(Introduction to Structural Analysis, 1966: 261)
But avant-garde traditions are full of examples of this incorporation of the outside into the inside, margin to mainstream, edge to MORE changing music/sound/noise/silence relationship.
Music in comparison to its relation to Noise. In this regard, music is constructed. Not in the sense of 'creation', rather, music can be seen as a means of ordered representaion of noises. Musicians or artists, then further the boundries of musical limits by incorporating newer/more sounds into a genres cannon, increasing (or blurring) the distinctions between genres. Most notably with regard to heavy metal, the genre uses the control of industrialised sounds to larger degrees than most other genres. Hence, the imidiate 'knee-jerk' reaction by most individuals who are not associated with the genre, that metal simply sounds like noise. Of course, the truth is, that metal IS noise. A structured, direct and concentrated collection of sounds through a medium. Exactly like all other music.
However, the distinction of understanding music or sound can be viewed in two catagories:
- Hearing
- Listening
For sound reception, hearing requires; a media for distribution of sound waves; the dynamic movement of the sound source to create the vibrations; instrument for transduction (ie. converting vibrations into nrevous impulses ie. the ear, or electronic signals eg microphone.). In other words, hearing is a purely physiological experiance. A natural occurance that is biological.
Listening, on the other hand can be understood as a cultural, social or psychological process.
"Hearing is a physiological phenomenon, listening is a psychological act. It is possible to describe the physical conditions of hearing (its mechanisms) by recourse to the physioloy of the ear; but listening cannot be defined only by its object or, one might say its goal" - Barthes, 1985: 245
"Listening is a directed, learned activity: it is a definite cultural practice. Listening requires hearing but is not simply reducible to hearing" - Serne: 2003, 19.