Sound instillation

Sound Installation as an artistic practice emerged as the result of an evolution of the experience of listening from the “time of music” to the “space of sound.”

From 1900 until today, choose three artists whose work each exemplifies one key stage in this development:

1. The emergence of a critique of the “time” and/or “space” of music, or of music v. sound. (1 artist)

2. The evolution of a practice which materializes sound as an artistic medium. (1 artist)

3. The realization of sound installation practice–either gallery-based or environmental/site-specific–by a contemporary artist. (1 artist)

The work of your 3 artists should be related, in that each artist further develops, makes explicit reference to, or seeks to contradict, the practice of the artist that was active before them.

To initiate your project, I suggest you start with a contemporary artist & work backwards.

In general, your essay should argue for the assertion of “space” (as distinguished from “time”) and “sound” (as distinguished from “music”), as integral to the emergence of sound installation practice.

However, within that general trajectory, you should narrow your argument to focus on a specific theoretical concept/term of sound installation practice. Please refer to the list

good artists to mention are Alvin Lucier, Pauline Oliveros, and Pierre Schaeffer

This is what I’ve written so far:

Reverberation and Resonance
Reverberation and resonant installations are realized through creation or utilization of a space, whether natural or artificial with particular acoustic properties that bring forward features inherent or designed within the environment in which the sound is generated.
Audiologically, reverberation and resonances are a result of properties in a particular space with natural or designed biases for prolongation of a sound. Resonances through various systems, whether acoustic or synthetic, are amplifications of the harmonics of a fundamental resonating frequency of a space. The fundamental resonating frequency is the amplification of the space’s own vibrational bias. These phenomena are the foundation of the artistic sound practice of resonance/reverberative art today.
The development of reverberation and resonance art started with the human fascination with natural acoustic spaces. If you enter a space and vocalize you can often find the natural resonance of the space. Echoes and amplifications in natural spaces have long been of great interest to humans. So much that structures of great complexity were built in order to enhance acoustic qualities. The most significant ancient structure for enhancing resonance is the Hypogeum, located on Malta.