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Germany in the Loud Twentieth CenturyAn Introduction$
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Florence Feiereisen and Alexandra Merley Hill

Print publication date: 2011

Print ISBN-13: 9780199759392

Published to Oxford Scholarship Online: January 2012

DOI: 10.1093/acprof:oso/9780199759392.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 27 October 2021

Sound Art—New Only in Name

Sound Art—New Only in Name

A Selected History of German Sound Works from the Last Century

Chapter:
(p.141) Chapter 9 Sound Art—New Only in Name
Source:
Germany in the Loud Twentieth Century
Author(s):

Brett M Van Hoesen

Jean-Paul Perrotte

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199759392.003.0009

Over the last decade or so, sound art has emerged as a seemingly new genre in the art world. While this trend has started to challenge the dominance of visual culture, the label of sound art dangerously delimits and potentially denies the long, rich history of sound projects that span the twentieth-century. This chapter begins with an analysis of the term sound art from the perspective of Art History and Music Composition. The second, larger aim of this essay is to chart the long historical trajectory of German-based sound projects, including those associated with Dada and Fluxus, music concrète and Karlheinz Stockhausen, and contemporary sound works by Christina Kubisch and those recently exhibited at venues such as the Berlin Biennale für Zeitgenössische Kunst and Documenta in Kassel.

Keywords:   sound art, Dada, Fluxus, Karlheinz Stockhausen, Christina Kubisch, Berlin Biennale, Documenta

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