986.
*LaBelle, Brandon. 2006. ''Background Noise: Perspectives on Sound Art''. New York and London: Continuum International Publishing.
*Landy, Leigh (2007),''Understanding the Art of Sound Organization'', Cambridge, Massachusetts: MIT Press, xiv, 303p.
*[[Mark Lewisohn|Lewisohn, Mark]]. 1988. ''The Beatles Recording Sessions''. New York: Harmony Books.
*Lombardi, Daniele. 1981. "[http://www.danielelombardi.it/writings/by/Writings_By16.html Futurism and Musical Notes]". ''Artforum'' January 1981. [https://www.artforum.com/print/198101/futurism-and-musical-notes-35751 FUTURISM AND MUSICAL NOTES]
* {{cite video|people=McCartney, Paul|title=The Beatles Anthology|time=Special Features, Back at Abbey Road May 1995, 0:12:17|date=1995|medium=DVD|ref={{SfnRef|McCartney|1995}}}}
* {{cite book|last=MacDonald|first=Ian|year=2005|author-link=Ian MacDonald|title=Revolution in the Head: The Beatles' Records and the Sixties|publisher=Pimlico (Rand)|edition=Second Revised|location=London|isbn=1-84413-828-3}}
* {{cite book|last=Martin|first=George|year=1994|title=Summer of Love: The Making of Sgt Pepper|publisher=MacMillan London Ltd|isbn=0-333-60398-2}}
* Masters, Marc. 2007. ''No Wave'' London: Black Dog Publishing.
* Mereweather, Charles (ed.). 2007. ''Art Anti-Art Non-Art''. Los Angeles: Getty Research Institute.
* {{cite book|last=Miles|first=Barry|year=1997|author-link=Barry Miles|title=[[Many Years From Now]]|publisher=[[Vintage (publisher)|Vintage]] – [[Random House]]|isbn=0-7493-8658-4}}
* [[Joseph Nechvatal|Nechvatal, Joseph]]. 2012. ''[http://openhumanitiespress.org/immersion-into-noise.html Immersion Into Noise]''. Ann Arbor: Open Humanities Press. {{ISBN|978-1-60785-241-4}}.
* [[Joseph Nechvatal|Nechvatal, Joseph]]. 2000. ''Towards a Sound Ecstatic Electronica''. New York: [[The Thing (art project)|The Thing]] [http://post.thing.net/node/1981 Post.thing.net]
* {{cite book|last=Nyman|first=Michael|title=Experimental Music: Cage and Beyond|publisher=Studio Vista|location=London|pages=196|isbn=0-19-816511-0|year=1974}}
* Pedersen, Steven Mygind. 2007. ''[http://www.ubu.com/sound/nechvatal.html Notes] on [[Joseph Nechvatal]]: Viral SymphOny''. Alfred, New York: Institute for Electronic Arts, School of Art & Design, [[Alfred University]].
* Petrusich, Amanda. "{{usurped|1=[https://web.archive.org/web/20090113203757/http://www.pitchforkmedia.com/article/feature/45431-interview-lou-reed Interview: Lou Reed]}} Pitchfork net. (Accessed 13 September 2009)
* Priest, Eldritch. "Music Noise". In his ''Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure'', 128–39. London: Bloomsbury Publishing; New York: Bloomsbury Academic, 2013. {{ISBN|978-1-4411-2475-3}}; {{ISBN|978-1-4411-2213-1}} (pbk).
* Rice, Ron. 1994. ''A Brief History of Anti-Records and Conceptual Records''. ''Unfiled: Music under New Technology'' 0402 [i.e., vol. 1, no. 2]: {{Page needed|date=December 2009}}Republished online, [http://www.ubu.com/papers/rice.html Ubuweb Papers] (Accessed 4 December 2009).
* [[Alex Ross (music critic)|Ross, Alex]]. 2007. ''The Rest Is Noise: Listening to the Twentieth Century''. New York: Farrar, Straus and Giroux.
* Sangild, Torben. 2002. ''[http://www.ubu.com/papers/noise.html The Aesthetics of Noise]''. Copenhagen: Datanom. {{ISBN|87-988955-0-8}}.  Reprinted at [[UbuWeb]]
* [[Michel Sanouillet|Sanouillet, Michel]], and Elmer Peterson (eds.). 1989. ''The Writings of [[Marcel Duchamp]]''. New York: Da Capo Press.
* Smith, Owen. 1998. ''Fluxus: The History of an Attitude''. San Diego: San Diego State University Press.
* {{cite book|last=Spitz|first=Bob|year=2005|title=The Beatles: The Biography|url=https://archive.org/details/beatlesbiography00spit|url-access=registration|publisher=[[Little, Brown and Company]]|location=New York|isbn=1-84513-160-6}}
* [[Laura Tunbridge|Tunbridge, Laura]]. 2011. ''The Song Cycle''. Cambridge and New York: Cambridge University Press. {{ISBN|0-521-72107-5}}.
*[[Ben Watson (music writer)|Watson, Ben]]. "Noise as Permanent Revolution: or, Why Culture Is a Sow Which Devours Its Own Farrow". In ''Noise & Capitalism'', edited by Anthony and Mattin Iles, 104–20. Kritika Series. Donostia-San Sebastián: Arteleku Audiolab, 2009.
*Watson, Steven. 2003. ''Factory Made: Warhol and the Sixties''. New York: Pantheon.
*Weiss, Allen S. 1995. ''Phantasmic Radio''. Durham NC:  Duke University Press.
*[[Rob Young (writer)|Young, Rob]] (ed.). 2009. ''The Wire Primers: A Guide To Modern Music''. London: Verso.
*Van Nort, Doug. (2006), Noise/music and representation systems, ''Organised Sound'', 11(2), Cambridge University Press, pp 173–178.
{{Refend}}

==Further reading==
{{Refbegin|30em}}
* [[Miguel Álvarez-Fernández|Álvarez-Fernández, Miguel]]. "[http://www.hz-journal.org/n9/fernandez.html Dissonance, Sex and Noise: (Re)Building (Hi)Stories of Electroacoustic Music]". In ''ICMC 2005: Free Sound Conference Proceedings''. Barcelona: International Computer Music Conference; International Computer Music Association; SuviSoft Oy Ltd., 2005.
* Thomas Bey William Bailey, ''Unofficial Release: Self-Released And Handmade Audio In Post-Industrial Society'', Belsona Books Ltd., 2012
* [[Roland Barthes|Barthes, Roland]]. "Listening". In his ''The Responsibility of Forms: Critical Essays on Music, Art, and Representation'', translated from the French by Richard Howard. New York: Hill and Wang, 1985. {{ISBN|0-8090-8075-3}} Reprinted Berkeley: University of California Press, 1991. {{ISBN|0-520-07238-3}} (pbk.)
* [[Ray Brassier|Brassier, Ray]]. "Genre is Obsolete". ''Multitudes'', no. 28 (Spring 2007) [http://multitudes.samizdat.net/Genre-is-Obsolete Multitudes.samizdat.net].
* Cobussen, Marcel. "Noise and Ethics: On Evan Parker and Alain Badiou". ''Culture, Theory & Critique'', 46(1) pp.&nbsp;29–42. 2005.
* [[Nicolas Collins|Collins, Nicolas]] (ed.) "Leonardo Music Journal" Vol 13: "Groove, Pit and Wave: Recording, Transmission and Music"  2003.
* Court, Paula. ''New York Noise: Art and Music from the New York Underground 1978–88''. London: Soul Jazz Publishing, in association with Soul Jazz Records, 2007. {{ISBN|0-9554817-0-8}}
* DeLone, Leon  (ed.), ''Aspects of Twentieth-Century Music''. Englewood Cliffs, New Jersey: Prentice-Hall, 1975.
* Demers, Joanna. ''Listening Through The Noise''. New York: Oxford University Press. 2010.
* Dempsey, Amy. Art in the Modern Era: A Guide to Schools and Movements. New York: Harry A. Abrams, 2002.
* [[Erika Doss|Doss, Erika]]. ''Twentieth-Century American Art''. Oxford and New York: Oxford University Press, 2002
* Foege, Alec. ''Confusion Is Next: The Sonic Youth Story''. New York: St. Martin's Press, 1994.
* [[Charlie Gere|Gere, Charlie]]. ''Digital Culture'', second edition. London: Reaktion, 2000. {{ISBN|1-86189-388-4}}
* Goldberg, RoseLee. ''Performance: Live Art Since 1960''. New York: Harry N. Abrams, 1998.
* Goodman, Steve a.k.a. [[kode9]]. ''Sonic Warfare: Sound, Affect, and the Ecology of Fear''. Cambridge, Ma.: MIT Press, 2010.
* Hainge, Greg (ed.). ''Culture, Theory and Critique'' 46, no. 1 (Issue on Noise, 2005)
* Harrison, Charles, and Paul Wood. ''Art in Theory, 1900–2000: An Anthology of Changing Ideas''. Oxford: Blackwell Publishing, 1992.
* Harrison, Thomas J. ''1910: The Emancipation of Dissonance''. Berkeley: University of California Press, 1996.
* Hegarty, Paul {{usurped|1=[https://web.archive.org/web/20180420142805/http://www.dotdotdotmusic.com/hegarty5b.html ''The Art of Noise'']}}. Talk given to Visual Arts Society at [[University College Cork]], 2005.
* Hegarty, Paul. ''Noise/Music: A History''. New York, London: Continuum, 2007. {{ISBN|978-0-8264-1726-8}} (cloth); {{ISBN|978-0-8264-1727-5}} (pbk).
* Hensley, Chad. "The Beauty of Noise: An Interview with Masami Akita of Merzbow". In ''Audio Culture: Readings in Modern Music'', edited by C. Cox and Dan Warner, pp.&nbsp;59–61. New York: Continuum, 2004.
* [[Hermann von Helmholtz|Helmholtz, Hermann von]]. ''On the Sensations of Tone as a Physiological Basis for the Theory of Music'', 2nd English edition, translated by Alexander J. Ellis. New York: Longmans & Co. 1885. Reprinted New York: Dover Publications, 1954.
* Hinant, Guy-Marc. "TOHU BOHU: Considerations on the nature of noise, in 78 fragments". In ''Leonardo Music Journal'' Vol 13: ''Groove, Pit and Wave: Recording, Transmission and Music''. 2003. pp.&nbsp;43–47
* Huyssen, Andreas. ''Twilight Memories: Marking Time in a Culture of Amnesia''. New York: Routledge, 1995.
* Iles, Anthony & Mattin (eds) ''Noise & Capitalism''. Donostia-San Sebastián: Arteleku Audiolab (Kritika series). 2009.
* Juno, Andrea, and Vivian Vale (eds.). ''[[Industrial Culture Handbook]]''. [[RE/Search]] 6/7. San Francisco: RE/Search Publications, 1983. {{ISBN|0-940642-07-7}}
* [[Douglas Kahn|Kahn, Douglas]], and [[Gregory Whitehead]] (eds.). ''Wireless Imagination: Sound, Radio and the Avant-Garde''. Cambridge, Ma.: MIT Press, 1992.
* Kocur, Zoya, and Simon Leung. ''Theory in Contemporary Art Since 1985''. Boston: Blackwell Publishing, 2005.
* LaBelle, Brandon. ''Noise Aesthetics'' in ''Background Noise: Perspectives on Sound Art'', New York and London: Continuum International Publishing, pp 222–225.  2006.
* Lander, Dan. ''Sound by Artists''. Toronto: [[Art Metropole]], 1990.
* [[Alan Licht|Licht, Alan]]. ''Sound Art: Beyond Music, between Categories''. New York: Rizzoli, 2007.
* Lombardi, Daniele. ''Futurism and Musical Notes'', translated by Meg Shore. ''Artforum'' [http://www.ubu.com/papers/lombardi.html U B U W E B :: Futurism and Musical Notes] [http://www.danielelombardi.it/writings/by/Writings_By16.html Writings By D.L.]
* Malaspina, Cecile. Introduction by [[Ray Brassier|Brassier, Ray]]. ''An Epistemology of Noise''. Bloomsbury Academic. 2018.
* Malpas, Simon. ''The Postmodern''. New York: Routledge, 2005.
* McGowan, John P. ''Postmodernism and Its Critics''.  Ithaca: Cornell University Press, 1991.
* Miller, Paul D. [a.k.a. [[DJ Spooky]]] (ed.). ''Sound Unbound: Sampling Digital Music and Culture''. Cambridge, Ma.: MIT Press, 2008.
* Morgan, Robert P. "[http://www.ubu.com/papers/morgan.html#top A New Musical Reality: Futurism, Modernism, and 'The Art of Noises']", ''Modernism/Modernity'' 1, no. 3 (September 1994): 129–51. Reprinted  at ''[[UbuWeb]]''.
* [[Thurston Moore|Moore, Thurston]]. ''Mix Tape: The Art of Cassette Culture''. Seattle: Universe, 2004.
* [[Joseph Nechvatal|Nechvatal, Joseph]]. [http://quod.lib.umich.edu/cgi/t/text/text-idx?c=ohp;idno=9618970.0001.001 ''Immersion Into Noise'']. Open Humanities Press in conjunction with the [[University of Michigan]] Library's Scholarly Publishing Office. Ann Arbor. 2011.
* David Novak, ''[[Japanoise]]: Music at the Edge of Circulation'', Duke University Press. 2013
* [[Michael Nyman|Nyman, Michael]]. ''Experimental Music: Cage and Beyond'', 2nd edition. Music in the Twentieth Century. Cambridge and New York: Cambridge University Press, 1999.{{ISBN|0-521-65297-9}} (cloth) {{ISBN|0-521-65383-5}} (pbk)
* [[Francesco Balilla Pratella|Pratella, Francesco Balilla]]. "[http://www.unknown.nu/futurism/musicians.html Manifesto of Futurist Musicians]" from Apollonio, Umbro, ed. ''Documents of 20th-century Art: Futurist Manifestos''. Brain, Robert, R.W. Flint, J.C. Higgitt, and Caroline Tisdall, trans. New York: Viking Press, pp.&nbsp;31–38. 1973.
* [[Frank Popper|Popper, Frank]]. ''From Technological to Virtual Art''. Cambridge: MIT Press/Leonardo Books, 2007.
* Popper, Frank. ''Art of the Electronic Age''. New York: Harry N. Abrams; London: Thames & Hudson, 1993. {{ISBN|0-8109-1928-1}} (New York); {{ISBN|0-8109-1930-3}} (New York); {{ISBN|0-500-23650-X}} (London); Paperback reprint, New York: Thames & Hudson, 1997. {{ISBN|0-500-27918-7}}.
* Ruhrberg, Karl, Manfred Schneckenburger, Christiane Fricke, and Ingo F. Walther. ''Art of the 20th Century''. Cologne and London: Taschen, 2000. {{ISBN|3-8228-5907-9}}
* [[Luigi Russolo|Russolo, Luigi]]. ''The Art of Noises''. New York: Pendragon, 1986.
* Samson, Jim. ''Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920''. New York: W. W. Norton & Company, 1977.
* [[Pierre Schaeffer|Schaeffer, Pierre]]. "[http://www.ubu.com/papers/schaefer_solfege.pdf Solfege de l'objet sonore]". ''Le Solfège de l'Objet Sonore'' (''Music Theory of the Sound Object''), a sound recording that accompanied ''Traité des Objets Musicaux'' (''Treatise on Musical Objects'') by Pierre Schaeffer, was issued by ORTF (French Broadcasting Authority) as a long-playing record in 1967.
* [[R. Murray Schafer|Schafer, R. Murray]]. ''The Soundscape'' Rochester, Vt: Destiny Books, 1993. {{ISBN|978-0-89281-455-8}}
* Sheppard, Richard. ''Modernism-Dada-Postmodernism''. Chicago: Northwestern University Press, 2000.
* Steiner, Wendy. ''Venus in Exile: The Rejection of Beauty in 20th-Century Art''. New York: The Free Press, 2001.
* Stuart, Caleb. "Damaged Sound: Glitching and Skipping Compact Discs in the Audio of [[Yasunao Tone]], [[Nicolas Collins]] and Oval" In ''Leonardo Music Journal'' Vol 13: ''Groove, Pit and Wave: Recording, Transmission and Music''. 2003. pp.&nbsp;47–52
* [[James Tenney|Tenney, James]]. ''A History of "Consonance" and "Dissonance"''. White Plains, New York: Excelsior; New York: Gordon and Breach, 1988.
* Thompson, Emily. ''The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933''. Cambridge, Ma.: MIT Press, 2002.
* Voegelin, Salome. ''Listening to Noise and Silence: Towards a Philosophy of Sound Art''. London: Continuum. 2010. Chapter 2 ''Noise'', pp.&nbsp;41–76.
* Woods, Michael. ''Art of the Western World''. Mandaluyong: Summit Books, 1989.
* Woodward, Brett (ed.). ''Merzbook: The Pleasuredome of Noise''. Melbourne and Cologne: Extreme, 1999.
* [[Rob Young (writer)|Young, Rob]] (ed.) ''Undercurrents: The Hidden Wiring of Modern Music''. London: Continuum Books. 2002.
{{Refend}}

==External links==
{{Commons category|Noise music}}
* [http://socrates.berkeley.edu/~phylabs/bsc/Supplementary/NoiseGenerator.html Noise generator to explore different types of noise]
* [http://www.pnf-library.org/free_n.html PNF-library.org], ''Free Noise Manifesto''
* [http://www.ubu.com/papers/noise.html Torben Sangild: "The Aesthetics of Noise"]

{{Futurism}}
{{Avant-garde}}
{{Experimental music genres}}
{{Electronica}}
{{Futurism (music)}}
{{Modernism (music)}}
{{Authority control}}

{{DEFAULTSORT:Noise Music}}
[[Category:Noise music| ]]
[[Category:Cassette culture 1970s–1990s]]