Max Neuhaus and the musical avant-garde
Bibliographic Data
| ID | 5777248 |
|---|---|
| Authors | Megan Murph (Louisiana State University Agricultural Center) |
| Year | 2013 |
| Publication date | 2013-05-09 |
| Open Access | Yes |
| Type | THESIS |
| Publisher | Louisiana State University Libraries (PUBLISHER) |
| DOI | 10.31390/gradschool_theses.3777 |
| OpenAlex | W2749516959 |
| Language | EN |
| References cited | 8 |
Max Neuhaus (1939-2009) was a pioneer in the creation of site-specific auditory works entailing social interaction, and today he is recognized as one of the first artists to extend sound as a medium into the world of contemporary art. The pieces he produced between 1966 and his recent death have been dubbed "sound art," a term that covers a wide variety of work related to sound and aural perception, but one associated more closely with the realm of visual and performance art than with music. Yet Neuhaus, whose self-professed mission was to encourage listeners to "think about [sounds] in new and unexpected ways," entered the world of contemporary art only after passing through the musical avant-garde of the 1960s, where he served as a leading interpreter of works for percussion. This thesis chronicles Neuhaus's early career as a performing musician, arguing that his experiences within the musical avant-garde set the stage for his later work as a sound artist. Special attention is paid to the 1968 recording Electronics & Percussion: Five Realizations by Max Neuhaus, an LP that reveals Neuhaus as an artist exploring the boundaries separating the roles of performer, collaborator, and creator
Acoustics · Aesthetics · Art · Epistemology · Interpreter · Literature · Musical · Perception · Percussion · Performing arts · Realm · Visual arts · Computer Science · History · Music and Audio Processing · Music Technology and Sound Studies · Neuroscience and Music Perception · Philosophy
| Highly cited | No |
|---|