Browse by author
Lookup NU author(s): Dr Richard ElliottORCiD
This is the final published version of an article that has been published in its final definitive form by Australian National University, 2022.
For re-use rights please refer to the publisher's terms and conditions.
This article discusses the uses of distorted, glitched, sampled or 'broken' music by comparing art music examples labelled as 'experimental' or 'avantgarde' with the histories and traditions associated with popular and vernacular music. It connects some of the dots between the worlds of John Cage and a branch of hip hop occasionally referred to as ‘noise hop’. It uses Cage's tape composition Williams Mix (1951-1953) as a connecting point between the experimental art music world of the 1950s and the ‘alternative’ hip hop world of the 2010s, as Williams Mix becomes ‘Williams Mix’, a track on the second album by the Los Angeles-based group clipping.
Author(s): Elliott R
Publication type: Article
Publication status: Published
Journal: Australian Humanities Review
Year: 2022
Issue: 70
Pages: 58-66
Online publication date: 30/11/2022
Acceptance date: 03/11/2022
Date deposited: 12/12/2022
ISSN (electronic): 1325 8338
Publisher: Australian National University
URL: http://australianhumanitiesreview.org/2022/11/30/the-most-annoying-noise-of-all-time/
ePrints DOI: 10.57711/hzs3-h814
