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Such limitations encoded a number of musical assumptions into the monophonic ringtone itself. They encouraged the coding of rhythmically simple melodies, making unusual rhythmic subdivisions difficult though not impossible to create. And they fixed music into a single melodic line with fixed pitches and simple timbres, making even simple unpitched music difficult to create.
Clearly, certain musics were incapable of being represented even somewhat accurately with the monophonic ringtone, such as those mentioned above, and even Westernized popular songs, with their distinctive textures and timbres, sound unimpressive as monophonic ringtones.
But I would like to advance the argument that the Western classical music appearing on early ringtones is eminently representable and abstractable music, in at least three ways. Indeed, this is the first inescapable legacy of Western musical technology: that it produced a musical practice whose audible result was inseparable from its written form. Variously connected to ideologies of romantic organicism especially in 19th century classical music or a catchy melody line as in popular songs and advertising jingles in the era of mass culture , the music provides particular melodic fragments that one can easily recall, a feature that can be easily marshaled for use in a ringtone and other forms of advertising generally [ 85 ].
Third, the music in question all derives from the period of Western music history in which a relatively consistent set of compositional practices predominated. However this arrangement is conceptualized, musicians agree that there are two basic modal genera, major and minor, with different but analogous musical and expressive properties. It gives rise, moreover, to abstract relations that control melodic motion and harmonic succession over long expanses of musical time.
In its power to form musical goals and regulate the progress of the music towards these moments of arrival, tonality has become, in Western culture, the principal musical means with which to manage expectation and structure desire.
As Schenker himself argued, this form of interpenetration provided a way for listeners of tonal music to remember melodies without taking recourse to memorization alone [ 87 ]. Arguing the same point from the perspective of information theory, musicologist Leonard Meyer argued that tonal music includes various forms of redundancy that allow the listener to comprehend quite complex musical forms and styles [ 88 ].
As a form of advertising for the mobile telephone itself, the Western classical tunes abstracted in the form of monophonic ringtones served their function extremely well. With limited technical means, they provided catchy and informationally rich jingles that would haunt and torment unsuspecting listeners who had already internalized the norms of Western tonality, making it impossible for them to ignore the pervasive social presence of the cell phone.
The history of the ringtone would then seem to recapitulate the history of modern and postmodern Western music in the span of a few years [ 91 ]. And the story would appear to be simultaneously one of generational change, with the young defeating the old, and of corporate consolidation, with the music industry pushing for its already commodified timbres to appear as mobile phone music [ 92 ].
Conceptual art and composition with ringtones The pervasive social presence of the mobile phone and ringtone over the past half decade has not remained unregistered in global cultural production. Cell phones have appeared as central accessories or narrative devices in recent Hollywood thrillers like Collateral and Cellular and the Chinese film comedy Cell Phone [ 94 ]. In the case of the former, orchestral musicians including composers of new orchestral works and innovative conductors have attempted to integrate cell phones and ringtone melodies into their compositions, either as bids to make their work more current and socially relevant or to ironically distance themselves from contemporary social phenomena.
In most of these cases, ringtones are mostly novelty effects, often directly poking fun at audience members whose ringtones have interrupted concerts on other occasions. Operating within a somewhat different artistic framework, new media artists have found ways of exploiting the technologies of cell phones and ringtones more directly through installations and interactive works.
In all cases, these works use mobile handsets as objects in their works, often requiring corporate funding and sponsorship by mobile phone manufacturers and wireless providers. These works for the most part serve to promote mobile telephony and even particular companies, often explicitly at corporate and technological expositions.
Among such works include an installation by Nokia Finland at the Hanover Exposition in , in which Nokia phones were affixed to a wall with a painted tree backdrop and were themselves painted like birds, periodically sounding birdsongs as ringtones. Perhaps this was an attempt to naturalize the handsets and the sounds they produce, although it also may have been reference to the often reported story that birds have been increasingly imitating cellphone ringtones [ ].
The intended effect is to give the gallery visitor or concert listener a sense of agency in the process of experiencing an installation or performance, and interacting audiences are often absolutely necessary to the existence and success of these works.
A representative example of such an interactive work is Handywolke or Cellphone Cloud, by Peter Hrubesch and Dirk Scherkowski, which was installed at the Berlin Communication Museum and partially funded by Siemens Mobile. Such artworks might seem more reminiscent of displays at science and technology museums, in which children are meant to interact with the display and perhaps each other by pressing a few buttons.
Levin worked in collaboration with several musicians and programmers, most notably electronic musician Scott Gibbons of the electronica groups Lillith and Strawberry and sound sculptor Gregory Shakar. The technical requirements of the multimedia work were extraordinarily complicated, working on three levels.
Second, Levin and Shakar manipulated onstage graphical user interfaces live onstage. The interfaces allowed each person to activate groups of cellphones in the audience, who were organized into a large grid, by touching an image of a grid on a computer screen. Third, the team of technicians led by Yasmin Sohrawardy worked out a complicated switchboard mechanism. The audience and light effects were in turn reflected by a huge six meters x 12 meters angled mirror, which was hung towards the front of the stage.
The opening of the recording of Dialtones Staalplaat STCD , begins with the sound of a single cell phone ringer, drawing laughs from the audience. With the commencement of the first section, we hear the growth of phone ringer and ringtone textures that are reminiscent of forest soundscapes, replete with imitations of birds and insects.
Around , the textures shift as drones appear, simultaneously recalling organs, synthesizers, and cicadas; within the texture, the Nokia Tune is sometimes present. The music grows a bit more dissonant as the section continues, and a new ostinato pattern ultimately appears , then is accompanied by a looping, arpeggiated figure which continues to the end of the section.
A new ostinato appears , this one tonal, with birdsong melodies and fragments of Bach ringtone references superimposed on the ostinato. The music decays for the next two minutes, ending with a single phone ringer. We might interpret the visual, sonic, and technical references of Dialtones in three ways. First, the music in combination with the visual effects seems to evoke a kind of atomized connectedness associated with global digital communications.
The work proceeds by portraying the intensifying conflicts between nature and human society, the potential catastrophes of which are hinted at, but never represented, towards the end of the piece [ ]. And with the previously mentioned reports that birds have learned to imitate ringtones and that birdsongs are popular as ringtones, the actual conflicts between nature and capitalist technology are yet further mystified [ ].
Third, the technical setup of the piece hints at a particularly ominous aspect of cellular technology. Although the narrative themes in Dialtones might in some ways seem profound, its means could also be seen as inflated, gimmicky, and highly contingent upon corporate sponsorship [ ].
More modest cellphone and ringtone works have been created that are often able to project equally powerful ideas and aesthetic experiences while still remaining relatively independent of the advertising role that big budget works must often play.
One work by Craighead and Thomson elegantly investigates the ideologies of the cell phone in ways similar to Dialtones and other interactive ringtone works. Visitors to their installation Telephony are encouraged to dial the numbers of Nokia cell phones arranged in a grid on the wall. As the phones are dialed, they are programmed to dial each other in turn, and a massed texture built from the familiar Nokia Tune results.
The trajectory of the cell phone, a fundamentally auditory device, seems to be drifting into the realm of the visual. Of course, the point here is not to choose between the two works, but merely to point out their differences, both obvious and subtle. First, make sure you have the GarageBand app installed on your iPhone or iPad.
It is free from Apple.
Tap the Add Direct To iPhone link. Wait for the ringtone to appear or tap Browse and look for it. Tap the ringtone to open it. Tap the play button to hear it. Then tap the down-arrow at the top left corner of the screen to return to My Songs. Tap and hold the song.
Wait 2 seconds and release so you see the menu above the file. Tap Share.