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    8 views125 pages

    Becoming Noise Music - Steph Graham

    Uploaded by

    Richard Crow

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    © All Rights Reserved
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    of 125
    Stephen Graham orate ———a f a2 ih ih, wii i Becoming Noise Music Style, Aesthetics and History ‘Stephen Graham BLOOMSBURY A LOOMSAURY ACADEMIC ‘omar Pung he 1288 racy, Noe 1 1018, US beard Sau, Condon WTB SOP UK 29 EortTarace, Dati 2 oar ‘aLOOWSBURY BLOOMSGURY ACADEMIC nah Dane oe denna Banat Paaing Pe Festa inte Ute Stats ot Artes 2023 Conyigh.© supren Gan, 2029 Feria trone he Ackoslegmansonp vara an eersion she oor om cove eng: Lise Duns corer mage 8 Oger) ores Nights scr. No par of mapusieten maybe ened ‘enemies tan Foy any man, auc ot aa ncatng pote, ern, oe nlameton seo ee, ‘stom uta er permssion mtg om he plas Boomabary Publi ne aon rt a ry cart ows agony snylteiary wees one ae ose Alle eaerts ge Thisteat wor covet atte traf pong tare The oor se ste! eget any ncomarinoe causa aaseses Pave Senge rts hv ota "pteatouton scot ne cpanel fer ch rae. lst omer nas een mode nate cop heb uber was (Peet matory gers rethete seamen ser at congas Catone Psion Data ‘arts Gon, Stpten husslog ator “te: Besring non have setts og tor /Stphen Gabe, Dossier Newien leomanry Ase, 2028 | ues Beep Tecves wo | Suen Th rat ook ets ela ad cemorshoma on he run nous ru 9 copes corer questa of etry orssoseey Povawa by cua ‘cers LCCn 202208157 oe LCON 202200771 ac | SBN SPEDITEEND irra S8N 76150372708 Gap SEN 981809760 (ch |GEN ova TOE a [GEN BTETSOS?END bok oe Sujest LOOM Noe runt anata [Nabe rose Muse aan ae rts Ccsseton; ce Mean 79 2:23 in |LCC MLAEDET Tabs 900 Te eae ezSen022050 crass tbl a pee gov20220 37 cebu em aos iozn be go2022091971 sen a srensonoreres por prs Sock senor "yore by ner Stare Sees Pt La Tolstout rae wast curator anos ist wrioomstiycem ‘rasgrp toro ets Contents Acknowledgements Preface (Chapter Chronology Noise Masi Timeline “ntodcton: Becoming nose mick Part Noise muse then Stouty and clangycredos: Power electronics and indus music Antsmasle? {Global ash power Harsh noise Japan Harsh noise he United States and Europe Interlade:The story 20 frend to come ‘Pert2_ Noite music now 5 Harsh nisin the twenty Sr centary 7) Noise walle and atmosphere chambers 1 Nolic erotics: Traumatic bodies an desires 19 Hybrid moseboom Pat One: Nose an 10 Hybrid noiseboom Part Two: Noise music n0m CConcson Bibogarhy Acknowledgements ‘Thanks ft and foremost tothe coundes nolse musclns, fans, eric, promote Jnbel ads and many oters whose boundles enti for noise music makes the scene wt Many, most give alot af thee energy to noise without any financial ‘revard ot recogason Isa dic bu noises alabour of lowe; and ther alo of love, se can be ecen inthe amount of nfoeston, cricsm, and appreciation thats out ‘there in zines, fru, databases, abel pages, and soon. And inthe overwhelming mount ofaose hat gets made. Kudos al. Particular thanks from me are due othe folks a Nose and Roman Leyra at en Truths to Richard Stevenson at Noise Recepor, to Jennifer Walls and everyone Inve wit Fgh Your Ove Wi, to Seymour Glass and Baan 0 The Wire to iss), Splints, to everyone who has ver vploaded ae ose alba 10 ‘YouTube, and nally oll the noise masa wet dou is the pages tt low. dont know many of you personally bt this boc would simply not tve been possible ‘without you an what you da, [also dort know the ind reviewers of my book, bat ‘ch thanks other, oo fr their helpfl comments nd feedback, which (hopeflly) Aeepened my arguments and sharpened my structures. Thanks above al to my amy for everthing Preface 1 wrote this book Becteof am invitation toa podcast and auch. In May 2020, any fend Deb Grant aed me to recon a pce for her podcast, What Gocs Aro, Geseribing why 1 liked nose msi. Intended for a general audience of now-noise Tener, the plece regized met finda simple and direct way to talk about noise ‘music When Deb sade her requ, recenly been Inspired by another podcast, [Netsesta, to eengage wth note fea lite lS Thad s hunch have slot tos. ‘But wom quite sre what tha: would be. T thought about Deb request at | propared to record. listened to favourite nose albums by Richard Ramire and Merbow and, in addon to inevitable euface impressions ofloudaes and intensity, words Uke uninished ow, emerging proces, ‘onc andunreslved came tom mind Thinking bth on tis andls offevourite texts on note by writers Uke Paul Hegety (2007) and Greg Hinge (2013), realized ‘hat what kept me coming bck to noise was ts emphasis ona ind of uaresoied, ‘cataal quate Cs hoe of he ines! tra ST process} mavement and tension; on What I cae to describe summarily as ‘becoming. "Teaming ina term of my owe that nevertheless buds on similar inflections in ‘uinge ay in fro, te "becoming ow ond ‘Setereorialintin of Deleuze and ‘Guat (2013s Rockefeller 2011), Halnge, fr his par, wes Becoming’ in passing to describe note embodiment and even expression of what he describes as universal “eltiona oatlogy an ontology that based onan omnipresent, vibatryinteretion cfmaterial and/or conceptual dies, nd tha ncording to which tbe word comes to pps (sand 1), Becoming, in my wag, bulds on Hainge’ ens of noises vibratory fnteractioniem {and vice vrs) but narrows focus from ontology (which incades tsesthtics, in Halage understanding) to aesthetics (not que including ontology, in ‘nineY"Becoming. in this sent, gestwes athe nosiness of cosmic inteructons and ut transues these nto an artist nd, as wel see, psychological reste. "Becoming therfore describes solse musics pereaial sone movement, tue, and deft sceming,o¢(erucally forme) partial resistance towards what Haine eacribes asthe sense of ranecendentl order’ and‘interal neces’ that ends to ‘be crested by normative codes of western ‘musicality’ ted to things ike standardized ‘onal, formal and yt piace (262). Where such musicality deploys generle conventions to aigaly intemal order, nop zems actively forest such ordering cen nd cing DRE PT AY ET Tl 39) Pauline Nadrigny and Catherine Guesde (2018, 9). As ggesed ‘by my ‘partia! qualifeton just sow, tls sa view tat I both party endorse and alto want o complicate Afterall unlike Halnge and the others for me noise music ‘eu olds in tension and even reconcles apparent pole of musialiy aid noise ) Iie sy ‘Becoming! for me, therefore dvebes + suspended dalton volunes, factred and vmewhat iapredicable shapes and sound, and inente and noise resistance, not an antimony betwee thei. And here fe emotions of noise mean that it may wel havea special claim on these different registers Saeed eeeeurto ftom wher ering cag ofbecoming. Bradt ‘nether the dynamic conrontton of eppoien nor the ung of an "The dos ays wih me. Tred hak ina more stad way about how cssnce ina teeologially odnned proces leting to ryahering of deny ‘tee shor had sid sim tingeabowt nce, bad step o grap wih ts lnsead,an ‘fication of the potty of dlference, mean ine and constant ‘onsplexreaiono misealaomas anc ends, Wevaleny hear about Hang ease proces of transformations flux of ruil becoming (199,44). onc lan usay bu wl ao, fr examples Heparin Chapter “fo expen onthe poit of upped ose Bening fra moment, and to ge oonertng cathe Sealing of ape in Mersbow andthe emma mens of authors suchas Hage td. ret oie art fos Merb end Rees ‘joan (07,19, 2072 20a for anther och a. Aland Reed 2019) to aml, Moonbci Teo an may eter indeed lg playin the movenest and the afrttertoned PalineNadigny end Catherine Ged on eed ete. ‘diab that many her wesern sc leverage twee mt xa ‘But vez that sone of thot autos had ante the alae and wet ‘eolin. This lines up with (pla characterinone of ote eran etl gles inthe ume wry had paral a terme of wha saa aes dine ‘ermal amuse sje wh suposed ered tential orm qute ioc of musta aoa an ones Moret te po y terpaton Naga sod Guesde quoting Hearty (2016, 8). And yt a tue at bret ~ vars feieed ox aoe as ver han om the more common consenplation ox sutalnd lops ot regal pisng, psig alos (0 etalhed spe lege oF ts ole oF ts seene dynamic ois impor fo peop ot como, ‘Sepa and sutures ad items gesture and sound cuca rly ‘elie tht «certain slau o sede depth tad sometines been neplected in ‘pps in ise. Quite abt of sake musi ren work wth abe rytie ge ‘hose ours inal for rested rons vw tha the prc range of ole tnd dst melodie mots. As wl sce troughout he book, fm, ape, nd gn ‘stereo rected he dati chlay rales igh ‘Sound! Whee sts my ove bes as meaning and eucue ng maooget ave Noise msc then, ha Seen seit eget a both sete Se sd for ot I hetefore cat elp et ear ‘mis! nd in Hang ese, mua ainost ‘Yet ory (hee en’ refs to scl rounded rl defined unt of messing cverynhee in ale, Ths tn of cnet aller te epee ln ater crcl wt ving which ctr fa aioe es tcc erent fers There ie ference between aa a terms ne never ute ly ffm otter Eo 197,74 Fab 98130). sete, bln, o esas, peering o banker down in ei poces tow of Tete to pla book ths ook =the wos! newer tht double nel with Sinpl to explode proces bie they rede, Moco oie cal oprtes sn in-depth fos on nie aye tnd seat lerpeton on the oe aod nd sera specu: fo every Heady chang inti eat a Powe ecto we deaicedoncettonon he geve of nove msc tht By vite ofthe dal Gan find seemingly apenode, ancl feqeency taro tnd tcl chaos in focusom ao syleand eae the bsk wold dette he soy of aos mick har oe Bute dieenceberween ose andother muse, gg. inp one development over the ps ity or vo years. This would therefore a a second lyr _ofdegres not secon kind of becoming to the mel nd prplogll becoming ent cused, Ta i ‘ole mus hes oi muscly and ise restance in produce tenon, the story of ow the gere of ole ef ecme; how it developed from orgs ‘ater ha baring the former rou ofthe ler Ths perennial and produce Inthe 197s ad 19805 trogh eas’ 1990 period and nto hyd rey alec eson (ot oposon i mses nd aesthetic cnpeling, semcentry fring mas conten Beiming Nose Mase therfore doubles up 99 ‘But justas importantly even fpehape ev stalghfcwardy tials compen ‘becoming abot bth the becoming ete andthe ager, pente-alng on persona, pyehloal ee As Tien tone emia seine nd my proces ofthe becoming of nol msl Ista alo shot the ound und the we Sense of el loosing my conscious experience eng into something ha snot ‘of mois, and, nso dong arses st a veson ofthe sory of nc ha wht not ute verally nd cogatvey dear nthe uation ener ind oped deft wide ranging ad dp nthe et of nd ce of charac a age unspenonl aperence, merging ato somthing get ad kee bounded hy few with which engages bets we, ave etait etn erie es | istening to noise This paycologial ‘becoming’ is harder to past than music stylistic | becoming But bah ae impartat specs of Dow solu operates an, it how tea atc teaer ended up sings nich on What Gots Arun ik cise masc Because fers listeners hance to rims ino «pty vid fry of mela {tye lucky andlor inthe right fame of mind ~ycologeal beeing, Other ‘mises ors experience to thee tenes bt, argued the parte lod Chapter Chronology Noise Music Timeline igure pt Chops drnclogy samme ain honda ofeach ut Introduction: Becoming noise music? TH sar by doesn my le, Becoming Note Abe Se, Anthetes nd tory. Beaming is mean into dite nse, a1 wacked i the Preice. Oe, the book ised on «stand sett dee of Becoming whee nose ma Ivette boner tween ea der and "oi order lel ang nd ioe speech, eng the clftrent cements coexeae diet spoiss rahe than rusully oppo or canceling opposes. Ts syle td sete IREEHng int and ut of sable stad can nfo, create a corpnding sense of reo cheng into and ot of les. Tro, the book ls the ry bow ue ric we aod varied gence hoe rots sich Back hough ses the over electri and free ez an through urs died in pat By {eral lite century pstndasial male = row fom thse ots beeen te propein thet 1900 and 1950s Ade, ae, ved and Lega 0 {hetroade wey Sen-centry Sige msi sens. ow mals me became nse tse Ten ogee thee sees Becoming ezount or the Sf extn ndhitory while Aer el, queens of syle and seit whee ie refer 2 Tepid paters fart angsge se Meyer 1969) and ‘eth complied term at the test of tins co atl consent and foraand thers ote same — ude the at sense of becoming. wilt history underes the scored the ear? ‘fhe note ee, Noise tus the nly ening phrase fom te il, lly loc fountational aspects thbook There are wo layers tons si the Sit ted to genre athe econo deci, Pi, genzes andy way of which eel Inertare ere ~ i Only ral umber of previospeblstins focus eniely on he ee fase tn the maaner of hs book. Some provi ich nterdaclary ehtogrphs of dieertsoctl mua nd ctrl pects of oto of ferent soem fo ‘cal witarah Bena work on the DIY scl pactceand messes ‘tae (20162019) en Dad Nova stad ofthe pense ene 2013) May exh ere of noise with ole forms msi aor wih bode cones ‘or contents. have done th (216) Weta schas Doug Kaa (198), (as weve see) Gee ings (201) and Marie Thempson (2017) ne, oe help, weighed {hese onewtat towards conceptonet genre le And eves speck a Fegury tendo approach noise ws both gentlest and theoreti popotion (eg 207 and 2020. a Becoming Noise Musk Syl, Actes and History sini te ryan ett ct mete Serer enema gang creme 2 cea wn Caeser iSetvacctie nmin spe incrag dulce terior ce Sosa eee eee a eee poaieinecnenscapiransneemerent Tend siahorantom ncaa Sona ie aeeet ee ars soa peen cre aman Ta reed Ste ieee cutee soot ae hve ter noecninatinge ene Py eater ai 1 antares tatnaren oy pare sincera eee Sonrene teeters eae maces rc Lperimeenen ethan acres average iaeememneereretraereces Shatomoromnna wanes ichaconcnananatertae te Sop iitimas seas teem sid cecctronanatatetons ogee seen comet ego igaeinontt-cerenanetene armen Saeyariaiaeaattioe gurancedote ated uso explore another wey of accessing oie: of atenng So, the question isnot only ‘how do we Hien to noise: but there noe Listening And, 0, how does i isten nt aly to what we woud lp bet sis. barogue tes? Ist then posible tat i hie stening, something origin! ‘lays outin the connection of lacs that thecresandactsticcurets have suas ‘expres planes ofthe acoustic, physiologiel and aesthetic? (O18, 6-9, ranalaon my own) Nadrgny and Guesde therefore focus on nose desietics via «physically grounded oncepton of listening, This focus is eneehed by cra refcctons. grounded in (questionnaires shared with endows a onic Pots and wit listener td faneby the ‘Angssbo records label and che artist Matthieu Salad, and i interviews with atts Such os jupiter-Larep In all these ways ~ the muai-analtical depth, the naraive range, and the methodological approach ~ The Mot Beni Uh Sound the World neocon Recoming Noe Must? cove wi te cate book. As wl seat vo point, Nady and Gna ‘pach ys ach igh nb ae vero td nen ey sin tt apres tat ne nh eran omy soy are terres metone inthis bie ve, he pi and cape of i eke Dy ry iter ve So tn ne mat’ pola oud. Henig me mii in my ‘se an opposed ote more wey appa nd aml Mae Cem0 Sica tatu forte pes itn ha sole ce) cy Say fcc mance icy nd ene. Ne muse ‘nhs wa. ed some of th atl nga of bok tig tg oe Undertod a4 meaphor fr dor and ne, uadetand opt fo rere ungnge rung tat he rare of oe miciuon albert dina ‘clr uneven nd a leel fson of at ght {pen tobe nbe/uase ples ney aumento ck platy ‘hs en th wi of and ad exec he eppsion hry incur snd horace avast aay exes nent om, Seared see ve cage hve wih cera and ity Nol Scironie This ntingofs poem pointe sed rte ue Somers seve sgn deinae Sy eters se snd te the dy oe ‘me a Hinge ocala “Dole swat brn the pice of ud (020,79) Eevee Hey css soiseas aloud, overwhelming and scemingly spontaneous totic ace of concep ance als pee musicality inthe form ofa more unconscious exreson Speaking about Japanese noise music in particle, Hegarty suggests that’ sper can be scent ask wat he calls he question of gene = whit does mean tobe categorized, ‘ategorzable, definable” (2007, 138. Plekiag on that same point af etegrintion, Sarah Benin considers te widespread resistance both tn clegorizatin self end ‘the category of music amongst nose museans, commentators, and others ‘Leaning nto nose asa gene lead reminds the restrcher o expose thems to 2 mulitue of resistances On the one han, a resitncetowars describing ‘he musica teria to deliatng its sic contours and to analysing ta resistance that aims in short to dliit tbe object sel to atach a definition Yo Stand to understand i category .. Nose embodies what nether melodie ‘nor harmosious. It by it own propectis, bys own aco, fat snply by sts own presence that clits conventional rules nd codes of mae and even cxegornations. (2018, 1 and 6, uaslason my ows) ‘Meanie, speaking about the dear value of analysing nol in the manser uf “witonal’ music ancy, Kubizek nevertheless sks wither ii ‘erable 0 try to “ete” noe music fo attempt to gras it as music inthis kindof way 2020, 36). Becoming Noise Muse: Sipe Aeshees and History Forhim, nose resists and eludes wach odrng, ‘musing analy, whereas oat think ‘we ~ those of ws moze oles schooled in ween auscal conventions and ethaps in modes of structural listening ~ have a cole in grasping note st me How could ot, al etl ito (ote savetinal Heras af eters, Alexander Reed for hs part and Sally decries the idea of nolse-as-music at least viewed from the tadtonal perspective of esiilation an ‘ling ow, ‘industrial music goa isto stake ot extzems,then its enportant that noe ‘eats noise, both as metaphor and wa perceived sound, resting asilson nto order beauty ands’ Noise as ust gis acces cultural and ecsomic epkimacy fosters tradtons and topes, and can apie pleut ew primary sim, atin exchange forsweursa ceria abscltees ofestonomy and apse tw-riiqu msi from the ouade, (2013, 306) Howeve,evea Ree himelfutimately goes against this in. arguing thet asiltion Ssanecesary gal: “The potency ofthe pa-evalutlonsry guna the contol machines ‘depends on contact between the twos aoe can only redefine music when the to {out (313-14) (The two are always touching!) Thowgh Reed i speaking in piel terms bre, lb point - that noise and rusie mut and indeed Go You! in ce Passage to meaning ~ resonates|The fecsin between the to i the power source Hence again. oie muse My le, wx whole, rere promdes compact ptre ofthe book mec, septs. tod prac Theft iodo sesso nore et ext wo sections dcop eichlayer ofthe ook pinay inrpetatie argue ot"becoing ylfanguag and hea psychology. The hin vecton ofr mae dt ‘onthe other aspect ofthe ile Becoming, the Ror of cite, Te ial wo Secs sinc he bok’ method and srocre, spective ‘Becoming style (and language) th AN at ges yo an Bec you htt pater uli ne Yosh tt sotto ad pat ee rh now {an har rcs bg ates es eso ‘being built every night. aa (Che Sess n Coney 2208) ‘Te emphasis om stylistic becoming Ive heen exploring where alse movement and resolution hldintenston apparent poles of msialtynd nose’ plays outin diferent ‘ways in diferent examples Whit thereat ofthe boo ie aken up with exploring ie Point, ofr ere an init! series of brief bu Mustrative usc examen 4 ay ‘of geting closer to the fe of noise music style becoming Tclone thi section by Inirdueton Becoming Note Maslt 5 comparing nose music becoming tater forms of muscl ecoming, through this escribing noise style in more dea. ‘Alot of harsh nose ~a central cteyry in noise that explore across thre chapters late in the book = fends towards th kindof dense, manic, and unpredictable sound that might sem to liga more withthe kid of noise 'Yeistned sce by Benim. than the bybridoielmase dialectic a the core of my interpretation. To wi the Jimersive sound mayhem of C.C.C.CS Chaos I the Goamos (Cod Spring, 2007), or (of Hjokaidan and Borbetomaguy Ine collaboration Both Noles End Burin (Les Disques Vico, 2007), may appear tS sen tobe without order, for or syntax. Butan close examination, these albuns reves! nuances of language a low hat pull ‘theistener ito a hind of drama of decticl becoming, Though much of Chios Is the Conmos consis of dense shets of mes sath nole lowly modulating in profile and Interrelation. for example, distinct geeures emerge from te tumult a varous poets A distorted, high-egiter bass guitar inet ite just one notable marae, cals aut Sntermitenty rom 218 ke a strangled soak gasping frie. The ndlduated ature ofthe bas inthis example ~ at leas as compare to the relatively undierenated sounds around it~ suggests defined ction and invduaisi intent within dense storm ofsound, This pulls mento theaction asa kindof unfolding drama, articulating istnction idiomatic contrast, and therefore narrative low where otherwise we might only hear undiferentated noite, 7 And ye, only’ heres quite right since ‘undiferette! nose yields power Impression of becoming too. To take aa’ apropos example, Pench al ‘si, which is bated on epparentiy ‘unchanging’ walls of sate noise ‘no Iss, no changes, no development, ao exertalnmest, and no remorse goes his noise all manifesio (Vomir 2017) ~ expresses musical order and form the moee you listen, An album lke Prone (At Wi with False Noite, 209), for instance, c= be heard asa 76-minate unspooing web of subtle psychoacoustic patterns of ese ‘and fal, and revolving gure and ground, where small pockets of defined textural change o distinct motif or gestures emerge to the listening, Te album’ blldoring, largely mid-range static and white nase therefore yes order and frm: a well et ‘especially in Chapter 7, ven single-minded harsh ois wll aligns closely with the limperaives of uscl and psychological narrative. How could ot? Vor laelf acknowledges mec 1 understand that pope can hea ry diferent mands nn my work, Bat that depends on he en andthe ray ech india see 50 hk they grout of. The human body Ends conan nos fia 0 proce 90 repented loots for nooks er faa aie in oie val An, oon pee _exting idea a crest mags ae espns fr sich orto asm lis thats where these tinge cone rom nate = (vitans 2016) ‘The same trying ofthe familar end unfamila,oeder and diode, found ia other examples and forms of noite For example, sting loa regia in ets Becoming Noise Muse: Sle Aetheties an History Iie Feimes and Mertbow vite the tees to fn her way within a dams, ‘aid musa dicours, he later artists "Woodpecter No om he ay led Pabse Demon (les, 1996), ood isan of th, wth both sequetal and ‘multaneous contrasts etween a ple-dvingindartial tech ple en usa igh pitched sie reaing exciting bat unreoed eylatic an! dectcal tension Inder, as wel sec ater the ook. Metibow' eating ata noite often shes Into propane, broken-est pate in thks Gf wa The group Sons mse oe smthing smi. wh tate of age on be andro ale sd Jnl ope, whl Whitehouses Willem Bennet ker projet Ct Hands aa been but sounds tenons adapaon of Afican nd Halen au pti ‘Ase can see even inthe ick ntl exareples, noise mae stlii becoming 4s therefore varied, most pivoting on diferent version of «mcs ies ode and diner bt a other tines exploring wal we might cll mor eppd tic of sy or iom. However ts importan to ackowledge a wie point tat is that etl mais expres ome senseaf becoming oe lect conti between the appearance of erder and dorde, the ail aod the uname, langage ad ghiened, fen cate of ay encounter with gg etd to trina oe eer ern inl (Wey Ke, Hamu 20101 pee hyperpesoaeton hovers, ws more ety aligns with mus oe in sel fovaten and especialy wih sempre feta ope nr se. Personal, depersnaiation, and hyperpeionlintion are wef errhing fest which ger the dee: nds pycologia pet sis can fav on sens. But they ar ot bing tesa fed org theo Insed, they fold togeer seve read ot dipanie posible peycolgel rections to noise, etn up vomewitimpresionistc fame tenance mae syle dco previous to ht, Tes he regis dont ex he wer rychologieal context around that msec dlcion The rex of ths soton | lly eplors that wider cost ngun to setup concopts and ies ore eof he book It doses Transperona and Jungian and then broader coceps + ofa trancig and sis, The atlas inch chapter drew tom hese sures “loosely but accondogy ‘ranspenonal peycholgy, as undertood parcly though the work of Sais and Chen Grol, feues om raascnden, auper-suacive dimes ofthe pach. For ramps te ppl eins sce in contemplating very ei, Pesi-atal memoces, ofthe eapciouness of soled ‘nonordizay: holawope ‘expriaces of tetranscendencec los usa withthe controledbealoskof bolowope snspetona practice, meron anal cn senstn sto anspor experiences of onordinary conicousnes Ts lune Intent, and delet! ‘slemlssnest and inesolton woul pen win ths sent, detpe ea, Noe ‘munich Dave Phils males sir pola when bel abet oe end ner Introduction: Becoming Noe Must ‘music activating primordial shared emetious otherwise hidden under the debris of ulation, [siting] rumination, lrdorsng eatharse? (Connelly tal, 202). For some psychologists, such experiences can prove healing: "Healing begins when the {ndviual finds some way to reach arose the divide between ego and nono and cknowledges some of he material as she oe! (Uorsan, Du, and Egan 1993). Jn ts focus on super subjective apects of the psyche, ranspersonal peychology can be dieetly connected to the cones of personalization, byperperoaalizaton, tod dpenainon dando ie how concep, npn pra) ‘encompasses super-apoc sites fbn, I can also be understood as an extension ‘more familar theories ofthe unconscious frm Freud, Jun, Klein, nd other. ngs statement in Memories, Dreams Refeons that ‘Everything in the unconscious seeks outward manifertation, and the pervomlty too desires to evolve ttf tunconscons conditons and to experienc itef asa whole’ (1995, 1) indeed sums up icly ane ofthe ways we might think about nose indice transcendence a postive, Baling ‘experience. And whilst Jung typically worked within language ofimagesin describing the diferent ayers and characters ofthe paebe, both Jungand later Jungian therapists have also emphosized the postive ok tat music and sound ean pay herapeatic roceses (Adler and af 1982; tne 2019. "These transpersonl and Junglan ames of healing ronordinary(ua}consclousness chime with more genera, noa-noise

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