2012
In
"The Sound Studies Reader" (Routledge, 2012), edited by Jonathan Sterne, foundational texts are collected that define the field of sound studies—the interdisciplinary examination of sound beyond just music.
Max Neuhaus is prominently featured in the reader as a crucial figure whose artistic practice provides key examples for the theoretical concepts discussed in the collection.
Key References and Themes
The reader uses Neuhaus's work to illustrate several core concepts in sound studies:
- Acoustic Ecology and Soundwalking: Neuhaus is cited in the context of the World Soundscape Project and R. Murray Schafer's work. His early piece "LISTEN" (1966)—where he led audiences on silent walks to focus purely on ambient urban sounds—is presented as a primary example of engaging critically with the existing acoustic environment.
- Site-Specific Sound Art: Neuhaus's theoretical writings are included to define what it means to create art that is inseparable from its physical location. His work challenges the traditional art market's focus on transportable objects, emphasizing instead the ephemeral, site-bound experience.
- Excerpts from Neuhaus's writings debate the definitions of "noise" and "music". He argues that "noise" is an arbitrary social categorization, a theme that underpins several essays within the reader that explore the cultural politics of sound regulation (e.g., his work on redesigning emergency vehicle sirens).
- >span class="T286Pc" data-sfc-cp="" jscontroller="fly6D" jsuid="XoQerf_15" data-complete="true">Redefining Listening: The reader positions Neuhaus as an artist who insists on active, engaged listening, rather than the passive consumption of sound often associated with mass media. He encourages an awareness of one's own perception (metaperception).
"The Sound Studies Reader" is a definitive resource for scholars and students and is available from Routledge and other academic publishers.