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Four Key Concepts for Studying Context-based Compositions

Published online by Cambridge University Press:  22 December 2017

Anette Vandsø
Anette Vandsø*
Affiliation:
School of Communication and Culture, Langelandsgade 139, build. 1580, Aarhus University, 8000 Aarhus C, Denmark
*
E-mail: vandsoe@dac.au.dk
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Abstract

This theoretical article investigates context-based compositions where we cannot identify the real-world context from the sounds alone. Examples include Stephen Vitiello’s World Trade Center Recordings: Winds After Hurricane Floyd, Jana Winderen’s The Noisiest Guys on the Planet, Jacob Kirkegaard’s 4 Rooms, Christina Kubisch’s compositions based on observations of the Ruhr district, Anne Niemetz and Andrew Pelling’s The Dark Side of the Cell (2004) as well as Andrea Polli’s Heat and Heartbeat of the City (2004) based on weather data from New York. The article asks how these compositions establish their relation to a specific context. How do they invite the listener to include his or her knowledge of specific contexts? The article suggests four relevant terms that are useful when studying this relation between text and context: paratext, intermediality, enunciation and mediality.

Type
Articles
Information
Organised Sound , Volume 23 , Special Issue 1: Context-based Composition , April 2018 , pp. 3 - 11
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Copyright
© Cambridge University Press 2017 

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