The term ‘sound arts’ came into use in 1983.

In the 70s it was referred to as “sound work” (perhaps to detach from the world of music and art). The term sound work underlines the importance of the process. The idea of process – in its widest sense – came in part from discourse and practice of the early 70s. However, using the word “work” might set barriers and gives in to the capitalist appropriation of work.

The concept of “musicking” refers to interacting with music or doing something music-related but without necessarily creating music. This term focuses more on the process rather than the end result – similarly to the way Toop prefers to use the term sound work rather than sound art.

Sound art is a hybrid form, especially in the UK – because of the resistance many people have to accepting sound art as a ‘true’ art form.

“What I’m trying out at this stage in my life is new formats, or new settings maybe or formats and settings that have been tried before but then been forgotten or put aside because established formats have such a powerful hold on our thinking. I’m frustrated by […] all the familiar routines that frame practice and discourse”

Toop, D. Parkinson, A. (2020) Unfinished Business: A Conversation on Sound Art in the United Kingdom, MIT Press

Some might find the term “sound art” problematic. Using this word could be considered elitist or exclusive. Perhaps due to the status of artists in society, often labeled alongside poverty – whilst expensive artwork is used as a money laundering strategy by the ultra-rich.