1983
The relevant portion of this text is reprinted in Audio Culture, pp. 307-12.
In his 1983 book American Minimal Music, musicologist Wim Mertens cites Max Neuhaus to illustrate the transition from traditional musical performance to environmental sound installation.
On page 90, Mertens distinguishes Neuhaus from traditional minimalists like Glass or Reich by highlighting his rejection of linear time. He notes that Neuhaus's work is "no longer a performance in time, but a permanent situation in space."
The "Sound Sculpture" Concept: Mertens describes Neuhaus's shift from being a percussionist to a "sound sculptor," where the listener's physical movement through a space replaces the traditional role of a seated audience.
The text emphasizes that for Neuhaus, the "composition" is the acoustic frequency itself as it interacts with a specific site, creating a "continuous sound-state" rather than a developing musical narrative.
While Neuhaus is often grouped with minimalists due to his use of sustained tones and electronic drones, Mertens clarifies that Neuhaus’s contribution lies in the spatialization of sound, making the environment the primary instrument.