Museums as sites for displaying sound materials: a five-use framework

Cortez, Alcina

doi:10.1080/20551940.2021.1975442

Cited by 4 publications

(5 citation statements)

References 44 publications

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“…In pursuit of this expansion in practice, since 2010, I have dedicated my work to responding to the need for mapping and categorizing these practices. The result of that work is a framework of five sound‐based multimodal museum practices (Cortez, 2022), namely: sound as a mode for lecturing, sound as an artifact, sound as “ambiance”/soundtrack, sound as art, and sound as a mode for crowd‐curation. …”

Section: Sound As a Mode For Social Spacementioning

confidence: 99%

“…As I have discussed elsewhere (Cortez, 2022) art practices with sound have been a hallmark of the twentieth century. However, there has been a lack of consensus on its definition that reflects multifarious practices falling under the term.…”

Section: Soundart and Social Spacementioning

confidence: 99%

“…Turning to the subject of museum practices, the literature (Cortez, 2022) has demonstrated the recent use of sound in museums as a mode for developing exhibitions in several manners. Sound had, of course, been used in museums before the twenty-first century as in the case of conceptual art of the 1980s.…”

Section: Sign I F Ica Nc E Of Sou N Dmentioning

confidence: 99%

Section: Sou N D a S A Mode For Soc I A L Spac Ementioning

confidence: 99%

“…My definition is also expansive: for my approach, soundart refers to a set of multimodal practices that rely on sound's singularities such as its materiality, resonance, and relationality to intimately involve its audiences, to make them communally experience ideas and concepts proposed by an artist, whether purposely or not (Cortez, 2022, p. 83).…”

Section: Sound As a Mode For Social Spacementioning

confidence: 99%

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Sound as a producer of social spaces in museum exhibitions

Cortez

2023

Curator The Museum Journal

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This study focuses on how sound plays a leading role in creating space when it is exhibited in a museum. It argues that sound is rich in possible ways to build a highly social space that facilitates dialogic interaction and participation. This social space diverges clearly from a notion of static space underpinning more conventional museum practices. Social space is the result of an interplay between objects, structures, and social actions.By way of an introduction, I use the term sound to designate all possible phenomena audible to human beings and resulting from the waves generated by the vibration of a material. These

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Section: Sound As a Mode For Social Spacementioning

confidence: 99%

Section: Soundart and Social Spacementioning

confidence: 99%

Section: Sign I F Ica Nc E Of Sou N Dmentioning

confidence: 99%

Section: Sou N D a S A Mode For Soc I A L Spac Ementioning

confidence: 99%

Section: Sound As a Mode For Social Spacementioning

confidence: 99%

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Sound as a producer of social spaces in museum exhibitions

Cortez

2023

Curator The Museum Journal

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Communicating Through Sound in Museums: A Genre‐Based Framework

Cortez

2024

Curator The Museum Journal

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Sound, often perceived as intangible, is now increasingly recognized as a tangible entity, sparking significant research interest. Museum practitioners and curators are particularly drawn to sound's interactional prospects, its expressive capabilities, and its ability to convey meaning, whether in representational, emotional, aesthetic/hedonistic, or sensorial terms. I initially proposed a typology that classifies multimodal museum practices centered on sound. This was the focal point of my article Museums as Sites for Displaying Sound Materials: A Five‐Use Framework (Cortez 2022), where I delineated five categories—each pinpointing a distinct area of practice. The present article introduces two revisions. Firstly, it expands this theoretical framework by introducing two additional categories. Secondly, it further solidifies the entire framework by adopting a genre‐based approach, inspired by Michael Halliday's functional grammar. My insights into each category are illustrated with real‐world‐examples from the 104 exhibitions I have visited, showcasing sound in various creative ways.

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Sound identity as a phenomenon. Research on the cultural significance of music in ethnic and subcultural communities

Kelmendi

2024

Interdisciplinary Cultural and Humanities Review

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The topicality of the issue of developing and reflecting the identity of various ethnic and subcultural groups by music is conditioned by the importance of preserving the unique heritage of the world for subsequent generations. The purpose of the study was to highlight the means by which music reflects the original code of communities, and the mechanisms for its modernisation. To achieve this goal, the study analyses the means of reflecting and renewing ethnic and subcultural identity; compares and synthesises them in the context of 21st century artistic practice. The results of investigating the topic indicate that the music of different ethnic groups and subcultures concentrates their identity and is open to modernisation due to the presence of such factors as: tools, timbre, texture, style of interpretation, genre, compositional form of works; relationship with global society; integration into the sphere of information and communication technologies; dialogue between different ethnic groups and subcultures; synthesis of their own unique features and characteristic features of other communities. The renewal of the music of one of the ethnic groups of China (Yunnan) took place through the synthesis of its traditional and European tonal and functional, genre and structural, and timbre systems. Aspects of modernisation of the musical traditions of the Azerbaijani ethnic group (mugham) are the transformation of texture through linear polyphony and complex chords, timbre renewal through the use of symphony orchestra instruments. The enrichment of the folklore of the local culture of the Cossacks of Ukraine was implemented through the timbre sphere, where, in addition to male voices, musical instruments of various types and texture sound, through a polyphonic choir and orchestra, structural and compositional, in the context of which the song turns into a vocal and symphonic miniature. The music of church communities in Europe, in particular, Great Britain, and the United States of America, on the example of the world-famous song “Amazing Grace”, has passed the path of its renewal through interaction with the style of jazz and its varieties of later times, achievements of academic, pop music, the main elements of which are a certain style of vocals, its accompaniment by a number of acoustic, electronic instruments and chords of a complicated system of the 20th and 21st centuries

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Museums as sites for displaying sound materials: a five-use framework

Cited by 4 publications

References 44 publications

Sound as a producer of social spaces in museum exhibitions

Sound as a producer of social spaces in museum exhibitions

Communicating Through Sound in Museums: A Genre‐Based Framework

Sound identity as a phenomenon. Research on the cultural significance of music in ethnic and subcultural communities

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