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date: 29 May 2020

(p. 503) Index

(p. 503) Index

Page numbers followed by f indicate a figure or photo on the designated page. Page numbers followed by n and another number indicate a numbered endnote on the designated page.

Abramovic, Marina, 368n7
absence, aesthetics of, in space and time, 9–10, 315–29
abstract painting
American, and musical analogy, 19–20
formal purity constraints in, 18
Kandinsky’s question on, 376
modernism and, 1
painterly abstraction artists, 394n1
visual music and, 3, 12
Whistler and, 18
“abstract verbalisms” (verbalizzazione astratta), 427–28
Abstronic (Bute), 406
accelerated speech, 484–87
Accompaniment to a Cinematographic Scene (Schoenberg), 56
Acconci, Vito, 163, 224, 230
“acinema” concept (Lyotard), 293
acousmatic aspect of sound, 260–61
acousmatic listening, 476n17
acousmatic music, 296
description of, 69
Dhomont’s adoption of, 61
ideal of musique concrète, 294
mimesis and, 62, 68
trans-modal perception and, 69
acousmatic voices, 474, 492
“Acousmatization” (Chion), 217
acoustical properties, 289–312. See also Grandrieux, Philippe
acoustics. See also electroacoustic music
acoustic ecologies, 164
acoustic friction, 249–50
acoustic germ, 204
acoustic mimesis, 345
acoustic presence, 282–83
acoustic realism, 196
acoustic spaces, 8–9, 13, 165–66, 316, 459
Allen and, 328
ambient sound and, 171
architecture and, 168
atonal sounds in space and, 195–98
audio acoustic dimension, 277
audio analysis and, 97
in audiovisual projects, 109
audio walks and, 217–18, 223, 226, 228–29
body soundscape and, 259–62, 267, 277, 282–84
brain’s discrimination of, 214–15
Cage and, 319–20, 327, 338–39
cinema-related technology, 241
discoveries in, 7–8
excitation/resonance paradigm and, 94
experimental film and, 401, 409, 411–12, 418, 421
experimental music theatre and, 337–39, 344–45, 350
Mason’s musical explorations of, 183
micro-explorations of, 211
modernist spatialization and, 179–80
music, space and, 177–78
music of illusionary spaces and, 194
organic resonance and, 276
photoacoustic technology, 199–201
post-Euclidean acoustic space, 164
properties, 289–312
psychoacoustical research, 91, 104n19, 206
psychoacoustic periodicity, 205
silence/void and, 327–28
(p. 504)
sound poetry and, 427, 430, 432, 436, 439, 442–43, 445–48
topographical imagination and, 181
acoustic turn, 10, 13, 164, 237–40
Adorno, Theodor W., 165, 170, 195, 221, 302, 489–90
Ady, Endre, 426
aestheticized voice. See voice aestheticization taxonomy
aesthetic of latency, 258
aesthetics of absence, in space and time, 9–10, 315–29
affective experience of space, 214–34. See also audio walks; Cardiff, Janet; Miller, George Bures
audio walks, 215–18, 222–34
audio walks, invention of, 215–18
Certeau’s appropriation of, 222–24
Ihde’s ontology/phenomenology of listening, 164, 225–27
laying tracks, criminality of, 227–29
tracks/traps, public space transformation, 218–22
uncanniness of Cardiff’s tracks, 231–34
affective gestures, 70–71, 73
Affectos Humanos (Hoyer), 357, 366
Aion, 261
Albeton, audio software, 107
Albrecht, Gretchen, 394n1
Alchemie (Reble), 419, 420f
Alef (Alves), 72
Alexander, Amy, 121n3
Alfabeto o sorpresa (“Surpise Alphabet”) (Cangiullo), 428
Allegretto (Fischinger), 25–26, 26f
Allen, David, 328, 329
All Fours (Morris), 6, 138–59
Babbit’s comment on, 142
BBC documentary on making of, 142
choreography, 145–48
choreomusical analysis, 140
choreomusical relationships, 148–58
chugs motif, 151, 152f
flicky jumps motif, 153–56, 155f
“folk” and “art” sources, 142–43
Fourth String Quartet as basis for, 138–39, 142–43, 150 [link] –153 [link] , 155f, 157f
hand to mouth motif, 149, 150f, 151
metaphor, significance of, 141
motif development, 141–42, 144
the music, 144–45
prayer motif, 149, 150f
range of sources for, 143–44
repeated viewing benefits, 139–40
tableau motif, 156, 157f, 158
Altman, Rick, 399
Altman, Robert, 215
Alva Noto, 261
Alves, Bill, 72
Alÿs, Francis, 218–19
Ambient Music for Airports (Eno), 215
ambient silence, 325
ambient sound
aestheticization of dialogue and, 484
affective responses to, 497
Cage on, 316
Cardiff/Miller and, 215–16
Fontana and, 171
in Still Life, 498
in Two Times 4’33”, 325
Zehetner and, 410
American sound poetry, 429
Amers (Saariaho), 94
a minima, 121n1
Amirkhanian, Charles, 429
Amleto, la veemente esteriorità della morte di un mollusco (Socìetas Raffaello Sanzio theatre company), 458–59
Amorpha, Fugue in Two Colors (Kupka), 378
analogies
of architecture/sculpture, by Fontana, 171
musical, of early 20th century abstract painters, 28
of music/architecture, formal, 7, 167–68
of music/architecture, mathematical, 166–67
of sound-light, 21
analog media, 112, 408–9
Analysing Musical Multimedia (Cook), 124
Anarchitecture, artist group, 176
(p. 505) Ancient Greece
eurhythmics, 239
metataxis tension, 347
musical instruments, 388–89
philosophy, 237
skênographia, 240–41
theatre, 236, 237, 238
Andersen, Hans Christian, 470–71
Anderson, Laurie, 176, 215
animation/animated films. See also Autarkeia Aggregatum; Diagonal Symphony; Fantasia; Rhythmus; “The Sorcerer’s Apprentice”
abstract imagery in, 3, 23, 30–31
animated space, 51
Batcho on, 57n1, 58n20
Battey and, 73–74
Fischinger and, 27, 30, 64–65
generation in, 36–37
graphical scores, 80n11
McClaren and, 66
musical gestures in, 6
music in, 3
narrative, 6
optical sound synthesis and, 412–15
personification-animation in, 36–37
Steinkamp and, 30–31
technological innovations in, 4, 39
visual music and, 61–62
Whitney, John, and, 65–66
animist theatre, 455–59
Annis, Lindy, 360, 365, 366f
Antonioni, Michelangelo, 391
Aphergis, Georges, 343
Apollinaire, Guillaume
Calligrams, 429–30
conception of Orphism, 378–79
Les Peintres cubistes, 378–79
Appia, Adolphe, 238–39, 241
Arabesque (John Whitney), 65–66
Arab influences, in All Fours, 142
architectonic space, 8
architect-theorists, postmodern, 172
architecture. See also architecture and music; architecture and sound
“dematerialization” of, 30
as “frozen music,” 167
Greek and Roman theories, 167
Ju Percussion Group representations, 117
modernist thinking on, 165–66
multimodality of, 166
performance and, 98
rock-and-roll architecture, 175
sound’s relationship to, 164
Vortex IV/theater and, 28
Xenakis’s work, 167
architecture and music, 164–68
formal analogies, 7, 167–68
mathematical analogies, 166–67
numerical ratios between, 7
sound-sculpture, 111, 170
sound-space installation, 111, 170
time and space, 164–66
architecture and sound, 171–77
performance and de(con)struction, 175–77
subjectivity and space, 171–73
uncanny spaces, 173–75
Arford, Scott, 180–81
Aria (Steinkamp and Johnson), 31
Aristotle, 337
Arndt, Olaf, 327, 330n17
Arnheim, Rudolph, 73
Arnold, Martin
passage à l’acte, 403, 405
pièce touchée, 405
Arnulf Rainer (Kubelka), 401, 409
Artaud, Antonin, 13, 429, 463, 480
art music of Hungary. See Hungary, art music of
The Art of Noise (Russolo), 169
Art poétique (Ars poetica) (Verlaine), 429
Ashley, Robert, 429
ASL (American Sign Language), 143
Assayag, Gérard, 104n19
Asynthome (Transforma and Yroyto), 120
Atmosphere (Ligeti), 4
atonal sounds in space, 195–99
audio analysis principles, 96–97
“audiocinetic” sculpture (of Kolgen), 5, 111–12
Audio-Video Underground Chamber (Naumen), 328, 329
Audio-Vision (Chion), 125
(p. 506) audiovisual aesthetics, in contemporary experimental films, 397–422
audiovisual atmospheric device, 262–65. See also N (Preljocaj, Langheinrich, Hentschläger)
audiovisual composition of a space, 268–69, 270f, 271, 271f
audiovisual concerts, of Noto, 261
audiovisual contract and synchresis, 71–72
audiovisual creation, strategies of, 72–73
audiovisual friction, in ICH2, 247–48
audiovisual gestures, 75
audiovisual integration, 71–73, 76
audiovisual media, voice, flow, aestheticizing impulse in, 479–99
audiovisual modes, 36–48. See also generation; suspension
audiovisual polysemy, 402
audiovisual projects, of Kolgen, Herman. See Kolgen, Herman
audiovisual spaces of physical comprehension, 1–14
performance, performativity, text, 10–14
sights and sounds, 2–6
sound, space, and matter, 6–10
“Audio-Visual Spaces” show, 170
audio walks (of Cardiff and Miller), 215–18, 222–34
acoustic vs. virtual events during, 229
creation process for, 217–18
crucial features of traces, tracks, 233–34
cultural clichés and ideals in, 230
Drogan’s Nightmare, 217, 223
examples, 217
Ghost Machine, 217, 223
Her Long Black Hair, 217, 223
Jena Memoryfield Walk, 217, 223
A Large Slow River, 217, 223
Louisiana Walk, 232f
The Missing Voice, 217, 223, 224, 227, 227f
Münster Walk, 223
In Real Time, 217, 223
The Telephone Call, 217
Villa Medici Walk, 223
voice (who is speaking) in, 230–31
Wanås Walk, 217, 223
Words Drawn in Water, 217, 223
Auslander, Philip, 122n9
Austin, John, speech act theory of, 57n7, 357, 363, 368n6
Autarkeia Aggregatum (Battey), 73–76, 74f
animated analytic score in, 80n12
isomorphic relationships in, 76
authorship, poststructuralist theories on, 357
autogenerative sound, 412, 415–16
avant-garde. See also experimental films; Socìetas Raffaello Sanzio theatre company; sound poetry
Fischinger’s influence, 27
Grandrieux’s practices, 292, 295–96
in Hungary, 432–36
influences in 1970s, 13
Lettrism movement, 416
music, 84
narrative fiction experimentation, 289
1920s films, 117
operatic forms of, 335–36
performative music, 10
theatre, 241
Tscherkassky’s films, 292
visual concerts, 84
Aviation-Aviateur (Spatola), 430
Avoir l’apprenti le soleil (To Have the Apprentice in the Sun) (Duchamp), 380, 382f, 390
Ayres, Gillian, 394n1
Babbit, Milton, 142
Babin, Magalie, 110f
Bach, Johann Sebastian, 139
The Bachelors, even (Marclay), 389
Bacon, Francis, 186
The Bad Plus group, 143
Bain, Mark, 175–76
Bainbridge, Simon
Landscape and Memory, 181
Music, Space, Reflection, 182
Path to Orthona, 181
Ball, Hugo, 427–28
Ballada az ezüstbicikliről (Ballad of the Silver Bicycle) (Ladik), 440
ballet, classical, 56
(p. 507) La Bambina dei Fiammiferi (Socìetas Raffaello Sanzio theatre company), 470–71, 471f
Bardo Follies (Landlow), 419
Barrière, Aleksi, 5, 83–103, 103n1
Barrière, Jean-Baptiste, 5, 83–103
founding of IA, 103n1
Miroir des Songes, 101, 102f
Prisma, 86, 103n1, 104n17
Barta, Sándor, 451n11
Barthes, Roland, 134, 408
Bartók, Béla. See also All Fours (Morris)
Fourth String Quartet, 138–39, 150 [link] –153 [link] , 155f, 157f
influence on cultural trends, 426
“Music for Strings, Percussions and Celesta,” 168
Baschet, Bernard, 111
Baschet, François, 111
Bateson, Gregory, 90
Battey, Bret, 73–75
Autarkeia Aggregatum, 73–75, 74f
“Brownian Doughnut Warper” visual algorithm, 73–74
Pitch Curve Analysis and Composition System, 74
Bauermeister, Mary, 343
Bausch, Pina, 364
Bazzana, Kevin, 133, 135n5
BBC documentary, on All Fours, 142
Beck, Stephen, 29
Beckett, Samuel, 168, 185
Beer, Oliver, 180
Beethoven, Ludwig von
Fifth Symphony, 63
Symphony No. 6 “Pastoral,” 68
Befindlichkeit (“self-finding”), 49
Begone, Dull Care (McLaren), 66
Behrens, Peter, 165
“being in the middle” (Ponty), 8
Bel, Jérôme
Jérôme Bel, 357
The Last Performance, 363, 365
Lutz Förster, 360, 364
Pichet Klunchun and Myself, 357, 364, 367–68
Véronique Doisneau, 358–60, 358f, 364
Belloli, Carlo, 429
Belson, Jordan, 28–29
Bene, Carmelo, 459–60
Benjamin, Walter, 422
Berg, Alban, 195
Bergman, Ingmar, 87, 103n3
Bergson, Henri, 226, 237, 251
Berio, Luciano, 28
Berlioz, Hector, 194
Bernard, Joseph, 29–30
Bernstein, Nikolai Aleksandrovich, 259
Berthoz, Alain, 259
Besson, Dominique, 280, 281
Beuys, Joseph, 357
Bevilacqua, Frédéric, 272
Beyond the Score: Music as Performance (Cook), 124
Bicycle Wheel (Duchamp), 383–84
Birtwistle, Andy, 412
Bishop, Bainbridge, 22
Bithell, David, 354n1
Whistle from Above, 350–51, 353–54
The Black and the White Gods (Russell), 420
Blanc-Gatti, Charles, 394n6
Blaxploitation films, 482
Block, Olivia, 421
Blomley, Nicholas, 290–91
Blow Out (De Palma), 391
Blow Up (Antonioni), 391
Blue and Green Music (O’Keeffe), 19
Blutrausch (Bloodlust) (Fleisch), 416
B Minor Mass (Bach), 139
Boal, Augusto, 347
“bodily hearing,” 131
body. See also body soundscape; dance; gestures; sonorous body
“Acousmatization” and, 217
affective appropriation of spaces and, 222
in All Fours, 147–48, 149, 151, 156
architecture and, 175
audio walks and, 216–17
Bergson’s comment on, 237
choreography and, 247
collective resounding body, 271, 278–81
as a dynamic structure, 258–59
electronic music and, 205
in Les espaces acoustiques, 193
(p. 508)
Gould’s movements while performing, 127–35
hearing the body, 131, 132–35
hearing with, 131, 214, 226
in ICH2, 249, 252–53
key aspects of, 8–9
Kolgen’s comment on, 118
media technology influence in, 240
Merleau-Ponty’s view of, 242–43
micro-/macro-time and, 204–5
in Le Noir de l’étoile, 210–11
physical limitations of, 147
pre-movement, 259
“sign language of,” 239
sonorous dimension of, 278–81
as sound-image interface, 238
sounding body, 36
sound’s relationship with, 196, 203, 207, 210–11, 257
“without a soul,” 57n6
body awareness work (of Jaques-Dalcroze), 239
body memory, 239
body of sound, 8–9
body soundscape
anatomy of sound and, 259–62
audiovisual composition of a space, 268–69, 270f, 271, 271f
collective resounding body, 271, 278–81
FAR and, 256f, 265, 266f, 267–68
internal space/external space, 260
mental training benefits, 282
movement as geometry of sound, 272, 273 [link] –274 [link] , 275
N and, 262, 263f, 264–65
Onde de choc (Laurin), 275–76, 276f, 277, 284f
organic resonance, 275–77
sonorous cognition of a gesture, 265–68, 266f
Borchert, Gustavo, 354n1
Bouche-évier (Duchamp), 392
Bouche-Oreille (Marclay), 392
Boulez, Pierre, 205
Bourgogne, Gustave, 394n6
Bouyer, Pierre-Jean, 103n1
The Box of 1914 (Duchamp), 380
Bragdon, Claude, 22, 28
brain
acoustic discrimination by, 214–15
FAR/McGregor and, 268
flickering strobe lights and, 264
motor imagination and, 282
movement connection with, 267
neurophysiologists’ view of, 258–59
perceptive categorization of space by, 259
proactive role of, 259
Brakhage, Stan, 292
Brand, Jens, 328
Brandstetter, Gabriele, 11, 356–368
Breathless I (Marclay), 388
Breillat, Catherine, 292
The Bride Stripped Bare by Her Bachelors, Even (Duchamp), 377, 392
Brook, Peter, 462
“Brownian Doughnut Warper” visual algorithm, 73–74
Bruno, Giuliana, 308–9
Brussels World’s Fair, 84
Brutal Intimacy (Palmer), 292
Buchettino (Socìetas Raffaello Sanzio theatre company), 457, 458f, 466, 475n4
Bull, Michael, 164, 302
burn (or, The 2nd Law of Thermodynamics) (Eros), 419
Butcher, John, 180
Bute, Mary Ellen
Abstronic, 406
Mood Contrasts, 406
oscilloscope-generated films of, 411
Butler, Judith, 357
Butting, Max, 63
Cabaret Voltaire, 427–28
Caffin, Charles, 18
Cage (Marclay), 392–93, 393f
Cage, John, 7, 11, 12, 87. See also 433
absence in works of, 315
acoustics and, 319–20, 327, 338–39
Adorno’s accusations against, 170
amplified chess game vs. Duchamp, 325
artistic attitude of, 317
comments on White Paintings, 315, 318
(p. 509)
on the “dark side of silence,” 330n18
on Duchamp’s influence, 373
expansion fo silence in 433″, 319–20
Freeman Etudes, 388
influence on Fluxus, 238
investigation of “found sound,” 169
Music Walk, 342
0’00” (4’33” No. 2), 319, 325–26, 341–42, 346
Paik’s tributes to, 321–22, 392–93
Paik/A Tribute to John Cage, 321–22
radicalization of music by, 387
Reunion, 319
Schoenberg’s description of, 386
silence/emptiness/voids in works of, 315–29
simultaneity in work of, 342
Solo for Voice 23.0’00” No. 2, 319
Solo for Voice 26.0’00” No. 2B, 319
Song Books, 319
sound poetry and, 429
sound/silence dynamics of, 431
Sounds of Venice, 342
theatre concept of, 238
Variation V (with Cunningham), 260
Water Music, 338, 340–43, 340f, 341f, 350
Water Walk, 342
Calil De Albuquerque, Isis, 246f, 250f, 253f
Calle, Sophie, 218
Camera Silens (Arndt and Moonen), 327, 330n17
camouflaging source of sounds, 8
Cangiullo, Francesco, 427
Alfabeto o sorpresa, 428
Piedigrotta, 428
Capture, 274f, 275
Carceri engravings (Piranesi), 173–74
Cardew, Cornelius, 342
Cardiff, Janet. See also audio walks
on the “forgetting of the spaces around us,” 224
Garrels’ comment on, 230
The Missing Voice [Case Study B] excerpts, 228–29
origins of work of, 225, 226
recording technology methods, 226–27
“To Touch,” 220
uncanniness of tracks of, 231–34
voice in works of, 230
Cardiff’s Walk sculpture, 228f
Carlson, Carolyn, 86, 357
Carpenter, Ele, 329n1
Carter, Lucy, 265
Caskel, Christoph, 345
Castellucci, Romeo, 466–67
Cave, Jodi, 354n1
Cavell, Stanley, 231
Cello Suite (Bach), 139
Certeau, Michel de
affective appropriation of spaces, 222–24
L’invention du quotidien, 222
reflections on the city, 8
walking and, 224–25
Chamber-Symphony No. 1, op. 9 (Schoenberg), 198
Le Chant des Oyseaux (Janequin), 68
Charlemagne 2: Piltzer (Chodorov), 406
Chernobyl nuclear plant, 174
Chion, Michel, 62, 293
“Acousmatization,” 217
Audio-Vision, 125
“on-the-air sound” of, 302
synchresis, definition, 71
on “transsensorial experience,” 124, 134
voice in cinema and, 479–80
Chocolate Grinder no. 1 (Duchamp), 377
Chodorov, Pip, 406
Choinière, Isabelle
collective resounding body idea, 271, 278–81
La démence des anges, 278, 279f
founding of Corps Indice of Montréal, 278
Meat Paradoxe, 278, 280f
Chopin, Henri, 429, 442–43
Choralis Constantinus (Isaac), 131
choreography. See also All Fours (Morris); Carlson, Carolyn; Chouinard, Marie; Cunningham, Merce; dance; Gourfink, Myriam; McGregor, Wayne; Morris, Mark; Schröder, Mario; Van Acker, Cindy; Veggetti, Luca
choreo-musical relationships, 6, 11, 13, 52, 67, 87
collaborations in, 8–9
experiments in, 10
(p. 510)
generation and, 36
gestural, 6, 128, 132
key motifs, in All Fours, 148–58
LOL software program, 272
in Maa (Saariaho), 99, 100f, 101
in Opus 1 (Ruttman), 63
sonorous thought and, 257
in Study for Life (Saariaho), 86
video choreography, 236
in visual concerts, 85
Chouinard, Marie, 240
Chroma (Saunders), 183–84, 184f
cinema. See also experimental films; specific examples
“absolute cinema,” 25, 27
accelerated/decelerated speech in, 484–87
acting voice in, 14
aesthetically marked speech in, 493–96, 495f
audio walks and, 216
Blaxploitation films, 482
Chion and, 479–80
conventional model description, 416
Cook’s interest in, 103n6
DeBord and, 316–17, 319
fetishization of the voice in, 489–92
Fischinger and, 25–26
goals of film artists for, 27–28
Grandrieux and, 291–96, 308–11
heightened voice/dialogue, in literary adaptations, 488–89
Hermann’s statements on, 59n33
Kolgen and, 108
live cinema, 108–12, 121n3
music’s shared temporality with, 12
origin of, 3
Paik and, 318
physical/haptic qualities, 9
poetic dialogue in, 482–83
psychogeographical potential of, 308
Schoenberg and, 56
sound design and, 240–41
synchronization and, 89
technologically manipulated speech in, 492–93
“unsettling” considerations in, 291
viewer immersion in, 9
voice aestheticization in, 481–98
wordy/dialogue-heavy soundtracks, 487–88
Le cinéma du corps, 292
“CinemaScope Trilogy” (Tscherkassky), 413
Čiurlionis, Mikalojus Konstantinas, 79n1
Clavilux (instrument), 24
Cloud Chamber Bowls (Partch), 111
Collective Body-Corps Collectif, 285n10
“color organs,” 22
“Colors” (Farben) (Schoenberg), 49, 50f, 51–52, 197–98, 200
color theories, 17
Comb (Duchamp), 384
Composition (Dow), 19
computer music
“cross-synthesis” approach, 94
software programs, 86
computer video
Isadora/Max, software programs, 88
music-image interactions, 87–89
use in live performances, 5, 87
Concerning the Spiritual in Art (Kandinsky), 375, 376, 378
Concerto for TV Cello and Video Tape (Paik), 85, 388
Condillac, Étienne Bonnot de, 38, 43
Coniglio, Mark, 88
“A Consideration of Anton Webern” (Gould), 135n4, 135n8, 136n10
Constructivism, 430
contested spaces, in Grandrieux’s films, 289–312. See also Grandrieux, Philippe
convolution, signal processing technique, 80n10
Cook, Nicholas, 5–6, 89, 124–135, 337, 345
Coop Himmelb(l)au, 175
Copeland, Mathieu, 319, 329
Coplas on the Death of My Father (Manrique), 76
Le Corbusier (Charles-Édouard Jeanneret-Gris), 84, 165, 167, 178
Corps 00:00 (Van Acker), 268–69
Correspondences (Baudelaire), 58n19
Craig, Edward Gordon, 238, 241
Cries and Whispers (Bergman), 103n3
Crisp, Clement, 159n3
(p. 511) Crosland, Alan, 399
Crowther, Paul, 139, 140, 159n4
Csikszentmihalyi, Mihaly, 499–500n1
CTM Festival, 109
CTRL Live Controller, 107
Cuba, Larry, 29
Cubism, 20, 378, 379
cultural theory (Singer), 357
Cultures Electroni[k]‌ festival (2010), 109
Cunningham, Merce, 87, 240
attendance at Zen for Film, 318
Variation V (with Cage), 260
CYNETART electronic arts festival, 285n10
Dadaists, 416, 428, 430
dance/dance performances. See also All Fours (Morris); choreography; ICH2 Intermedial Dance Performance for Planetaria
bodily gestures in, 6, 11
Cage and, 87
concept dance vs. dance-dance, 357
contemporary collaborations, 8–9
lecture performances, post-1990s, 356–68
LOL software, 272
McLaren’s comment on, 66
movement as geometry of sound, 272, 273 [link] –274 [link] , 275
multimedia and, 87
music’s relationship to, 11, 13, 52, 67, 87, 138
opening of proprioceptive channels in, 259
in Opus 1 (Ruttman), 63
scherzo genre and, 58n16
showing and telling in, 358–61
Veggetti and, 99
visual/audible aspects of, 203
“Dance of the Future” (Duncan), 365
Daniels, Dieter, 315–329
Danuser, Hermann, 336
Darmstadt International Summer Courses for New Music, 132, 133
Davidson, Janes, 127, 129
The Death and the Piano Maiden (Schubert), 365
De Boer, Manon, 325
DeBord, Guy
artistic attitude of, 317
Howling for Sade, 308, 316, 318–19
on silence, 319
silence/emptiness/voids in works of, 315
Society of the Spectacle, 357
Débussy, Claude, 86–87, 168–69, 472
decelerated speech, 484–87
De Duve, Thierry, 374–78
Dehmel, Richard, 58n19
Delalande, François, 127
Delaunay, Robert, 379
Deleuze, Gilles, 474
La démence des anges (Choinière), 278, 279f
De Niro, Robert, 419
Denis, Claire, 292
De Palma, Brian, 391
Depero, Fortunato, 427, 428
Descartes, René, 241–42
Dhomont, Francis, 61
Diagonal Symphony (Eggeling), 64
dialogue-heavy films, 487–88
Diatope (Xenakis), 86
Dido and Aeneas (Purcell), 139
diegetic/non-diegetic music, 302–303, 484, 494
diegetic/non-diegetic sound, 37, 57n1, 481, 497–98
diegetic/non-diegetic spaces, 291, 294, 302
Different Trains (Kolgen), 109, 113–16, 115f, 116f
digital animation, 4
digital data, 112, 126
Digital Harmony (Whitney), 29
Diller Scofidio + Renfro, 176
disciplined action
by Saladin, 326
significance of, 341––342
in Water Music, 326, 338–42
Dissanayake, Ellen, 80n8
DJs (disc jockeys)
Hawtin, Richie, 107–8
Spooky, 252
use of technology, 88, 107
Doisneau, Véronique, 358–59, 358f, 360–61
Dolby-Surround technology, 241
Die Döner- Schaltung (Tsangaris), 184–85
(p. 512) Dorj, Manda, 354n3
Dots (McLaren), 406
double display, 215–16. See also audio walks
Dove, Arthur
I’ll Build a Stairway to Paradise-Gershwin, 22
jazz paintings of, 20–22
Macdonald-Wright’s comparison with, 23
modernist art of, 18
Orange Grove in California-Irving Berlin, 22
Rhapsody in Blue, Part II, 21f
Rhythm Rag, 22
Dow, Arthur Wesley, 19
Dream Work (Tscherkassky), 413, 415, 415f
Drew, Benedict, 418
Drogan’s Nightmare audio walk, 217, 223
Drumkit (Marclay), 388
Drumsticks (Marclay), 388
Duchamp, Marcel
amplified chess game vs. Cage, 325
Avoir l’apprenti le soleil, 380, 382f, 390
Bicycle Wheel, 383–84, 383f
Bouche-évier, 392
The Box of 1914, 380, 382
The Bride Stripped Bare by Her Bachelors, Even, 377, 392
Cage’s comment on, 373
Chocolate Grinder no. 1, 377
Comb, 384
deafness of, 394n7
De Duve’s observation on, 378
Erratum Musical, 380–81, 381f
Etant Donnés, 392
Feuille de vigne femelle, 392
With Hidden Noise, 384
importance of titles for, 380–81
Kandinsky comparison, 382–83
Large Glass, 112, 377
musicality legacy of, 394
With my tongue in my cheek, 395n20
Objet-Dard (Dart-Object), 392
Paik on, 372
The Passage from Virgin to Bride, 376–77
on the qualities of words, 384
Rotoreliefs, 390
Sonata, 379–80, 380f
transition to readymade, 12, 373–74, 377
Traveler’s Folding Item, 384
Why Not Sneeze Rose Sélavy?, 392
duduk spectra, 74
Duerden, Rachel, 138–159
Dufay, Guillaume, 166–67
Dufourt, Hugues, 199
Dumont, Bruno, 292
Duncan, Isadora, 365
Duomo, Florence, 166–67
Duscher, Tom, 244, 247, 254n4
Dust (Kolgen), 109, 112–13, 113f, 115, 119
Dust Accumulation Series (Kolgen), 112
Dust Restriction (Kolgen), 119
Dynamic and Synoptic Declamation (Marinetti), 427
ear, threefold function of, 214
Eastern Europe folk dancing, 142
Ecstatic Architecture (Lim), 168
Eddy, Arthur Jerome, 18
Eggeling, Viking
Diagonal Symphony, 64
visual theory of music of, 63
18/d Filmkritik oder Prädikat: wertlos (Schmidt), 408–9
Eine Alpensinfonie (Strauss), 194
Einstürzende Neubauten (“collapsing new buildings”) rock group, 175
Eisenmann, Peter, 172
Ekstasis (Barrière and Barrière), 85
electroacoustic music, 61–80. See also Battey, Bret; Fischman, Raj
affective gesture and, 70
analytic challenges, 74
audiovisual creation strategies, 72–73
audiovisual integration, 71–73
balance/information control, mapping of, 75–76, 77f, 78–79, 78f
digital animation integration with, 4
isomorphism of complex gestalts, 73–75
mimesis in, 67–69
Roy and, 74
spatial orientation in, 67–71
time/space convergence in, 61–80
varied interpretations, 61
electronica, 412
(p. 513) electronic music, 7
of Alva Noto, 261
Beck’s creation of, 29
Berlin-based festivals, 109
body gestures and, 205
of Frost, 265
of Ikeda, 261
of Murcof, 249
in Onde de choc, 276–77
Overlapp links with audiovisual performer, 115
Paik’s discussion of, 372–73
of Pan Sonic, 249, 261, 268
pioneers of, 28
timbre and, 61
use of voice in, 14
of Vainio, 268
of Varese, 178
in Vortex’s concerts, 28
World electronic music, 265
Élevage de poussière (Man Ray), 112
Elindultak a kis piros buldózerek (The Little Red Bulldosers Have Started Off) (Ladik), 440
Eliot, T. S., 450n3
Emmerson, Simon, 67–68
empty spaces, 319, 320–21
Engl, Joseph, 399
Enlightenment era color theories, 17
Eno, Brian, 215
Ensemble InterContemporain, 115, 204
Entanglements (Gibson and Recoder), 421
Entity (McGregor), 267
Epilogue (Grisey), 204, 207
Eros, Bradley, 419
Erratum Musical (Duchamp), 380–81, 381f
Erzsi, Újvári, 451n11
Les Espaces acoustiques (Grisey), 203–7
Essay on the Origin of Languages (Rousseau), 48
Etant Donnés (Duchamp), 392
Étude for Pianoforte (Paik), 392–93
European Broadcast Union, 134, 135n5
Evrard, Joséphine, 366f
Expectation (Erwartung) (Schoenberg), 49, 56
experimental films. See also sound in experimental films
anti-naturalistic use of sound, 399–407
of Arnold, Martin, 403, 405
audiovisual aesthetics in, 397–422
audiovisual polysemy in, 402
avant-garde genre, 27, 117, 292, 398, 402, 403, 419, 422n1
of Bute, Mary Ellen, 406, 411
of Chodorov, Pip, 406
contemporary, audiovisual aesthetics in, 397–422
Dadaist film-performances, 416
“death by projection,” 418–19
of DeBord, Guy, 401
early history, 63–64
of Heller, Eve, 403–4, 404f
of Hills, Henry, 403–5
of Hoolboom, Mike, 401
of Kubelka, Peter, 401, 406, 409
of Ponger, Lisl, 402
of Ruttman, Walter, 401
sound technology and, 407–11
visual music in, 406–7
experimental music. See also Oliveros, Pauline
Lucier’s book on, 174
sound art and, 163
experimental music theatre, 335–54
acoustics and, 337–39, 344–45, 350
affinity with postdramatic theatre, 336–37
of Bithell, David, 350–51
classical, 11
definition, 335–36
of Fox, Christopher, 348–50
framing/mode of performance, 345–48
Kagel/instrumental theatre, 342–45
metataxis tension in, 347–48
MMus seminar on, 354n1
non-matrixed performance, representation, 346–47
performer profile, 336
of Reinholdtsen, Trond, 351–53
showing doing, 345–46
Export, Valie, 356
Exposition of Music-Electronic Television (Paik), 372, 385, 386–87, 389
An Eye for Music: Popular Music and the Audiovisual Surreal (Richardson), 499–500n1
(p. 514) Eye hEar (Shaw-Miller), 125–26
The Eyes of the Skin: Architecture and the Senses (Pallasmaa), 173
Fantasia 2000 (Walt Disney Studios), 43
FAR (Flesh in the Age of Reason), 256f, 265, 266f, 267–68
Farben (“Colors”) (Schoenberg), 49, 197–98, 200
FAT architectural collective, 172
Le Fatiche di Ercole (Socìetas Raffaello Sanzio theatre company), 466
Faust (Goethe), 351, 352, 353
Faust, or the Decline of Western Music (Reinholdtsen), 351–53
Fechner, Gustav Theodor, 206
Feminine Figures (Annis), 366f
feminism, 30, 356
fetishization of the voice, 489–92
Fetterman, William, 347
Feuille de vigne femelle (Duchamp), 392
Fifth Symphony (Beethoven), 63
film. See also animation/animated films; experimental films; Fantasia (1940); Fischinger, Oskar; Grandrieux, Philippe; Hitchcock, Alfred; Whitney, John; specific films
abstract movement, 4, 25–26, 27
advertising, 26
by Altman, Robert, 215–16
animated, 3, 23, 27, 36–37, 57n1, 61–62
by Antonioni, Michelangelo, 391
avant-garde, 27, 117, 292, 398, 402, 403, 419, 422n1
by Bergman, Ingmar, 87
by Cage, John, 319–20, 326
by Cuba, Larry, 29
dance and, 99, 101, 251
by DeBord, Guy, 316–19, 401
by De Palma, Brian, 391
documentary, 321
expressionist, 56, 250
found-footage, 402
by Friedrich, Su, 400
of Gould’s performances, 6, 127, 129–35
by Ikeda, Ryoji, 320
by Kolgen, Herman, 11, 109, 118
by Marclay, Christian, 391
by McLaren, Norman, 66
“music film” by Cook, 103n6
music for, 3, 59n32, 125, 395n17
narrative, 9
by Paik, Nam June, 318
by Schwartz, Lilian, 29
silent, 3, 117
by Skoltz, 109
by Stehura, John, 29
stop-motion, 23
Super-8 film, sonic signature, 409–11
surrealistic, 56
by Tscherkassky, Peter, 292
by Tudor, David, 321
by van der Aa, 85
Varèse’s music for, 84
by Weinstein, Larry, 52 [link] –53 [link] , 59n35
by Whitney brothers, 65–66
film music, approaches to, 125
Finnish Radio Orchestra, 99
Fischer-Lichte, Erika, 121n2
Fischinger, Oskar
“absolute cinema” interests, 25, 27
abstract film animation by, 25, 27, 64–65
Allegretto, 25–26, 26f
early film experiments, 32n7
easel painting involvement, 27
influence on American cinema, 26
influence on Steinkamp, 30
light installation experimentation, 28
Motion Painting No. 1, 406
Ornament Sound Experiments, 25–26
Studie nr. 7, 64–65, 66
Studie Nr. 8, 32n7
Fischman, Raj
¿Te Acuerdas Hijo? (Remember Son?), 75–76, 77f, 78–79, 78f
Five Film Exercises (Whitney and Whitney), 65
Five Pieces for an Orchestra, Opus 16 (Schoenberg), 50f, 197–98
Fleisch, Thorsten, 416
Flesh and the Age of Reason (Porter), 265
Flesh Waves, phase #4, 285n10
(p. 515) Flesh+Wood+Metal (2012) (Kolgen), 110, 110f, 111, 114
Fletcher, Harvey, 206
Fléty, Emmanuel, 272
Fluxus, 11, 237–38, 371, 373
Föllmer, Golo, 111
Fontana, Bill, 170–71
Primal Soundings installation, 171
White Sound installation, 171
Footsteps in the Snow (Débussy), 472
Forty, Adrian, 165
Foucault, Michel, 164, 374
found-footage films, 402
“found sound,” 169
433” (Cage)
audience reaction to, 316
Cage’s comments on, 316, 319, 327
Cage’s expansion of silence in, 319–20
Cage’s 1986, performance, 320–21
comparative study of, 318
in 4 Minutes and 33 Seconds of Uniqueness online game, 322, 324
Ikeda’s cover of, 320
impact of, 239
paradoxes of recording, 324–25
Saladin’s 4’33”/0’00,” 326, 326f
“silent piece” alternative name, 315
Simonetti’s recording, 326
Sounds Like Silence exhibition performance, 319, 322
Tudor’s performance of, 321
Two Times 4’33” video installation, 325
White Paintings shared qualities, 316
4 Minutes and 33 Seconds of Uniqueness online game (Söderström- Kelley), 322, 324
Fourth String Quartet (Bartok), 138–39, 142–43, 150 [link] –153 [link] , 155f, 157f. See also All Fours (Morris)
Fox, Christopher, 354n1
something to do with belief, 348–50, 349f, 353
Freeman Etudes (Cage), 388
“free- word style” (paroliberismo), 428
“free-word tables” (tavole parolibere), 428
Frequenzen [Hz] / Frequencies [Hz] Audiovisuelle Räume / Audio- visual Spaces sound art exhibition, 163, 170
Freud, Sigmund
“uncanny” idea of, 8, 173, 231
das Unheimliche notion of, 231
walking experience of, 231–33
Fried, Michael, 171–72
Friedman, Ken, 373
Friedrich, Su, 400–401
From the Grammar of Dreams (Saariaho), 101
Frost, Ben, 265–66
Fry, Roger, 17. See also visual music
Fuller, Loïe
“dances of light” of, 240
Serpentine Dance, 236
Futurism
painting, 428
pioneering experiments, 11
poetry, 428
Post-Futurism, 429
Szkárosi and, 13
Fux, Johann Joseph, 386
Galard, François, 103n1
Galilei, Galileo, 167
Garfunkel, Art, 390
Garnier, Pierre, 429
Garrels, Gary, 230
Garro, Diego, 72
Gatten, David, 415–16
Gauguin, Paul, 94, 375
Gauthier, Dylan, 329n1
Gehry, Frank, 168
Der gelbe Klang (Kandinsky), 86
Gena, Peter, 327
gender theory (Butler), 357
Gendlin, Eugene T., 58n20
generation, 36–48
in animated films, 36–37
derivation of, 36
Schoenberg’s use of, 49
Genesi/From a Museum of Sleep (Socìetas Raffaello Sanzio theatre company), 464, 466, 476n10
Genette, Gérard, 58n14, 109
Gently Down the Stream, 400–401
(p. 516) geometry of sound, movement as, 272, 273 [link] –274 [link] , 275
Gershwin, George, 47–48
Gesamtkunstwerk idea (Wagner), 337, 371
gestures
affective, 70–71, 73
bodily, 5, 6, 11, 46, 70
choreographical, 6, 10, 11
concatenated, 38, 42
Condillac on communication through, 43
in dance/ballet, 6
by Gould, when performing, 6, 126–35
instrumental, 91, 97
merging of vocality with, 13
multidimensional, 72, 74
musical, 3, 6, 46, 91
musical performance and, 125–28
music-vision interconnectivity and, 6
of quotation, in lecture performance, 364
relationships between, 74
of singers, 91
sonic, 70, 74
sonorous cognition of, 265–68, 266f
sonorous gestures, 13–14
in “The Sorcerer’s Apprentice,” 42–46
video and, 90
Ghost Machine audio walk, 217, 223
Gibbons, Scott, 466, 473
Gibson, Sandra, 421
“Gimmic Poetry” (poesia ginnica) (Lora-Totino), 432, 434 [link] –35 [link]
Giulio Cesare (Socìetas Raffaello Sanzio theatre company), 467, 467f, 468, 476n12
Glass, Philip, 176, 480, 483, 488
Glenn Gould, the Alchemist filmed profile, 127
Globokar, Vinko, 343
Gloria (Vivaldi), 139
Die glückliche Hand (Schoenberg), 86
Godard, Hubert, 259
Goethe, Johann Wolfgang, 39–40, 42, 167
Faust, 351, 352, 353
golem, 57n6
Gorbman, Claudia, 57n1, 125, 499–500n1
Gould, Glenn, 124–36
agreement with Schoenberg, 135n8
A Major Sonata K. 331 performance, 130
“A Consideration of Anton Webern,” 135n4, 135n8, 136n10
Davidson’s comments on movements, 127, 129
European Broadcast Union concert, 134, 135n5
gestures/body movements while performing by, 6, 126–35
performance of Sonata (Berg), 127
Piano Variations Op. 27, filmed recordings, 127–35
stage presence characteristics, 128, 130
Gourfink, Myriam, 272, 273f, 275, 282
Govoni, Corrado, 428
Gradus Ad Parnassum (Fux), 386
Graham, Dan, 163
Grammaire des rêves (Saariaho), 101
grammar building, in visual concerts, 89–91
Grandrieux, Philippe, 9, 289–312
abstraction/naturalism in films of, 298–99
avant-garde practices by, 295–96
camera method of, 289–90
contested spaces in films of, 289–312
Hainge’s analysis of, 293–95
Martin’s analysis of, 293, 295
musique concrète and, 293–96
Palmer’s analysis of, 292
Ramdas’s analysis of, 295–96
Schaeffer’s analysis of, 293–94
thematic preoccupations of, 290
Un Lac, 289, 290, 293, 303, 304f, 305f, 306f, 307, 310–11
unsettling acoustic properties in films of, 307–11
use of sound in films, 299
La Vie Nouvelle, 289–90, 293–94, 296–303, 298f, 299f, 305–8, 309, 311
Grange, Anne, 86
Grayson, John, 121n4
The Great Gatsby, 488–89, 490, 493
Greimas, Aljirdas, 58n10
Grisey, Gérard, 7–8, 192–211
confrontation of cosmic time, microtonal time, 204
Epilogue, 204, 207
(p. 517)
Les Espaces acoustiques, 203–7
explorations of microcosm of sound, 193
Modulations, 204
musical space developed by, 193–94
Le Noir de l’étoile, 192–94, 207–11
Périodes, 204–5, 207
Prologue, 204, 205, 207
on “soft periodicity” (périodicité floue), 205–6
sound spectrography used by, 200–201
spectral music by, 7, 202f, 203
Transitoires, 204
Groupe de Recherches Musicales, 80n11
Gruppen (Stockhausen), 179
Guattari, Félix, 474
Guerrero, Alberto, 127
Guidi, Chiara. See also Socìetas Raffaello Sanzio theatre company
comment on pronunciation, 464
comment on silence, 473–74
dramatic rhythm by, 475n3, 475n5, 476n10
dramatis personae voice and, 456–57
Le Fatiche di Ercole, direction of, 466
Gibbons’ collaboration with, 466, 473
modular flexibility of, 470
Santa Sofia, reminiscence on, 460–61, 461f
vocal notation work, 463–64
Voyage au Bout de la Nuit description, 466, 468
Guignon, Charles, 58n20
Guitar Drag (Marclay), 388–89
Gussin, Graham, 329n1
Gysin, Brion, 450n3
habanera dance, 52
HaCohen, Ruth, 3, 36–57
Hainge, Greg, 293–95
Hallock-Greenewalt, Mary, 22
Hamilton, Lady Emma, 365
Hamilton, William, 365
Hammer, Cindy, 29–30
handmade sound, 412–15
Hänsel e Gretel (Socìetas Raffaello Sanzio theatre company), 457, 475n3
Hanslick, Eduard, 125
happenings, light shows at, 28
Harris, Suzanne, 176
Hart, Emma, 418
Hartley, Marsden, 79n1
Harvard Film Archives, 292
Hawtin, Richie, 107–8
Healy, Claire, 354n1
hearing. See also listening
brain mechanisms involved in, 214–15
composing music and, 167
Crumb and, 181
ear, threefold function of, 214
Fletcher’s work on, 206
hearing the body, 131, 132–35
Heidegger and, 172, 226
Helmholtz’s studies of, 195
illusionary spaces and, 194
importance in spatial design, perception, 241
motif and, 149
Pallasmaa and, 173
phenomenologies of, 226
pluridirectional hearing, 181
prismatic ear, 260
reduced listening, 169–70, 293–94
reflective listening, 295
semantic listening, 339
subtleties of, 215
three-dimensional, 260
timbre and, 196
Heidegger, Martin, 48, 172–73
Heidsieck, Bernard, 429
Heile, Björn, 11, 335–354
Heitjohann, Jens, 323f
Heller, Eve, 403–4, 404f
Hellerau education institute, 239
Helmholtz, Hermann von, 195–97
Helms, Alan, 159n3
Helsinki Music House, 99
Hemmings, David, 391
Hendrix, Jimi, 388
Henry, Kurt, 389
Hentschläger, Kurt
real-time 3D work of, 262
Her Long Black Hair audio walk, 217, 223
Herrmann, Max, 51, 52, 59n33, 240. See also Vertigo
(p. 518) Higgins, Dick, 237–38
Hill, Jonathan, 172
Hills, Henry, 403–5
Hinterstoisser, Andreas, 182
Hitchcock, Alfred. See also Vertigo
and modernism, 54–55
use of “false consciousness” by, 55
use of music by, 59n32
Hodgkins, Howard, 394n1
Hoffmann, E. T. A., 125, 174, 231
Hoitenga, Camilla, 104n17
Holl, Steven, 168
Hollein, Max, 329n1
Hoolboom, Mike, 401
Hopkins, Jon, 265
Horizons study (Higgins), 237–38
Horn, Rebecca, 356
Howling for Sade (DeBord)
absence/silence in, 316
reaction at screenings, 318–19
on Situationist idea of psychogeography, 308
Zen for Film comparison, 318
Hoyer, Dore, 357
Human Cello (Paik and Moorman), 386
Hungarian Dance No. 5 (Brahms), 64
Hungary. See also Hungary, art music of
alternative culture sources, 451n8
avant-garde development in, 432–37
influences, in All Fours, 142
poetic development in, 426–27
return of poetic voice in, 436–39
sound poetry, 13, 427, 433–36, 445–46, 447f, 448, 448f
thaws in literature, art, 426
Hungary, art music of, 13, 444–48, 449f
Art Déco, 444
bands/groups, 436, 444
Bizottság (Committee), 444
BP Service, 444
Csokonai Vitéz Műhely, 444
Galopping Coroners (VHK), 444
Konnektor (art music band), 444, 445–47, 446f, 449f
Lois Ballast, 444
multimedia formations, 444
Husserl, Edmund, 226
Huyghe, Pierre, 326
I Am Sitting in a Room (Lucier), 174, 463
Iana, computer program, 104n19
ICH2Intermedial Dance Performance for Planetaria (ICH2), 237, 239–40
analysis of, 244–54
audiovisual friction, 247–48
Calil De Albuquerque and, 246f, 250f, 253f
dance and digital technology, 246–47
dance-media technology relation in, 245–46
dancer double in dream, shadow, mirror-media, 248–50, 250f
Duscher and, 244, 247, 254n4
existential space in, 251
media dome in, 8, 237, 244–49, 252, 254
musical fragments in, 252
Slabon and, 246f, 250f, 251f, 253f
space of expression in, 253–54
staging, 8, 237, 244, 245–46
Ihde, Don, 164, 215, 225–27, 227f
Ikarosz a metrón (Icarus on the Subway) (Ladik), 440
Ikeda, Ryoji
cover of 433″, 320
sound form development by, 261
time and space series, 320
Il fiore della prosa (Lora-Totino), 435f
I’ll Build a Stairway to Paradise-Gershwin (Dove), 22
illusionary spaces, music of, 194–95
Image Auditive (IA) organization, 83, 103n1
image/imagery. See also animation/animated films; audiovisual entries; cinema; experimental films; visual acoustics; visual arts; visual concerts; visual dimensions of musical performance; visual music; specific artists, composers, and pieces
abstract visual, 29, 30–31
architecture and, 172, 174–75
body soundscape and, 257, 258, 261–62, 277–78, 283
electroacoustic music and, 70–76, 78–79
imageless films, 401–2
(p. 519)
in intermedial theatre, 236–54
in light installations, 28, 30, 31
music and, 31, 56, 66, 71, 83–103
poetic speech and, 481, 483f
sound and, 25, 27, 30, 54, 63, 65, 68, 107–21, 402–5, 415, 416–21
sound poetry and, 445–46
sound spectrogram and, 199–200, 202–3
suspension and, 37
“imagetext” (of Mitchell), 125
imagination
animated musical and, 42
architecture and, 174
chugs motif and, 151
combinatory media and, 56–57
Descartes on, 241–42
of Grisey, 192
Lacan’s “imaginary turn,” 237
radiophonic imagination, 169
Schoenberg and, 49
of space, 194
topographical imagination, 181–83
unlimited space in, 241
visual medium development and, 38–39
I Miserabili (Societas Raffaello Sanzio theatre company), 460, 462, 462f, 473, 476n7
The Importance of Being Earnest (Wilde), 339
impressionistic art, 39, 304, 305f
Impressions d’Afrique (Roussel), 377
In Begleitung [In the Company of]433″ (Heitjohann), 323f
Inject (Kolgen), 109, 118–19, 118f, 120
In Real Time audio walk, 217, 223
instrumental theatre, 342–45
“inter artts,” 237–38
Interior with Music (Weber), 20
intermediality in perception and art, 237–44
intermedial theatre, 236–54
acoustic turn and theatre, 238–40
scenography, changes in, 240–41
space and “being-in-the-middle,” 241–43
Interweaving Voices video collection, 127
Intolleranza 1960 (Nono), 84
L’invention du quotidien (Certeau), 222
the invisible, Ihde’s sonic inquiry into, 225–27, 227f
Invitation-Ionisation (Spatola), 321f, 430
iPad, 114
IRCAM, music research and production center, 88, 104n19, 272
Isaac, Heinrich, 131
Isadora, software program, 88
Isou, Isidore, 408, 429
Jacobs, Henry, 28–29
Jacobs, Ken, 408, 417
Janequin, Clément, 68
Japanese kabuki theatre, 346
Jaques-Dalcroze, Émile, 239
Jay, Martin, 172
The Jazz Singer (Crosland), 399
Jeanneret-Gris, Charles-Édouard. See Le Corbusier
Jena Memoryfield Walk audio walk, 217, 223
Jewish Museum (Germany), 182
Johnson, Jimmy, 31
Johnson, Mark, 141
Jordan, Randolph, 9, 289–313
Jordan, Stephanie, 140
Joseph-Hunter, Galen, 329n1
Journal of New Music Research, 80n11
Joyce, James, 168
Ju Percussion Group, 116–17
Jutojo collective, 120
Jutz, Gabriele, 12, 397–422
kabuki theatre (Japan), 346
Kaduri, Yael, 1–14
Kagel, Mauricio, 11
instrumental theatre of, 239, 342–45
“low-fidelity” aesthetic of, 389
Match for three players, 344–45
Rebstock’s arrangement of work of, 343
Staatstheater, 343
Sur scène, 239, 343–44, 347, 351, 352
Kager, Reinhard, 336
Kahn, Douglas, 392
“Kammermusikalische Theaterstück,” 239
Kandinsky, Wassily, 3, 62–63
Concerning the Spiritual in Art, 375, 376, 378
De Duve’s observation on, 376
Duchamp comparison, 382–83
Der gelbe Klang, 86
purism in the work of, 371
(p. 520)
Reminiscences, 375–76, 377
synesthesia and, 86
turn to musical analogies, 168
Kant, Immanuel, 167, 242
Karttunen, Anssi, 92f, 104n17
Kassák, Lajos, 426, 451n11
Kennedy, Raphaële, 95f
Kernel (Van Acker), 268–69
Kim-Cohen, Seth, 169, 327
kinematics of sound, 260
The King’s Speech, 494, 495f, 498, 500n3
Kino Da! (Hills), 403–5
Kirby, Michael, 346–47
Kirkegaard, Jacob, 174–75
Kittler, Friedrich, 57n5
Klangfarbe. See timbre
Klauser, Manuel, 254n4
Klee, Paul, 3, 79n1, 86, 168, 386
Klein, Yves, 315–17, 317f, 356
Knighton, Seymour, 290
Knoop, Mark, 351–52, 354n1
Kolgen, Herman, 107–20
analog media work, 112
analytic perspectives of work, 110–11
“audiocinetic” sculpture of, 5, 111–12
collaborations, 114–17, 116–17, 120
Different Trains, 109, 113–16, 115f, 116f
on digital data, 112
Dust, 109, 112–13, 113f, 115, 119
Dust Accumulation Series, 112
Dust Restriction, 119
Flesh+Wood+Metal, 110, 110f, 111, 114
formats/genres explored by, 108–12
image/sound, approach to, 113–14
Inject, 109, 118–19, 118f, 120
installations, performance, performativity, 114–20
iPad interface design by, 114
live cinema work of, 108–12
a mínima examination of, 121n2
Overlapp, 115
performativity in works of, 119–20
self-description of work, 109, 111
Silent Room, 109
Skoltz’s work with, 109
Stochastic Process, 119, 120f
Train Fragments, 109, 114, 115–17, 115f, 117f
use of technology, audiovisual coupling, 112–14
Konnektor (Hungarian art music band), 444, 445–47, 446f, 449f
Krauss, Rosalind, 407, 422
Kren, Kurt, 413
Krieger, Ulrich, 321
Kriese (Circles) (Fischinger), 32n7
Kubasov, Dmitry, 290
Kubelka, Peter
Arnulf Rainer, 401, 409
Unsere Afrikareise, 406
Kubota, Shigeko, 384, 394n11
Kubrick, Stanley, 4
Kunsthalle, Schirn, 329n1
Kupka, František, 79n1
Amorpha, Fugue in Two Colors, 378
Kurokawa, Ryoichi, 109
Kursell, Julia, 7, 192–211
LaBelle, Brandon, 169
Lacan, Jacques
“imaginary turn” of, 237
“mirror stage” of, 243
Other and the Mirror of, 8
Laconisme de l’aile (Saariaho), 93, 103n10
Ladik, Katalin
Ballada az ezüstbicikliről, 440
Chopin’s description of poetry of, 442–43
Elindultak a kis piros buldózerek, 440
gestuality milestone, 443
Ikarosz a metrón, 440
Mesék a hétfejű varrógépről, 440
A parázna söprű, 440
UFO- NOPOETICA, 443, 443f, 451n17
Lady Hamiltons Attitudes (Annis), 360
L’Aile de songe (Saariaho), 103n10
“Lake Traun in the Morning” (Schoenberg), 50
Lamb, Gabrielle, 100f
Lambart, Evelyn, 66
(p. 521) L’Amour de loin (Saariaho), 98–99, 99f
Landry, Dickie, 176
Landscape and Memory (Bainbridge), 181
Langer, Susanne, 165
Langheinrich, Ulf, 262
language
abstract, of painting, 375–76
“abstract verbalisms,” 427–28
acoustic realism and, 196
of action, 38, 43
American Sign Language, 143
in Ancient Greek theatre, 236
audiovisual, 268
cultural differences, properties, 368
of digital data, 112
formal/aesthetic properties of, 168
Hoolboom’s thoughts on, 401
in ICH2, 252–53
of images, 56
of movement, 275
onomatopeic (onomalingua), 427
physical qualities of, 12–13
Rousseau on, 48
“sign language of the body,” 239
of signs, 39
in sound poetry, 426–51
speech act relation to, 224
visual, 2, 3
vocal functions of, 20th century, 427–29
language crisis, 59n36
Lanx (Van Acker), 268, 269, 271f
Lanza, Alcides, 330n15
Laokoon (Lessing), 164–65
Large Glass (Duchamp), 112, 377
A Large Slow River audio walk, 217, 223
The Last Performance (Bel), 363, 365
Lastra, James, 405–6
Laterna Magika (Radok and Svoboda), 84
Laurin, Ginette
founding of O Vertigo, 275
Onde de choc, 275–76, 276f, 277, 284f
sound production in works of, 282
soundscape creation, 276–77
Lautgedicth (Ball), 427–28
Lawler, Louise, 389, 391
lecture performances in dance, post-1990s, 356–68
Affectos Humanos (Hoyer), 357, 366
cultural differences in, 367–68
“Dance of the Future” (Duncan), 365
Feminine Figures (Annis), 366f
Jérôme Bel (Bel), 357
Lady Hamiltons Attitudes (Annis), 360
The Last Performance (Bel), 363, 365
“lecture performance” description, 361–64
Lutz Förster (Bel), 360, 364
Meine Mischpuche (Simon), 360
Perform Performing (Roller), 360, 364
Pichet Klunchun and Myself (Bel), 357, 364, 367–68
Product of Circunstances (Le Roy), 360, 361, 363, 364
Saal (Walker), 364
Urheben/Aufheben (Nachbar), 357, 360, 363, 365, 367f
Véronique Doisneau (Bel), 358–60, 364
Wandlung (Linke), 365
Lefebvre, Henri, 164, 165
Lehmann, Hans-Thies
on “irruption of the real,” 341
parataxis of, 337
postdramatic theatre of, 336–37
on “production of presence,” 341
remarks on simultaneity, 337
Leibowitz, René, 127
Leipp, Emil, 200
Leitner, Bernhard, 170
Le Roy, Xavier, 357
Product of Circumstances, 360, 361
Lessing, Gotthold, 164–65, 383
Lettrism movement, 416, 429. See also Isou, Isidore; Seuphor, Michel
Lévinas, Michaël, 199
Levine, Sherrie, 389
Libeskind, Daniel, 176, 182, 184
Lichtbogen (Saariaho), 93, 101–2
Lichtspiel Opus 1 (Ruttman), 25, 63
Licklider, J. C. R., 206
Ligeti, György, 28, 343
Atmosphere, 4
(p. 522) light installations
Belson on projection systems, 28
Bragdon/Fischinger, experimentation, 28
at concert performances, 28
of Steinkamp, 30, 31
sustainability issues, 29
light projection, 27–29
light shows, 28, 84, 88
Lim, Liza, 168
Linke, Susanne, 365
Linker, Kate, 230
Lip Lock (Marclay), 388
Lippard, Lucy, 163
listening. See also hearing
acousmatic listening, 476n17
Ihde’s ontology/phenomenology of, 164, 225–27
reduced listening, 169–70, 293–94
reflective listening, 295
semantic listening, 339
to silence, 316–20
in Véronique Doisneau, 360
Little Match Girl (Andersen), 470–71
live cinema
Alexander on, 121n3
description, 9
Jutz on, 12
ongoing transformations in, 121n3
performance characteristics, 417
term derivation, 108
work of Kolgen, 108–12
Live Cinema Festival (2008), 109
Lohengrin (Wagner), 62–63
Lohner, Henning, 319
LOL software, 272
Long, Richard, 224
Lonh (Saariaho), 94, 95f
Loop (Steinkamp), 30, 31
Loops (McLaren), 406
Loos, Adolf, 165, 167
Lora-Totino, Arrigo
Il fiore della prosa, 435f
poesia ginnica (“Gimmic Poetry”), 432, 434 [link] –435 [link]
visual poems of, 432
Louisiana Walk audio walk, 232f
Louvin Brothers, 143
Love, You Have Won (Morris), 143
Löwensohn, Elina, 290
Lucier, Alvin, 174–75, 463
Lulu (Berg), 85
Luminet, Jean-Pierre, 208
Lund, Cornelia, 5, 107–121, 121n2
Lund, Holger, 121n2
Lutz Förster (Bel), 360, 364
Lye, Len, 27
Lyotard, Jean- François., 293
Maa (Saariaho), 99, 100f, 101
Maalouf, Amin, 98
Macauly, Alastair, 159n5
Macdonald-Wright, Stanton, 22–23
Synchrome Kineidoscope, 24, 24f, 25
Mac Low, Jackson
Phone, 431–32
Twenties or the French Sonnets, 431
madrigals, 56
Magnes, Michel, 254n4
A Major Sonata K. 331 (Mozart), 130
Malka, Raija, 86
Mallarmé, Stéphane, 168, 429, 431
Manchon-Theis, Jeanne, 132
Manifeste du groupe des peintres ’Les artistes musicalistes’ (Blanc-Gatti, Bourgogne, Stracquadaini), 394n6
Mann, Philip, 115
Man Ray, 112, 392
Manrique, Jorge, 76
Marclay, Christian, 12, 371
The Bachelors, even, 389
Bouche-Oreille, 392
Breathless I, 388
Cage, 392–93
Drumkit, 388
Drumsticks, 388
Guitar Drag, 388–89
Lip Lock, 388
Record Without a Cover, 389–90
Secret, 392
The Sound of Silence, 391, 391f
Up and Out, 391
Virtuoso, 388
Marinetti, Filippo T., 428
Marks, Laura, 293
(p. 523) Marquis, Alice Goldfarb, 394n7
The Marriage Between Zones Three, Foun and Five (Glass), 488
Martha Graham Company, 99
Martin, Adrian, 293, 295
Masolle, Joseph, 399
Mason, Benedict, 182–84
Match for three players (Kagel), 344–45
Matisse, Henri, 20
Matta-Clark, Gordon, 176
Má vlast ( Smetana), 194
Max, software program, 88
MAX/MSP Jitter, 107, 260
Mayer, Petra Maria, 8
McClure, Bruce, 417–16
McCombe, Christine, 174
McGregor, Wayne
Entity, 267
FAR and, 256f, 265, 266f, 267–68
Qualia, 265
on renovation of perception, 268
sound production in works of, 282
McKeever, Ian, 394n1
McKenzie, Jon, 368n2
McLaren, Norman
Begone, Dull Care, 66
Dots, 406
Loops, 406
McLuhan, Marshall, 9, 164, 325
Mead, Andrew, 131
Meat Paradoxe (Choinière), 278, 280f
“media dome” in ICH2, 8, 237, 244–49, 252, 254
medium as message, 9
Meine Mischpuche (Simon), 360
Memory of a Symphony (Weber), 20
Menche, Daniel, 421
Merleau-Ponty, Maurice, 172–73. See also phenomenology
on “being in the middle,” 8
embodiment theories, 237, 327
on relation of man to “other,” 243
Mersch, Dieter, 359
Mesék a hétfejű varrógépről (Stories of the Seven-Headed Sewing Machine) (Ladik), 440
Messiaen, Oliver, 86–87, 204
Messier, Martin, 276–77
meta-narrational presence, 69
metaphor
creative process and, 18
Johnson on, 141
in La Passion de Simone, 99
of Manrique, 76
musical, 63, 64
music-dance relationship and, 6, 140, 141
painting and, 63
Saariaho and, 86–87, 93
significance of, 141
suspension and, 51
Metzger, Heinz-Klaus, 342
Meyer, Patra Maria, 236–254
micro-space, 7, 193–94, 199–201
MIDI keyboard, 5
Miller, George Bures, 215–18, 222–34. See also audio walks (of Cardiff and Miller)
mimesis
in counter-development in music, 4
in electroacoustic music, 67–69
Emmerson’s definition, 67–68
semiotic communication and, 68–69
shift from, toward abstraction, in painting, 62–63
mimetic discourse vs. aural discourse, 67
mimetic space, 67–68
minimalist sound poetry, 429
Miroir des Songes (Saariaho and Jean-Baptiste Barrière), 101, 102f
“mirror stage” (of Lacan), 243
The Missing Voice audio walk, 217, 223, 224, 227, 227f
Mitchell, William, 125
Mitchell, W. J. T., 175
MMus seminar, on experimental music theater, 354n1
mobile color music, 22–27
modality (modal structure)
aural, 55
description, 58n10
narrative modality, 42–43
in “The Sorcerer’s Apprentice,” 42–43, 45–47
in Vertigo, 51
(p. 524) “models of resonance” technique, 93–94
modernism, 18. See also postmodernism; Xenakis, Iannis
contributions of, 3, 13
Le Corbusier and, 165
Darmstadt modernism, 181
fine art and, 11–12
Hitchcock and, 55
interconnections in, 1, 3
musical, 3–4
on music as the art of time, 165
operatic forms of, 335–36
performative aspect of music and, 10
technological inventions and, 18
visual-auditory connectivity and, 36, 37, 54
visual music and, 17
Modulations (Grisey), 204
Moebius strip, 245
Moholy-Nagy, László, 165, 411–12
molecularization of sound, 260, 261–62
Mon, Franz, 430, 430f
Monahan, Gordon, 163
Monasterio, Manuel Gerardo, 135n1
Monastery of La Tourette, 167
Moncrieff, Algernon, 344, 347
Monk, Meredith, 480
Monod, Jacques-Louis, 132
Monsaingeon, Bruno, 127
Mood Contrasts (Bute), 406
Moonen, Rob, 327, 330n17
More Silent Than Ever (Ondak), 328–29
Morris, Mark, 138–59. See also All Fours (Morris)
folk dance background, 142
Love, You Have Won, 143
Macauly’s description of, 159n5
on “small shards of sound,” 139
Songs That Tell a Story, 143
structural density comparisons by, 139
Morris, Mitchell, 499–500n1
Morrison Planetarium (San Francisco), 28
Moses and Aaron (Schoenberg), 54
motif development, in All Fours, 141–42, 144
Motion Painting No. 1 (Fischinger), 406
Mouglalis, Anna, 290
movement as geometry of sound, 272, 273 [link] –274 [link] , 275
A Movie Will Be Shown Without the Picture (Lawler), 389, 391
Müller, Rémy, 272
Münster Walk audio walk, 223
Murail, Tristan, 199
Musée d’Art Contemporain de Lyon, 215
Museum of Modern Art (New York City), 372
music. See also architecture and music; musical performance; musical space; music and space; music in art; music spatialization; musique concrète; visual music
Adorno on music and time, 165
architecture and, 164–68
Cage’s radicalization of, 387
chattels of, 388–92
concerts, performance screenings at, 27–28
diegetic vs. non-diegetic, 47
Dow’s beliefs about, 19
as embodiment of language of action, 38, 43
for the eyes, 3
film music, approaches to, 125
formal objectification of, 167–68
generation in, 36–48
Greek and Roman theories, 167
in ICH2, 252
as key concept in Fluxus, 373
modernist thinking on, 165–66
multimodality of, 166
musical analogy, 19–20, 22–23
musical ekphrasis, 56
musical expressionism, 195–96
musicality in pictures, 86
musicalization of theatre, 238–39
musical micro-space, 7, 193–94, 199–201
musical modernism, 3–4
musical objects, 383–87
musical theatre, 5–6
musicking, 166
music performativity, 11–12
painting, readymade concept, and, 377–83
as paradigm for visual art, 17–18
pictoriality in, 86
as poetic mechanism, 427
sound art vs., 168–70
sound design and, 481
(p. 525)
space/spatiality in, 165
synthetic musical projects, 86
“time made audible” virtual field, 165
unfolding of, into image, 83–103
visual arts competition with, 315
visual concerts and, 91–93
Xenakis’ “rhythmic density” in, 167
Music, Space, Reflection (Bainbridge), 182
Musica, Corpo, Espressione (Socìetas Raffaello Sanzio theatre company), 466
De musica (St. Augustine), 166
musical performance
acceptance of “noise” with, 339
aspects of, 117, 124
Cage and, 339
gestural qualities of, 125, 343
integration of astronomic objects, 208
of Paik, 385
presentational frame of, 344–45
significance of visual aspects of, 6, 124
social interactions and, 166
something (Fox), 353
Sonant (Kagel), 346, 347, 349
Sur scène (Kagel), 346, 347, 349
tensions within, 345, 347
theatrical dimension, 346, 347, 349
visual dimensions of, 117, 124–25
musical space
astrophysical space vs., 193–94
Grisey’s creation of, 193–94
macro space, 7, 193
micro-space, 7, 193–94, 199–201
pre-19th century view of, 194
Schoenberg’s concept of, 197–99
timbre and, 196
twentieth century concepts of, 193
virtual space added to, 4
music and space, 177–85
acoustics, 177–78
atonal sounds in space, 195–99
spatialization in modernist music, 178–79
spatialization in postmodernist music, 179–81
spatial music and the theatrical, 183–85
topographical imagination, 181–83
Music for a House (Stockhausen), 179
Music for Concert Halls (Mason), 182–83
“Music for Strings, Percussions and Celesta” (Bartók), 168
musicimagetext, 125
music in art, 371–95. See also Duchamp, Marcel
Music-Pink and Blue I (O’Keeffe), 19
Music-Pink and Blue II (O’Keeffe), 19
music spatialization, 7, 69
in modernist music, 178–89
postmodern, 179–81, 180f
and the theatrical, 183–85, 184f
Music Walk (Cage), 342
musique concrète
electroacoustic, 482
Ferrari’s representation of, 247–48
films of Grandrieux and, 293–96
Guidi’s score of, 468
Hainge’s approach to, 294
reduced listening inspired by, 293–94
musique d’ameublement (furniture music) (Satie), 359
Mutek Festival (Montreal), 107
Muthesius Academy of Fine Arts and Design, 237, 244, 252, 254n5. See also ICH2 Intermedial Dance Performance for Planetaria
My War Years: Arnold Schoenberg movie (Weinstein), 51, 59n35
N (Preljocaj, Langheinrich, Hentschläger), 262, 263f, 264–65
Nachbar, Martin
Urheben/Aufheben, 357, 360, 363, 366–67, 367f
Nagano, Kent, 98
Nagy, Zsolt, 290
Nancy, Jean-Luc, 164, 166
narratological perspective, 40, 57n9, 109
Naumen, Bruce, 328, 329
Neo-Dada in der Musik event, 385
Nervous System (Jacobs), 417
Neuhaus, Max, 170–71
Neumann, Gerhard, 364
The New Atlantis (Bacon), 186
New Music Associates concert, 127, 128
New Ontology of Music (Paik), 387
New York School, 371
(p. 526) Niblok, Phill, 261
Nietzsche, Friedrich, 42
night music, 143, 145–46
NIGHTS exhibition, 329n1
1984 (Orwell), 329
Nixe (Van Acker), 269
Noa Noa (Saariaho), 94, 95f
Nocturne (Chopin), 339
Nocturne (Saariaho), 101
Noé, Gaspar, 292
Le Noir de l’étoile (Grisey)
astronomical origins of, 192–94
audience/players, distribution schema, 210f
origin/development of, 193
outer space sounds in, 192–93, 208, 210
percussive synthesis in, 193, 207–10
staging space in, 207–11
Nono, Luigi, 84, 181
non-synchronization, 403
Norman, Katharine
on meta-narrational presence, 69
on “reflective listening,” 295
on soundscape composition, 295
Nothing exhibition, 329n1
nothingness
aim of, 9–10
Cage’s 433″ and, 315
emergence, mid-twentieth century, 315
representative modern works, 319
tracks/track-layer and, 220
Novarino, Valère, 459
Nox Borealis (Saariaho), 101–3
“Nuper rosarum flores” motet (Dufay), 166
Nyman, Michael, 277
A Nyolcak (“The Eight”) painters’ group, 426
Nyugat (“West”) journal, 426
object sonore notion (Schaeffer), 293
Objet-Dard (Dart-Object) (Duchamp), 392
Obtus (Van Acker), 268, 269, 270f
O’Callaghan, Casey, 163
000” (4’33” No. 2) (Cage), 319, 325–26, 341–42, 346
O’Keeffe, Georgia, 79n1
Blue and Green Music, 19
Dove’s comparison with, 20
Dow’s influence on, 20
Macdonald-Wright’s comparison with, 23
Music-Pink and Blue I, 19
Music-Pink and Blue II, 19
Specials, 19
Oliveros, Pauline, 179–80
Ondak, Roman, 328–29
Onde de choc (Laurin), 275–76, 276f, 277, 284f
One (Cage), 319–20, 326
One for Violin Solo (Paik), 385, 389
Ono, Yoko, 356
onomalingua (onomatopeic language), 427
onomatopeismo, 428
“on-the-air sound” (Chion), 302
On the Sensations of Tone as a Physiological Basis for the Theory of Music (Helmholtz), 195
On the Soul (Aristotle), 237
opera, 56, 84–86
Optical Sound Films (Sherwin), 413, 414f
Orange Grove in California-Irving Berlin (Dove), 22
Oratoria n.1. Rimpatriata artistica (Socìetas Raffaello Sanzio theatre company), 460
Oratoria n.3 Interferon, 1984; Il gran reame dell’adolescenza, (Socìetas Raffaello Sanzio theatre company), 460
orchestral synthesis, 199, 202, 203, 208
L’Orestea: An Organic Comedy (Socìetas Raffaello Sanzio theatre company), 464–65, 465f, 467–68, 476n11
Orghast in Persepolis (Brook), 462
Ornament Sound Experiments (Fischinger), 25–26
Orphism, 378–79
Orwell, George, 329
Overlapp (Kolgen), 115
Override (Gibson and Recoder), 421
Owen, Ben, 421
Pääkkölä , Anna-Elena, 500n2
Paik, Nam Jun, 12, 371
Concerto for TV Cello and Video Tape, 85, 388
on Duchamp, 372
Étude for Pianoforte, 392–93
Exposition of Music-Electronic Television, 372, 385, 386–87, 389
(p. 527)
Human Cello (with Moorman), 386
on Kandinsky, 385
musical background of, 373
New Ontology of Music, 387
One for Violin Solo, 385, 389
Random Access, 389
readymade and, 384–85
A Tribute to John Cage, 321–22
Video Viewpoints lecture, 372–73
Violin with String, 386, 388
Zen for Film, 318
Zen for Walking, 385–86, 385f, 388
painterly abstraction artists, 394n1
painting. See also abstract painting
from mimesis to abstraction in, 62–63
music, readymade concept, and, 377–83
pure painting, 373–77
painting in time, in Lichtspiel Opus 1 (Ruttman), 63
Palasovszky, Ödön, 451n11
Palestine, Charlemagne, 406
Pallasmaa, Juhani, 173
Palm, Siegfried, 345
Palmer, Tim, 292
Pan Sonic, 249, 261, 268
parametric mapping, 72–73, 74, 76
parataxis, 337
A parázna söprű (The Promiscuous Broomstick) (Ladik), 440
paroliberismo (“free- word style”), 428
Parreno, Philippe, 320
Partch, Harry, 111
Particular Behavior (Jutojo and Sollman), 120
Partition du Silence [Score of Silence] (Huyghe), 326
Pasello, Silvia, 468
passage à l’acte (Arnold), 403
The Passage from Virgin to Bride (Duchamp), 376–77
Passagen (Ponger), 402
La Passion de Simone (Saariaho), 99, 100f
Pater, Walter, 48, 374
Path to Orthona (Bainbridge), 181
Les Peintres cubistes (Apollinaire), 378–79
Peirce, Charles Sanders, 406
Pellegrino, Ron, 71–72
perception
acoustics and, 177
architecture and, 172, 174
by audiences, function of, 240
in audiovisual spaces, 9, 11, 14
auditory, of form in movement, 2
Cardiff’s audio walks and, 216–17
in complex gestalts, 74
Crowther on, 139
electroacoustic music and, 65
Les Espaces acoustiques and, 209
experimental sensory physiology view, 196
generation/suspension and, 38
Grisey on, 200, 202, 205
hearing, importance of, 241
image influence on, 71
intermediality in, 237–44
Mason’s interests in, 182
McGregor on renovation of, 268
Neuhaus on, 170
Schoenberg and, 198
of simultaneity, 215
“soft periodicity” of, 205
spatial perception, 223
trans-modal perception, 69, 70–71, 80
transsensorial perception, 134
Tsangaris’s exploration of, 184, 185
visual/motor-tactile perception, 110
Winkler’s lectures on, 214
Les Percussions de Strasbourg, 193
performance studies (Phelan and Schneider), 357
performative materiality, 12
performative physical acts, 13–14
performative synthesis, 12
performative turn in music, 10
performativity
Fischer-Lichte’s definition, 121n2
in Kolgen’s pieces, 119–20
music performativity, 11–12
vocal performativity, 12–13, 14
Perform Performing (Roller), 360,