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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. | |||
| Some of the more common techniques include: | |||
| *'']s'': A method of perfomning on a ] that is unique, innovative, and often 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 | |||
| ==See also:== | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| ==Notable composers== | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| ==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== | |||
| * | |||
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