ЗВУК КАО СРЕДСТВО СТВАРАЊА И ИСТРАЖИВАЊА У ДРУГОЈ ПОЛОВИНИ 20. ВЕКА
SOUND AS A MEANS OF CREATION AND RESEARCH IN THE SECOND HALF OF THE 20TH CENTURY

Summary/Abstract: This paper examines experimental artistic practices in the second half of the 20th century in which sound (per se) acts as means of creation and research. The author presents various examples from different creative fields – outside of music and from the music itself, focusing on foreign and local contexts, in chronological order. She first presents sound as an innovative, three-dimensional material in sound sculpture. In this context, she singles out several categories of works: sculptures as music boxes (works by Joseph Cornell, Robert Rauschenberg, Robert Morris, Mary Bauermeister), sculptures that represent or imitate musical instruments (François Baschet, Bernard Baschet, Charles Mattox, Reinhold Marxhausen, Robert Rutman, Vladimir Labat), kinetic sound sculptures (Jean Tinguely), sound sculptures that shape the ambiance (Harry Bertoia, Bill Fontana, Marina Abramović). Then, the author identifies sound installations as new formats of working with sound in space. While the concept of sound sculpture implies a visible sounding object whose perception is not conditioned by the exhibition area, the sound installation interacts with the acoustic properties of the space from which it creates a particular sound environment. This category includes works of Max Neuhaus, Maryanne Amacher, Bernhard Leitner. Furthermore, she mentions works whose focus is on working with sound to demonstrate technological potentials and vice versa, such as the works of Alvin Lucier and Vladan Radovanović. Interest in sound as a phenomenon and a creative tool for artistic creation has taken a unique form in the poetics of domestic composers, Ljubica Marić and Ludmila Frajt. Therefore, at the end of this paper, she mentions their sound experiments, i.e., musical compositions enriched with new sound sources.

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