Sound art encompasses cross-border art practices in which the acoustic element governs the recepient’s overall perception as well as the structure of a given work. The visual sphere and the spatial dimension represent the most important references to sound. The most decisive factor differentiating sound art from music is the breaking up of linearity and of limited temporal duration.

In its combination of auditory, visual, and motoric-tactile perception, sound art addresses the interaction of the senses and is therefore grounded more strongly on general aspects of perception than on the further development of artistic principles. Thus, the artwork-like object diminishes in importance in relation to subjective experience focusing on perception.

Direct precursors to sound art date back to 1900; sound sculpture began to develop around 1950. The concept of sound installation, which now plays a greater role, first emerged in the 1960s. During the 1980s and 1990s, sound art entered the context of specialized solo and group exhibitions, which led to its increasing popularity and inclusion in important contemporary music festivals.