Sound sculpture
Sculptures to make sound and music
Sound Sculpture
Definition
Grove online encyclopaedia defines sound sculptures as “A sculpture or construction that creates sound, not always of a musical nature, by means of its own internal mechanism, or when it is activated by environmental elements such as wind, water or sunlight, or when it is manipulated.” (Davies 2006) However, Wikipedia goes further and defines not only sculptures that create sound, but sound that creates sculptures, dividing the topic into two areas (Wikipedia 2006).
1. Sculptures that create sound
2. Sound that creates sculptures
Both forms will be explored in this page.
History
The earliest known example of a sound sculpture is a statue in the Colossi of Memnon, Amenhotep III in thebes (Davies 2006). It was erected in 1375 BCE and became famous after an earthquake dislodged the head and the statue would “sing” every morning. The Romans then fixed it in 200 CE (Davies 2006).
Amenhoptep III
Archimedes was also known for experimenting with sound sculpture through the use of hydraulics (Davies 2006). He invented such things as the musical fountains of Renaissance gardens and the Water organ (Langebartels 2006).
However, these isolated events did not influence the rapid growth of sound sculpture in the 20th century. The 1930’s saw musicians become more involved in the structure of their instruments and this led to the massive growth and popularity that happened in the 1960’s (Davies 2006). During this decade composers moved away from the traditional idea of a “fixed” sculpture, and with the help of technology, many started to exploit the accompanying sounds that are created by the mechanisms.
The first exhibition that was directly linked to sound sculpture happened in Vancouver, Edinburgh, Ghent and Oakland in the mid 1970’s (Davies 2006). Since then sound sculpture exhibitions have become a popular event.
1. Sculptures that create sound
This style of sound sculpture is when a sculpture creates a noise with in itself with some form of activation, environmental of man made. Here are those activations.
Water
Many composers have used the water sounds for their sculpture, but for also activating other sounds in the sculpture. An example of a water activated sculpture is Archimedes Water Organ. The sound is created by air being compressed directly by water that is moving from natural forces, eg a water fall (Langebartels 2006)
Composers who have used water in their sound sculptures are Max Eastley, Richard Water and Peter Appleton (Davies 2006).
Water unbalances the arm making it hit a metal plate
Wind
A lot of people use wind as their activator because it is easy to use and they can put the sculpture any where. The simplest form of a wind activated sound sculpture would be a wind chime. Another popular sculpture is the Aeolian harp. The harp normally has four to twelve strings that are equal in length, but unequal in thickness. When the wind blows the strings vibrate, creating the sound (Mohican 2006).
Composers that use wind in their sound sculptures are Robert Archer, Douglas Ewart, Bill and Mary Buchen and Ward McCain (Davies 2006).
Aeolian Harp
Mechanical
This is the first of the man made activations; however it differs from the electronic style because there is no electricity used. An example of a mechanical activation could be a music box. There is an example of a mechanical sculpture called the “serpent” (Davies 2006). The music bow turn the cogs so the snake snaps it mouth while the doll defends herself by moving her arms up and down (Davies 2006). The snapping and the music from the music bow is the sound.
Composers who use mechanical activation in their sound sculptures are Norman Anderson, David Jacobs, Stephen Goodman and Trimpin (Davies 2006).
Serpent
Electronic
Most sculptures in this area use sequencers, memories or microcomputer control to create the sculptures independence. Solar panels are used a lot to create the current, and this also allows for some environmental variation in the power source (Davies 2006).
Composers who use electronic activation are, Stanley Lunetta, Max Neuhaus and Alvin Lucier (Davies 2006).
2. Sound that creates the Sculpture
This form of sound sculpture is not as common as the first. The theory of this style has to do with the sound being heard is not directly from the object you hear, but it creates a meaning that the physical object would not have without the sound, therefore linking the two into one sculpture (Fontana 1987). An example of this is Bob Fontana’s Entfernte Züge(Fontana 1987). Fontana found an old half demolished train station in East Germany, one that during World War II loaded thousands of Jews. So to bring back it’s past and give it an “eerie” quality, Fontana recorded another, fully working train station in West Germany and relocated that sound on a tape loop to the East German location (Fontana 1987). By doing this he gave the site a meaning and atmosphere that before it didn’t have.
References
Davies, Hugh, Sound Sculpture, Grove Music Online, http://www.grovemusic.com, accessed on the 18/08/2006
Fontana, B., (1987), The Relocation of Ambient Sound: Urban Sound Sculpture, Leonardo Special Issue: Visual Art, Sound, Music and Technology, Vol 20 No 2 pp 143-147
HOSCHEID,choeur de la forêt, http://www.neufportes.net/hosch.htm, accessed on the 20/08/2006
Langebartels, R., Sound Balances, Sculptures, Installations, Performances and Music, http://www.floraberlin.de/rlangebartels/skulpt1.htm, Accessed on the 20/08/2006
Mohican, D, Mohican Windharps Gaiden Art, http://www.mohicanwindharps.com/contact.html, accessed on the 20/08/2006
Sound Sculpture, Wikipedia, http://en.wikipedia.org/wiki/Sound_sculpture, accessed on the 18/08/2006
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