| Adorno, T. W., & Eisler, H. (1994). Composing for the films. London: Athlone Press. |
 
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Suggest that music was early introduced to cinema to calm the fear felt when watching ghostly and silent images of other humans on screen. The fear comes not from the images' ghostlike qualities but from the threat of [our own] muteness when confronted with images of creatures like ourselves.
A footnote mentions that Kurt London stated that music was added to drown the noise of the projector although Adorno and Eisler suggest that that was not due to the noisiness of the projector but was to appease or neutralize the sound of a mechanism to which we refuse to yield. An assertion of humanity.
London, Kurt. Film Music. New York: Arno Press (1936). p.28 |
| Attali, J. (2009). Noise: The political economy of music. B. Massumi, Trans. Minneapolis: University of Minnesota Press. (Original work published 1984). |
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| "For twenty-five centuries, Western knowledge has tried to look upon the world. It has failed to understand that the world is not for the beholding. It is for hearing. It is not legible, but audible." |
| Blesser, B., & Salter, L.-R. (2007). Spaces speak, are you listening? Experiencing aural architecture. Cambridge, Massachusetts: MIT Press. |
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| "Injecting noise of whatever kind into an acoustic arena is nothing more than an exercise of sonic power" |
| Cavalcanti, A. (1939). Sound in films. Retrieved January 16, 2006, from https://web.archive.org ... /575/sound-in-films.htm |
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| Last edited by: Mark Grimshaw-Aagaard 10/09/2021, 10:23 |
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| Cavalcanti uses 'natural sound' as a synonym for 'noise'. |
| Clark, A. (2013). Expecting the world: Perception, prediction, and the origins of human knowledge. Journal of Philosophy, CX(9), 469–496. |
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| Arguing that the model he presents does not support the view of the reality of the world being created within us (i.e. indirect perception), Clark states that: "The internal representations at issue function within us, and are not encountered by us. Instead, they make it possible for us to encounter the world. Moreover, they enable us to do so under the ecologically common conditions of noise, uncertainty, and ambiguity." |
| Evens, A. (2005). Sound ideas: Music, machines, and experience. Minneapolis: University of Minnesota Press. |
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| Added by: Mark Grimshaw-Aagaard 01/03/2006, 13:02 |
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| "...noise can be any difference between an input signal; or it can be a background level of sonic energy in a room or in a machine; or it can be any unwanted, annoying or unexpected sound; or it can be the constant vibration of the air at a given point in space; or it can refer to any sound whatsoever." |
| "Though it is often the case that signal overwhelms noise, it is noise that binds the signal, that serves as a medium, a baseline, a plane of relief against which signal stands out." |
| Kracauer, S. (1960). Dialogue and sound. Retrieved February 19, 2020, from https://ifsstech.files. ... siegfried_kracauer1.pdf |
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| Talking of Eisentein and Clair's attitudes to talkies, the film "connoisseurs' preference for noises [as opposed to speech sounds] ... rested upon the belief that, as material phenomena, they evoke a reality less dangerous to the images on the screen than the kind of reality conveyed by the all-out talkie. Sounds whose material properties are featured belong to the same world as the visuals and, hence, will hardly interfere with the spectator's concern for the latter." |
Kracauer uses noise to refer to non-speech sounds similar to other earlier critics such as Cavalcanti (Cavalcanti 1939).
Cavalcanti, A. (1939). Sound in films. Retrieved January 16, 2006, from https://web.archive.org ... /575/sound-in-films.htm |
| Schafer, R. M. (1994). The soundscape: Our sonic environment and the tuning of the world. Rochester Vt: Destiny Books. |
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| Defines noises as "sounds we have learned to ignore" |
| "Noises possess a great deal of symbolic character as sound phobias" |
| In the context of machinery: "[N]oise represents escaped energy." |
| Noise is proportional to power, or at least the dispensation to make loud noise reflects the power of the noise-maker. |
| Discusses the various meanings of 'noise' both historically and culturally. The variety of meanings include unwanted sound, unmusical sound, loud sound, signal disturbance (disturbance in a signalling system). |
| Smith, B. R. (2004). Listening to the wild blue yonder: The challenges of acoustic ecology. In V. Erlmann (Ed.), Hearing Cultures: Essays on Sound Listening and Modernity (pp. 21–41). Oxford: Berg. |
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| Added by: Mark Grimshaw-Aagaard 20/09/2012, 12:10 |
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| Nonverbal sounds "marked the boundary between civility and barbarity." |
| WHO Regional Office for Europe. (2018). Environmental noise guidelines for the European region. |
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| Last edited by: Mark Grimshaw-Aagaard 07/08/2023, 15:35 |
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| "Environmental noise is an important public health issue, featuring among the top environmental risks to health. It has negative impacts on human health and well-being and is a growing concern among both the general public and policy-makers in Europe." |
