| Revision as of 06:03, 6 April 2005 edit68.213.179.181 (talk) →Keywords: extended 'Aleatoric music' to reflect its also being called 'chance music' by Cage & others← Previous edit | Latest revision as of 17:33, 28 March 2008 edit undoPmanderson (talk | contribs)Autopatrolled, Extended confirmed users, Pending changes reviewers62,752 edits redirect, per talk. | ||
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| '''Experimental music''' is any ] that challenges the commonly accepted notions of ]. There is an overlap with ] music. ] was a pioneer in experimental music and defined and gave credibility to the form. | |||
| As with other edge forms that push the limits of a particular form of expression, there is little agreement as to the boundaries of experimental music, even amongst its practitioners. On the one hand, some experimental music is an extension of traditional music, adding unconventional instruments, modifications to instruments, noises, and other novelties to orchestral compositions. At the other extreme, there are performances that most listeners would not characterize as music at all. | |||
| ==Keywords== | |||
| '''Aleatoric Music-''' | |||
| Also called 'chance music' (Cage's habitual usage). Music in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. | |||
| '''Graphic Score-''' | |||
| Music which is written in the form of diagrams or drawings rather than using “conventional” notation (with staves, clefs, notes etc). | |||
| '''Microtones-''' | |||
| A pitch interval that is smaller than a semitone. This includes quarter tones and intervals even smaller. Composers have experimented in dividing the octave into 31 and 53 microtones, and using this scale as a basis for composition. | |||
| ==Techniques== | |||
| Some of the more common techniques include: | |||
| *'']s'': Any of a number of methods of performing on a ] that are unique, innovative, and sometimes regarded as improper. | |||
| :* "Prepared" instruments. Ordinary instruments are modified in their tuning or sound-producing characteristics. For example, guitar strings can have a weight attached at a certain point, changing their harmonic characteristics (] is one musician to have experimented with such techniques). The ] is also common. | |||
| :* Unconventional playing techniques. For example, strings on a piano can be plucked with a pick instead of being played the orthodox way, or the tuning pegs on a guitar can be rotated while a note sounds (called a "tuner ]"). | |||
| * Incorporation of ]s or ]s from non-Western musical traditions | |||
| * Use of sound sources other than conventional musical instruments such as trash cans, telephone ringers and doors slamming. | |||
| * Playing with deliberate disregard for the ordinary musical controls (pitch, duration, volume), as when depressing as many piano keys as possible with the forearm | |||
| * Use of tunings or scales inconsistent with the Western chromatic scale | |||
| While much discussion of experimental music centers on definitional issues and its validity as a musical form, the most frequently performed experimental music is entertaining and, at its best, can lead the listener to question core assumptions about the nature of music. | |||
| The ] based independent ] station '']'', founded by the ], frequently broadcasts experimental and ] performance works. | |||
| ] (1997), describes experimental music as that, "which represents a refusal to accept the status quo." He describes a "basic outline" from "simple to...complex": | |||
| *Situation and circumstance music | |||
| *Soundscapes | |||
| *Biomusic | |||
| *Antimusic | |||
| ==Notable composers and performers of experimental music== | |||
| :''Main article: ]'' | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| ==See also== | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| ==Further reading== | |||
| *], "Experimental Music" and "Experimental Music: Doctrine", in ''Silence'' (Wesleyan University Press, 1961) | |||
| *], ''Experimental Music, Cage and Beyond'' (Cambridge University Press, 1974) | |||
| ==Source== | |||
| *Cope, David (1997). ''Techniques of the Contemporary Composer''. New York, New York: Schirmer Books. ISBN 0028647378. | |||
| ==External links== | |||
| * | |||
| ] | |||
Latest revision as of 17:33, 28 March 2008
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