Definition and Ontological Dimensions of Experimental Sound

Experimental sound occupies a significant place in contemporary art and music practices. Transcending traditional musical structures, pushing the boundaries of sound, and often adopting an interdisciplinary approach, this field necessitates examining sound not merely as an auditory experience but as an ontological entity. This article begins by defining experimental sound and then explores its ontological dimensions from various philosophical and theoretical perspectives. Sound ontology provides a framework encompassing the existence, classification, and perception of sound, and experimental sound practices expand the boundaries of this ontology.

Definition of Experimental Sound

Experimental sound refers to sounds that do not originate from traditional instruments or that use traditional instruments in unconventional ways. These sounds manifest in areas such as noise music, sound art, and electronic music. Experimental music is considered a general label for any music or genre that challenges existing genre boundaries and definitions. For instance, artists like John Cage have brought experimental practices to the forefront by questioning the cultural and representational content of sound. As experimental sound lacks traditional classification criteria (e.g., vibrating strings or resonant membranes), it requires alternative categorization methods.

This definition emphasizes that sound is not only an acoustic event but also a tool for creativity. Experimental sound practices are linked to ontologies that support the semantic retrieval of sound sources, such as access from sound libraries or the organization of personal sonic spaces. Experimental sound aims to reveal the "nature of sound" independent of cultural context, though this approach is open to critique for potentially overlooking cultural and social dimensions.

Ontological Dimensions

Sound ontology is a discipline that examines the existence, relationships, and classification of sound. Ontology enables the hierarchical definition of sound through structures like "part-of" (inclusion relationships) and "is-a" (hierarchical relationships). These dimensions are addressed through phenomenological, psychoacoustic, ecological, and analytical approaches.

Phenomenological Approaches

Phenomenological ontologies focus on the perceptual qualities of sound. Pierre Schaeffer’s typo-morphology encompasses the typology (relationships with other sounds) and morphology (internal characteristics) of sound objects. Morphological criteria include mass, harmonic timbre, dynamics, grain, allure, melodic profile, and mass profile. Denis Smalley’s spectromorphology, on the other hand, focuses on spectral content, defining the ontological structure of sound through gesture-texture axes and morphological archetypes (attack, attack-decay, gradual continuation).

Psychoacoustic and Ecological Dimensions

Psychoacoustic approaches view timbre as a multidimensional quality, organizing sounds with categories like brightness, sharpness, and compactness. Ecological ontologies classify sound within environmental contexts: Murray Schafer’s keynote sounds, signals, and soundmarks; Bernie Krause’s geophony, biophony, and anthropophony. These dimensions ground sound ontology in physical interactions (solids, liquids, gases).

Ontological Turn and Critiques

The "ontological turn" in sound studies emphasizes the vibrational ontology of sound. Steve Goodman views vibrational forces as the primacy of affect; Christoph Cox and Greg Hainge argue that sound art reveals the material flow of sound. However, this turn is criticized for neglecting auditory culture, reinforcing the mind/body dichotomy, and overlooking cultural practices. Marie Thompson introduces the concept of "white aurality," arguing that these ontologies are colonialist and white-centric, amplifying the materiality of sound while silencing its social dimensions.

Sound is an open concept; no definition can encompass all sound encounters, and the concept continually evolves. Semiotic and phenomenological discourses address sound ontology through examples in cinema, music, and fiction, requiring an interdisciplinary approach.

Conclusion

Experimental sound, as a practice that transcends traditional sound boundaries, enriches its ontological dimensions. Its definition is shaped by creativity and classification tools, while its ontological dimensions are deepened through phenomenological, psychoacoustic, and ecological frameworks. However, critiques of the ontological turn highlight the importance of sound’s cultural and social contexts. Future studies should adopt multidisciplinary approaches to make sound ontology more inclusive, demonstrating that sound is not merely a physical event but also a mode of being.