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Applying Sound Art Research in Modern Electronic Music Production Glitch, Loop, Plunderphonics and Sound Collage As Tools of Production

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Applying Sound Art Research in Modern Electronic Music Production Glitch, Loop, Plunderphonics and Sound Collage As Tools of Production Vladimir Radinović [email protected] MA in Digital Culture Department of Art and Culture Studies University of Jyväskylä October 2011 Applying sound art research in modern electronic music production Glitch, Loop, Plunderphonics and Sound Collage as tools of production 1 JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Faculty of Humanities Digital Culture Tekijä – Author Vladimir Radinovic Työn nimi – Title Applying sound art research in modern electronic music production. Glitch, Loop, Plunderphonics and Sound Collage as tools of production. Oppiaine – Subject Työn laji – Level Digital Culture MA Aika – Month and year Sivumäärä – Number of pages 10/ 2011 40 Tiivistelmä – Abstract This work is done as an empirical research of sound art and its relation to modern electronic music. Sound experiments conducted for this research follow some of the key ideas in the history of sound art and illustrate how these ideas have influenced electronic music producers. Divided in four parts, these research discuses the relation between art and popular music, and shows how art music experiments can be used as tools of production in modern electronic music. First chapter covers Glitch and Loop and their role in interplay between immediacy and hypermediacy of loop based music, while second and third look into alternative sound sources and sampling as a form of expression and a tool for sound collage. Finally in conclusion all of the research comes together and illustrates how these sound experiments can and are being used in the production of one of the newest and most popular electronic music genre - Dubstep. Asiasanat – Keywords Sound Art, Glitch, Electronic Music, Plunderphonics, Loop, Field Recordings Säilytyspaikka – Depository Muita tietoja – Additional information 2 JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Humanistinen tiedekunta Digitaalinen Kulttuuri Tekijä – Author Vladimir Radinovic Työn nimi – Title Applying sound art research in modern electronic music production. Glitch, Loop, Plunderphonics and Sound Collage as tools of production. Oppiaine – Subject Työn laji – Level Digitaalinen Kulttuuri MA Aika – Month and year Sivumäärä – Number of pages 10/ 2011 40 Tiivistelmä – Abstract Tämä työ tehdään empiirisenä tutkimuksena äänitaiteesta ja sen suhteesta moderniin elektroniseen musiikkiin. Tätä tutkimusta varten suoritetut äänikokeilut seuraavat muutamia äänitaiteen historian pääsuuntauksia ja kertovat, miten nämä suuntaukset ovat vaikuttaneet elektronisen musiikin tuottajiin. Tutkimus on jaettu neljään osaan, joissa tutkitaan taiteen ja populäärimusiikin välistä suhdetta. Lisäksi kerrotaan, kuinka kokeellista musiikkitaidetta voidaan käyttää modernin elektronisen musiikin tuotantotyökaluna. Ensimmäinen kappale käsittää Glitch- ja Loopmusiikin väliset roolit välittömän ja välillisen nautinnon tuottajana Loop-pohjaisessa musiikissa. Samalla toinen ja kolmas kappale tutkiskelevat vaihtoehtoisia äänilähteitä ja niin sanottua "sämpläystä" (sampling) ilmaisun muotona ja työkaluna äänikollasien luontiin. Lopuksi kaikkien tutkimusten kerääntyessä yhteen nähdään, kuinka vastaavia äänikokeiluja voidaan käyttää, ja käytetään uusimman ja suosituimman elektronisen musiikin genren - Dubstepin - tuotannossa. Asiasanat – Keywords Äänitaide, Glitch, Elektroninen musiikki , Plunderphonics, Luuppi, Kenttä-äänitykset Säilytyspaikka – Depository Muita tietoja – Additional information 3 I would like to thank my family and friends who supported me during my studies. All the staff at the University of Jyväskylä and Hochschule Bremen for their time and knowledge invested in all the classes I attended. Also all my colleagues and friends without whom these three years would not be so interesting. This thesis is dedicated to loving memory of Leposava Mijušković, Bogdan Radinović, Gojko, Radojka and Žarko Bajić. 4 Table of Contents 1. Introduction ................................................................................................................................. 6 2. Glitch as a tool of hypermediacy ................................................................................................ 8 2.1.The role of phonograph in deterritorialization of sound ....................................................... 9 2.2.New Media and Glitch ........................................................................................................ 11 2.3.Sonic textures and immediacy............................................................................................. 12 2.4.Glitch and hypermediacy .................................................................................................... 13 2.5.References ........................................................................................................................... 15 2.6.Recordings Mentioned ........................................................................................................ 16 3. Alternative sound sources – sound data digging and plunderphonics ...................................... 17 3.1.About Safe Distance ............................................................................................................ 17 3.2.History of Plunderphonics ................................................................................................... 18 3.3.Digging in the crates ........................................................................................................... 19 3.4.Digital Plunderphonia ......................................................................................................... 21 3.5.References ........................................................................................................................... 22 3.6.Recordings Mentioned ........................................................................................................ 22 4. Re-contextualizing sound - the art of field recordings and sound collage ................................ 24 4.1.From Ethnomusicology to Art............................................................................................. 25 4.2.Creation of narrative through sound collage ....................................................................... 26 4.3.Phonography in digital age .................................................................................................. 27 4.4.References ........................................................................................................................... 28 4.5.Recordings mentioned ......................................................................................................... 29 5. Applying research in production of modern computer music .................................................. 30 5.1.Interplay of Immediacy and Hypermediacy in Dubstep ..................................................... 30 5.2.Plunderphonia as a referencing tool .................................................................................... 31 5.3.Narrative in Dubstep ........................................................................................................... 33 5.4.Combining Art and Popular Music ..................................................................................... 34 5.5.References ........................................................................................................................... 37 5.6.Recordings mentioned ......................................................................................................... 37 6. Bibliography ............................................................................................................................. 38 7. Audio recordings ....................................................................................................................... 39 5 1. Introduction Through out the last six years of my studies, of which four at the Academy of art in Novi Sad, Serbia at the department for New Media and two at Digital Culture department at University of Jyvaskyla in Finland my interests and research was revolving mostly around sound art and contemporary electronic music. First four years during my bachelor studies this research was mostly practical or in other words conducted through practical work which resulted in 12 self released albums. During last two years my studies at the Digital Culture department of University of Jyvaskyla have shifted my research towards more theoretical approach. Naturally being new to this kind of research I have had many questions and have started to rethink and re-contextualize my previous sound research. This has resulted in writing several papers and essays on various topics all of which are related to sound art and electronic music. The reason why I have chosen to pursue a degree in New Media and Digital Culture is that I have always felt that in these fields one is free to experiment with many different media and able to research diverse topics and subjects unlike in classical art education. However during my early days at the art school I have often been criticized that my interests are too broad and that I should limit myself to fewer topics. Although interdisciplinary way of thinking is strongly embedded in my nature, I have always considered that one should try to be as concise as possible in presenting his/hers ideas. During my studies in Finland, my interests have started to crystallize and to revolve around few topics – Glitch, Loop and Sampling. Thus this thesis is written in the form of collection of essays, whose
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