The advent of audio recording and playback technologies greatly facilitated the increased use of noise as a compositional element in the 20th century. As this phenomenon progressed, the idea of noise itself began to rupture into multiple strings of conceptions and possibilities. In this paper, Abe Straus show some of the ways that noise has been used as an element of modern audio composition. This is accomplished through discussions of works by Pierre Schaeffer, John Cage, Brian Eno, John Zorn, and Merzbow. Though all of these works are radically different, they all make use of noise to accomplish their goal. As noise compositions, these works illustrate the multiplicity and plasticity inherent in the concept of noise.
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