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Sound Art or Klangkunst? A reading of the German and English literature on sound art

Published online by Cambridge University Press:  26 March 2009

Andreas Engström  and
Åsa Stjerna
Andreas Engström
Affiliation:
Sankt Eriksgatan 114, 113 31 Stockholm, Sweden. E-mail: andreas.engstrom@music.su.se
Åsa Stjerna
Affiliation:
Wittstocksgatan 8, 115 24 Stockholm, Sweden. http://www.asastjerna.se
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Abstract

The article is a study on the literature of sound art from two languange areas, German and English. The text reveals two different discourses. The German texts on Klangkunst (sound art in German) focus upon the sound material’s relation to a spatial location where sound sculptures and installations are given central focus. These are genres that transcend the old divisions between spatial arts (Raumkunst) and the time-based arts (Zeitkunst). A strong emphasis on the dual aspect of seeing and hearing could be described as a central point of departure. Klangkunst concerns an investigation of both time and space, through ear and eye. In the English literature on sound art, there are often references to sound’s inner aesthetical qualities. The perspectives on sound’s relation to room is evident also here, but the perspectives are however broader, in the sense that the aspects of space and locality are diversified and pluralistic. One will find an even larger scope of literature and references if the area of sound art also includes cultural-studies perspectives on sound, sonic experiences and acoustic phenomena, the influx of new technologies on the everyday soundscape, and sound design. These are areas often referred to when speaking about the ‘sonic turn’. The way the term sound art is handled in English texts is often very vague. The German study of Klangkunst developed within the academic field of musicology. There has been a fruitful collaboration between musicologists, publishing houses, music journals, galleries, academic institutions and higher art education, which together has helped to establish Klangkunst as an artistic expression and theoretical discourse. This strong intellectual infrastructure has been important in the ‘construction’ of the concept Klangkunst. The two separate theoretical discourses not only deal with the concept of sound art differently. Although many of the artists are dealt with in both the English and the German literature, there are very seldom references to the German literature in the English texts. This tendency is not reciprocal.

Type
Research Article
Information
Organised Sound , Volume 14 , Issue 1 , April 2009 , pp. 11 - 18
Copyright
Copyright © Cambridge University Press 2009

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