Japanoise (ジャパノイズ, Japanoizu), a portmanteau of "Japanese" and "noise", is the noise music scene of Japan. [1][2] Nick Cain of The Wire identifies the "primacy of Japanese Noise artists like Merzbow, Hijokaidan and Incapacitants as one of the major developments in noise music since 1990.

2023年8月14日 · Japanoise (or Japanese noise music) is a genre and subculture that originated in Japan in the 1980s. It’s characterized by its use of extreme noise, distortion, and experimental sounds, often being blatantly atonal and arhythmical.

2022年11月5日 · 在80年代，一种奇异的地下音乐类型涌现了：日本噪音（Japanoise，又作Japanese Noise） [1]。 这类音乐基于回授，缺乏旋律与结构，常被认作是音乐的终结。 大卫·诺瓦克利用媒介人类学的工具，追溯了这一流派建构的历史。

Japanoise is an extreme case study of modern musical subjectivity that demonstrates how core cultural ideas are formed on the fringe. David Novak's treatment of circulation as embedded in the creative process will shift the debate in ethnomusicology, popular music studies, and …

2013年6月3日 · For its scattered listeners, Noise always seems to be new and to come from somewhere else: in North America, it was called "Japanoise." But does Noise really belong to Japan? Is it even music at all? And why has Noise become such a compelling metaphor for the complexities of globalization and participatory media at the turn of the millennium?

而“日本噪音”将这一切要素融合并发挥至极限，在“反文化”的背景下创造了一种独特的“反语言”音乐。 当我们细究被称之为“Japanoise” 的日本噪音场景时，发现它不仅验证了贾克·阿达利的“噪音政治经济学”预言，也在日本独特的历史背景与社会文化的脉络下隐喻了“后凯奇”时代声音艺术发展的某种困境。 可以说，比起后来的“日本噪音”，未来主义和激浪派在作品中使用的“噪音”更偏向于一种理念上的表达。 例如未来主义者使用机械振动发出的噪音来表现对工业时代的赞美和对传统 …

最終，這一運動催生了一種噪音子類型，被稱為“日噪”（Japanoise）。 在接下來的數十年裡，藉由諸多才華洋溢的音樂人如：Merzbow、非常階段、Boredoms、C.C.C.C. 等人的驚異作品，贏得了國際上眾多地下狂粉的追隨。

Noise, an underground music genre made through an amalgam of feedback, distortion, and electronic effects, first emerged in the 1980s, circulating on cassette tapes traded between …

This page features selected media examples—drawn from original fieldwork recordings and other sources—which illustrate some of the events and contexts discussed in various chapters of Japanoise. Videos are in the main page below, sidebar contains the Electric Peekaboo Interactive Listening Device.

In Japanoise, David Novak draws on more than a decade of research in Japan and the United States to trace the "cultural feedback" that generates and sustains Noise. He provides a rich ethnographic account of live performances, the circulation of recordings, and the lives and creative practices of musicians and listeners.