“Ocean of Sound” by David Toop was first published in 1995. In this influential book, Toop explores the world of ambient music, delving into its cultural, historical and artistic aspects. In the fourth chapter, titled “Burial Rituals,” Topp explores various themes related to noise, myth, music, and culture. It discusses indigenous ceremonies and their connection to noise. The chapter also talks about the relationship between noise and futurism, the impact of war on the musical genre, and the works of Edgard Varese, Claude Lévi-Strauss, and Charlie Parker.
Claude Levi-Strauss connects noise-making instruments to death, decay, and disorder in stories and myths. He studied the ceremonies of indigenous people and how they use noise to express emotions or communicate with ancestors. Levi-Strauss also talks about the contrast between noise and silence and how they are connected.
Edgard Varese was inspired by Levi-Strauss, the physiology of sound, and other studies on the art form. He believed that music should be experienced physically rather than following a set method. He incorporates everyday sounds and sounds from nature into his compositions, breaking away from traditional music norms. Varese’s aim is to create music that reflects the complex human condition.
Charlie Parker, inspired by Varese, went on a journey to discover new sounds and break free from the conventions of traditional jazz. He also wanted to shake up the established musical structures and push the limits of music. The chapter also talks about how the Futurist movement found noise and machines intriguing, and how different societies throughout history valued noise in their own unique ways.
The author’s writing style is really informative and analytical, which totally gave me a better understanding of different concepts and why they matter. And the way they included quotes and references in the chapter made it even more interesting.
In this chapter, we talk about how different ideas and artists in music production are connected. They like to explore new sounds and techniques, just like other experimental musicians. Artists like Aphex Twin and Pharmkaon are examples of this. They mix natural sounds, field recordings, and unusual noises into their music. They play around with these sounds to make interesting textures and vibes that go against the usual ideas of melody and harmony. Like, Pierre Schaeffer and his musique concrète experiments, he would use regular stuff from everyday life and random objects to make these avant-garde “instruments”.
This approach has influenced how music is made nowadays. Producers are always trying out funky sounds to make their tracks stand out and be creative. In general, this chapter really helped me grasp sound and music production better. It delved into the physical, emotional, and experimental sides of ambient music and noise, pushing me to think outside the box and appreciate the impact of unconventional sounds in stirring emotions, breaking boundaries, and crafting unique music.
Toop, D. and Faber, M. (2018) Ocean of sound: Ambient sound and radical listening in the age of Communication. London: Serpent’s Tail.