Hearing, Seeing, Silence
To Appear
But that is no real music! Right. I think the developments in sonic arts are showing what the boundaries of real music might be. This text, which will soon appear here in translation, deals with the radio play fiction in sonic art, the transcendence of pitch and music’s diffuse intentionality. It is a slightly adapted version of the essay I contributed to Welke taal spreekt de muziek? – Muziekfilosofische beschouwingen, 
edited by Erik Heijerman and Albert van der Schoot, with essays by John Neubauer, Sander van Maas, Marcel Cobussen and myself…
Summary: I argue that the distinction between ‘music’ and ‘sonic art’ (‘muziek en soniek’) should be taken seriously to bring out the distinctive characteristics of both art forms. The sound worlds of the two are compared. Wheras in sonic art the meaning of the sound (often theatrically and visually underlined) is an aim in itself, in music sounds are produced to create a world of (dramatic) pitch forms that transcends particular sound sources as well as the (visual and sometimes theatrical) gestures used to manipulate them.
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