Abstract

Silencing and musicalization, as defined by Douglas Kahn, are valuable means to call attention to the sonically liminal. They create a frame within which acoustic silence can be attended to, either as a conceptual phenomenon or as the dead silence of sounds and soundmakers subjected to ecological silencing. Through critical discussion of silence in Kahn's writing on John Cage, as well as in acoustic ecology and soundscape composition, an outline of ecological silencing is developed and applied through the examination of environmentally engaged sound works by Sally Ann McIntyre of New Zealand and Katie Paterson of Great Britain.

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Additional Information

ISSN
1531-4812
Print ISSN
0961-1215
Pages
pp. 71-74
Launched on MUSE
2013-11-22
Open Access
No
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