Despite the gradual proliferation of scholarly work around sound, and in particular its role in experimental music, there is little explicitly sonic philosophy that attempts to provide a ground for such research. Decades after the work of Pierre Schaeffer to theorise theobjet sonore– sound object – and John Cage’s (1973: 10) call to ‘let sounds be themselves’, there remain few ontological and epistemological frameworks to support investigations into aesthetic, ethical and political questions related to experimental music practice and the place of sound in it. This makes writing about sound difficult and contributes to a lack of clarity or specificity in the use of terms such as ‘sound’, ‘noise’ and ‘silence’. In this article I seek to address this, connecting the work of transcendentalist Henry David Thoreau, experimental music composer and thinker Cage and philosopher Michel Serres with my own experience to develop an account of sound in experimental music that approaches it as multiplicity. This allows sound to be heard as physical, perceptual and conceptual and brings into question the reproducibility of sound, emphasising the place of sound as part of its environment.

中文翻译：

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声音的多样性：与梭罗、凯奇和塞雷斯一起聆听

尽管围绕声音的学术研究逐渐增多，尤其是它在实验音乐中的作用，但几乎没有明确的声音哲学试图为此类研究提供基础。皮埃尔·谢弗 (Pierre Schaeffer) 的工作几十年后将对象声纳– 声音对象 – 以及 John Cage (1973: 10) 呼吁“让声音成为它们自己”，仍然很少有本体论和认识论框架来支持对与实验音乐实践和声音在其中的位置相关的美学、伦理和政治问题的调查. 这使得关于声音的写作变得困难，并导致在使用诸如“声音”、“噪音”和“沉默”等术语时缺乏明确性或特异性。在这篇文章中，我试图解决这个问题，将超验主义者亨利大卫梭罗、实验音乐作曲家和思想家凯奇以及哲学家米歇尔塞雷斯的作品与我自己的经验联系起来，以开发一种将实验音乐中的声音视为多样性的解释。这使得声音可以作为物理的、感知的和概念的声音被听到，并对声音的再现性提出质疑，