![Sample our Arts journals, sign in here to start your access, latest two volumes FREE to you for 14 days]({"type":"image" , "src" : "/sda/110799/TOC-Subject-Sample-2021-Arts.jpg"})
Notes
1 ‘Innovation’ in The American Heritage Dictionary of the English Language (2000). Accessed 2 November 2013 at: http://www.thefreedictionary.com/innovation
2 Linda Ioanna Kouvaras, Loading the Silence: Australian Sound Art in the Post-Digital Age (Farnham, England & Burlington, USA: Ashgate, 2013), 13. Notable practitioner approaches include: John Jenkins and Rainer Linz, Arias: Recent Australian Music Theatre (Melbourne: Red House, 1997); and Gail Priest (ed) Experimental Music: Audio Explorations in Australia (Sydney: University of New South Wales Press, 2009).
3 Greg Hainge, Noise Matters: Towards an Ontology of Noise (New York and London: Bloomsbury Academic, 2013), 2.
4 Kouvaras, Loading the Silence, 14.
5 Ibid., 20.
6 Ibid., 21.
7 Ibid., 23.
8 Ibid., 25.
9 Ibid., 25.
10 Ibid., 25–6.
11 Ibid., 27.
12 John Cage and Daniel Charles, For the Birds (Boston: M. Boyars, 1981), cited in Kouvaras, Loading the Silence, 27.
13 Kouvaras, Loading the Silence, 29.
14 Ibid., 32.
15 Ibid., 39.
16 Ibid., 61.
17 Ibid., 199.
18 Hainge, Noise Matters, 258–66.
19 Ibid., 52.
20 Kouvaras, Loading the Silence, 12. See also R. Murray Schafer, The Tuning of the World, 1st edn (New York: Knopf, 1977), 111.
21 Kouvaras, Loading the Silence, 4.
22 Ibid., 4.
23 Ibid., 4.
24 Ibid., 4.
25 Hainge, Noise Matters, 57.
26 Ibid., 58.
27 Ibid., 58.
28 Ibid., 258–66.
29 Graham Livesey, ‘Assemblage’ in Adrian Par (ed.) The Deleuze Dictionary (Edinburgh: Edinburgh University Press, 2010), 18. Also see Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1987), 331–5.
30 Hainge, Noise Matters, 8.
31 Ibid., 266.
32 Ibid., 273.
33 Ibid., 276.
34 Ibid., 14–15.
35 Ibid., 22–3.
36 Ibid., 68.
37 Ibid., 247.
38 Ibid., 251. Hainge notes that ‘whilst attendant to the historical and technological conditions in which music comes into being, this typology has particular advantage of being able to account for music across all musical traditions, be they defined in terms of a cultural distinction (East vs. West) or a generic one (song vs. symphony, scored music vs. improvisation).’ See Hainge, Noise Matters, n.19, 268.
39 Wen-chung Chou, ‘Open Rather Than Bounded’, Perspectives of New Music 5/1 (1966), 1–6.
40 Hainge, Noise Matters, 256–7.
41 Hainge, Noise Matters, 260.
42 I am drawing the Deleuzian concept of ‘becoming-woman’ into my review of this work. My intention is to introduce an analytical layer to Kouvaras's critique. In a Deleuzian sense, the concept of a ‘becoming-woman’ is not just particular to women. To follow Deleuze, any music that disrupts the value-laden binary oppositions that regulate the social codes, can be understood as a becoming-woman, that is, as a drift away from the dominant music.
43 See Rosi Braidotti's discussion of this idea in ‘Nomadism with a difference: Deleuze's legacy in a feminist perspective’, Man and World 29 (1996): 305–14.
44 See the excellent discussion of this idea in Claire Colebrook, ‘Introduction’ in Claire Colebrook and Ian Buchanan (eds) Deleuze and Feminist Theory (Edinburgh: Edinburgh University Press, 2000), 1–17.
45 Kouvaras, Loading the Silence, 113.
46 Philip V. Bohlman, ‘Ontologies of Music’ in Nicholas Cook and Mark Everist (eds) Rethinking Music (Oxford: Oxford University Press, 2001), 17.
47 Ibid., 17.
48 Ibid., 17.
49 Richard Letts, ‘Musical Innovation: Who's Listening?’, Music Forum (Summer 2013), 4.
50 Kouvaras, Loading the Silence, 226.
51 Ibid., 229.
52 Ibid., 229.
Additional information
Notes on contributors
Sally Macarthur
Sally Macarthur is Senior Lecturer in Musicology and Director of Academic Program, Music, at the University of Western Sydney. Her book, Towards a Twenty-First-Century Feminist Politics of Music (Ashgate 2010), draws on the work of Deleuze and Guattari to open up new ways of thinking about the absence of women's music. Other books include Feminist Aesthetics in Music (Greenwood Press 2002), with co-editors, Bruce Crossman and Ronaldo Morelos, Intercultural Music: Creation and Interpretation (AMC 2006) and, with Cate Poynton, Musics and Feminisms (AMC 1999). She is currently co-editing the book, Music's Immanent Future: Beyond Past and Present, with Judy Lochhead (Stony Brook University) and Jennifer Shaw (University of Adelaide).