Kromhout, M.J.

English

What is it about noise that attracted musicians and listeners over the past century? Noise Resonance: Technological Sound Reproduction and the Logic of Filtering sets out to answer this question through an extensive conceptual revaluation of the role of noise and distortion in sound and music. The book traces the issue of noise in a detailed media archaeological analysis of analogue and digital sound technologies.Noise Resonance does away with the idea that sound reproductions are incomplete copies of some original source and thereby challenges more common conceptualisations that define noise as a marker for failure, violence, excess, transgression or subversion. Instead, on the basis of an assessment of the history of acoustics and the development of sound technology from the nineteenth century onward, it repositions noise as essential for the singular sound of music in the media age.Noise Resonance shows how noise and distortion, introduced by the operations of technical media, have been fundamental for shaping the specific sound of technologically reproduced music. Drawing from disciplines like musicology, media theory, sound studies and contemporary philosophy, it ultimately suggests a way to rethink the relation between music and listeners in the age of technological media

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UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl)UvA-DARE (Digital Academic Repository)Noise resonanceTechnological sound reproduction and the logic of filteringKromhout, M.J.Publication date2017Document VersionOther versionLicenseOtherLink to publicationCitation for published version (APA):Kromhout, M. J. (2017). Noise resonance: Technological sound reproduction and the logic offiltering. [Thesis, externally prepared, Universiteit van Amsterdam].General rightsIt is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s)and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an opencontent license (like Creative Commons).Disclaimer/Complaints regulationsIf you believe that digital publication of certain material infringes any of your rights or (privacy) interests, pleaselet the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the materialinaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letterto: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. Youwill be contacted as soon as possible.Download date:09 Mar 2023M E L L E  J A N  K R O M H O U TT E C H N O L O G I C A L  S O U N D  R E P R O D U C T I O NN O I S ER E S O N A N C EA N D  T H E  L O G I C  O F  F I L T E R I N G                                   M E L L E  J A N  K R O M H O U TT E C H N O L O G I C A L  S O U N D  R E P R O D U C T I O NN O I S ER E S O N A N C EA N D  T H E  L O G I C  O F  F I L T E R I N G 																														Printed	by	Ipskamp	Printing		Cover	design	by	Rufus	Ketting		ISBN:	978-94-028-0524-6		©	2017,	Melle	Jan	Kromhout.		All	rights	reserved.	No	part	of	this	publication	may	be	reproduced,	distributed,	or	transmitted	in	any	form	or	by	any	means,	including	photocopying,	recording,	or	other	electronic	or	mechanical	methods,	without	the	prior	written	permission	of	the	author.		www.mellekromhout.nl	 Noise Resonance Technological Sound Reproduction and the Logic of Filtering 												ACADEMISCH PROEFSCHRIFT  ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. ir. K.I.J. Maex ten overstaan van een door het College voor Promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op donderdag 16 maart 2017, te 12:00 uur  door Melle Jan Kromhout geboren te Amsterdam Promotiecommissie:  Promotor: Prof. dr. S.A.F. van Maas, Universiteit Utrecht  Overige leden:          Dr. C.J. Birdsall, Universiteit van Amsterdam Prof. dr. R. Boast, Universiteit van Amsterdam Prof. dr. J.J.E. Kursell, Universiteit van Amsterdam Prof. dr. J. de Mul, Erasmus Universiteit Rotterdam Prof. dr. A. Rehding, Harvard University, USA  Faculteit der Geesteswetenschappen                      Table of contents    Acknowledgements  ............................................................................ IX 	Introduction: The role of noise in the music  of the media age 	0.1	 A dominant discourse on noise in/as music .................................. 3	0.2	 Sonic, physical and communicational noise .................................. 7	0.3	 The noise of sound reproduction ................................................. 11	0.4	 Resonating noise between music and media ............................. 14 	Chapter 1: “How much noise is necessary?”  A brief history of sound recording and noise reduction 	 Analogue 1: disc recording ........................................................... 21	1.1	 Analogue 2: magnetic tape recording ......................................... 33	1.2	 Digital recording ............................................................................ 46	1.3	 Dither: fighting noise with noise .................................................. 62 1.4	Chapter 2: Confronting the fuzziness of the real  Dolby and dither: concealing and revealing noise 2.1	 Noise reduction reconsidered ...................................................... 71	2.2	 Things you want and things you don’t want ................................ 79	2.3	 From ideal models to physical filters ........................................... 86	2.4	 Digital error and analogue noise .................................................. 92	2.5	 Revealing and concealing noise ................................................. 103 	Chapter 3: Infinite time or perfect transience Ideal filters and the temporality of sound	3.1	 Toward the limits of representation ........................................... 117	3.2	 Fourier analysis: history and basic principles ............................ 130	3.3	 The domain of ideal filters .......................................................... 140	3.4	 Time and transience: the domain of physical filters ................. 149 Chapter 4: “In the Fourier domain are we immortal” On the pastness and presence of reproduced sound 4.1	 The importance of sonic transience ........................................... 159	4.2	 Pastness and finitude in reproduced sound .............................. 168	4.3	 The presence of reproduced sound .......................................... 181	4.4	 On passed and passing time ...................................................... 187 	Chapter 5: The sound of an ‘other music’  Sonic transience and the darker presence of the media age 5.1	 A logic of filtering ........................................................................ 195	5.2	 Producing a new signal ............................................................... 205	5.3	 The new sound of music ............................................................. 214	5.4	 An ‘other music’ and the presence of the Real ......................... 218 	Epilogue: Listening for the event  On the possibility of an ‘other music’ 6.1	 Locating the ‘other music’ .......................................................... 231	6.2	 Music hiding in hardware ............................................................ 233	6.3	 I hear a new world ........................................................................ 236	6.4	 Hearing an ‘other music’ ............................................................. 238 	Conclusion: Noise resonances Sound in the age of technical media ................................................. 245 	References 	Bibliography .......................................................................................... 255	Discography .......................................................................................... 266	Videography .......................................................................................... 267 	Summary  ................................................................................................ 269 	Samenvatting  ...................................................................................... 273		

Noise resonance:Technological sound reproduction and the logic of filtering

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Noise resonance:Technological sound reproduction and the logic of filtering

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