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Sound Art Or Klangkunst? a Reading of the German and English Literature on Sound Art

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Sound Art Or Klangkunst? a Reading of the German and English Literature on Sound Art Sound Art or Klangkunst? A reading of the German and English literature on sound art ANDREAS ENGSTRO¨ M y and A˚SA STJERNAz ySankt Eriksgatan 114, 113 31 Stockholm, Sweden E-mail: [email protected] zWittstocksgatan 8, 115 24 Stockholm, Sweden, http://www.asastjerna.se The article is a study on the literature of sound art from two Klangkunst, the French arts sonore, the Swedish languange areas, German and English. The text reveals two ljudkonst. Two different languages seemed to dominate: different discourses. The German texts on Klangkunst (sound German and English. What seemed to be of special art in German) focus upon the sound material’s relation to a interest was that the titles and abstracts indicated dif- spatial location where sound sculptures and installations are ferent academic discourses. The German abstracts given central focus. These are genres that transcend the old leaned towards topics relatedtospatiality,whilethe divisions between spatial arts (Raumkunst) and the time-based arts (Zeitkunst). A strong emphasis on the dual aspect of seeing English abstracts could be described as much more and hearing could be described as a central point of departure. ‘open’ in the usage of the term sound art, and were more Klangkunst concerns an investigation of both time and space, connected to the musical tradition. Both terms empha- through ear and eye. In the English literature on sound art, sise sound as the aesthetic material, but Klangkunst there are often references to sound’s inner aesthetical qualities. seemed to focus upon the sound material’s relation to a The perspectives on sound’s relation to room is evident also spatial location as the essential component. The litera- here, but the perspectives are however broader, in the sense that ture within the field confirms that the German texts the aspects of space and locality are diversified and pluralistic. on sound art differ in essence from the English. One will find an even larger scope of literature and references if This text does not focus on sound art itself as an the area of sound art also includes cultural-studies perspectives artistic practice; rather, it is intended to be a reading of on sound, sonic experiences and acoustic phenomena, the influx the literature and the academic discourses. By studying of new technologies on the everyday soundscape, and sound design. These are areas often referred to when speaking about a body of literature within the field, one might attain the ‘sonic turn’. The way the term sound art is handled in an understanding for how cultural discourses are English texts is often very vague. The German study of created and through this obtain perspectives on how Klangkunst developed within the academic field of musicology. artistic fields of activities are defined depending on There has been a fruitful collaboration between musicologists, academic traditions and spheres of written media.2 publishing houses, music journals, galleries, academic institutions and higher art education, which together has helped to establish Klangkunst as an artistic expression and theoretical II discourse. This strong intellectual infrastructure has been important in the ‘construction’ of the concept Klangkunst. In the German literature on Klangkunst the major The two separate theoretical discourses not only deal with the work and reference is the anthology Klangkunst – concept of sound art differently. Although many of the artists To¨nende Objekte, Klingende Ra¨ume, from 1999, edited are dealt with in both the English and the German literature, by Helga de la Motte-Haber. This book is one volume there are very seldom references to the German literature in the of a total of thirteen in an edition on twentieth-century English texts. This tendency is not reciprocal. music. Although Motte-Haber considers Klangkunst as a general, multifaceted concept, the musicological identity is strong, although complemented with an art I historical perspective. The starting point for this article was a search in the The anthology takes as its starting point the rela- musicological publication archive RILM in September tionship between the art forms and the development 2006.1 The search gave 238 hits for the phrase ‘sound of the synaesthetical concept during the nineteenth art’. Through a translation function, words synon- century, and then clearly dissects the twentieth ymous with sound art were translated and included century’s expanded concept of art and the so called ‘dis- in the search, including terms such as the German solution of the art forms’ (Motte-Haber 1999: 11–65). 1This was undertaken as research for an article in the Swedish 2In this text the term sound art is used when referring generally to journal Nutida Musik, co-written by the authors of this text the subject. When referring specifically to the English and German (Engstro¨ m and Stjerna 2006/07). discourses, sound art and Klangkunst are used respectively. Organised Sound 14(1): 11–18 & 2009 Cambridge University Press. Printed in the United Kingdom. doi:10.1017/S135577180900003X 12 Andreas Engstro¨m and A˚sa Stjerna The genre Klangkunst should be seen in the light of to a possible concept and philosophical phenomenon the traditions of Raumkunst or spatial arts, and to be investigated with sound. Zeitkunst, time-based art forms. These two terms can Bernd Schulz claims that the development of sound be traced back to the eighteenth century and the art is to be seen in the light of the expanded concept establishment of aesthetics as a philosophic and of sculpture, and stresses the spatial aspects of an art academic discipline. Sculpture and installation belong form that is primarily not music. ‘In the course of the to the spatial arts, while music, with its performative past two decades, on the frontier between the visual act and narrative form belongs to the time-based art arts and music, an art form has developed in which forms. With the development of technology in the sound has become material within the context of an twentieth century, these two art forms have changed, expanded concept of sculpture’ (Schulz 2002: 14). in ways that concern not only the technological The ‘expanding concept of sculpture’, one of the aspect, but the very ontological level of these art cornerstones in the German discourse, is emphasised forms as well. New aesthetical attitudes have gener- by Helga de la Motte-Haber in the catalogue to the ated new aesthetical expressions, which belong nei- exhibition Sonambiente 1996. In the introduction, ther to the Raumkunst nor to the Zeitkunst – such as Motte-Haber states that Klangkunst does not include Klangkunst. new performative aspects of music. Rather, by Sound sculpture and installations are given central emphasising an art historical perspective, and by focus, and their historical development is presented regarding the art form as the result of an evolutionary in two separate chapters.3 Also ‘sound in public space’ process, a new art form has emerged that involves is investigated in detail (Fo¨ llmer 1999). The points two senses, hearing and seeing: of departure are the spatially related aspects, such as Klangkunst means in the first place not the many music the soundscape – but also here, the sound sculpture performances, for which, with help from synthesisers and andthesoundinstallationdominate.Klangkunst is not computers, artists develop new instruments that demand regarded in terms of being a performative art, and new performing techniques. Music performance might well genres such as radio art and electroacoustic or acous- have a place on the vague border with Klangkunst,andit matic music are not discussed within the volume. has also become much broader, following action art. Other articles and anthologies from around the same Klangkunst in the narrow sense is, however, mainly defined time use similar perspectives as in Klangkunst.Inan through new aesthetical implications, which have crystal- introduction to an anthology, Sabine Sanio writes lised over the course of a long historical process. To this about the changed identity of the spatial and time- belongs an abandonment of the strong differentiation based art forms, and stresses that Klangkunst does not between spatial and time-based qualities, which had already been questioned by the musicalisation of painting mainly involve performativity. ‘The increasing meaning and abolished with the onset of process art. Through this, of the spatial dimension corresponds to a relativisation every purist concept of the artistic material, which assumed of musical time, which in the concert music is the only a division between the eye and the ear, was dissolved. An real musical dimension. In Klangkunst this cannot be art form emerged that wanted to be heard and seen at the regarded as independent of other aspects, and espe- same time. cially not of the room.’ [Dem Bedeutungszuwachs der ra¨umlichen Dimension entspricht eine Relativierung der [Klangkunst meint nicht in erster Linie die zahlreichen musikalischen Zeit, die in der Konzertmusik als eigen- Musikperformances, fu¨r die, durch Syntheziser und Com- tliche musikalische Dimension gilt. In der Klangkunst puter angeregt, Ku¨nstler neue Instrumente entwickelten, die kann sie kaum unabha¨ngig von den anderen Aspekten individuelle Spielformen erfodern. Die Musikperformance und insbesondere dem des Raums betrachtet werden.] kann wohl einen Platz an den unscharfen Ra¨ndern der Klangkunst haben, und sie hat in der Nachfolge der (Sanio 2000: 12). Space and site has through
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