1971
In the August 1971 issue of High Fidelity / Musical America (Vol. 21, No. 8), the article "Neuhaus Underwater" documents one of the earliest public iterations of Max Neuhaus's "Water Music" series.
The article describes Neuhaus’s project at the New York University (NYU) swimming pool, where he used underwater speakers (hydro-transducers) to project electronic sound directly into the water.
Neuhaus explained that sound travels roughly five times faster in water than in air and is perceived not just through the ears but through the entire skeletal structure. Participants were encouraged to submerge themselves to experience a physical, immersive sonic environment.
Acoustic Isolation: The report notes how the water created a "private" acoustic world, isolating the swimmer from the noisy urban environment of New York. This was a critical step in Neuhaus's move toward Aural Topography, where the medium (water) defines the space of the artwork.
By 1971, Neuhaus had largely abandoned traditional percussion. This piece highlights his transition into environmental design, treating the swimming pool as a "resonant chamber" rather than a concert venue.
The archival clipping of this Musical America feature is preserved in Box 1, Folder 10 of the Max Neuhaus Papers at Columbia University. It serves as a primary reference for his later, more permanent Underwater Music installations at the Brooklyn Academy of Music and elsewhere.