Misplaced Pages

Experimental classical music: Difference between revisions

Article snapshot taken from Wikipedia with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.
Browse history interactively← Previous editNext edit →Content deleted Content addedVisualWikitext
Revision as of 09:32, 12 March 2008 editJzG (talk | contribs)Edit filter managers, Autopatrolled, Extended confirmed users, Page movers, New page reviewers, Pending changes reviewers, Rollbackers155,070 edits rm hoax← Previous edit Revision as of 22:18, 26 March 2008 edit undoBardin (talk | contribs)2,612 edits copying the more updated entry from the experimental music into this articleNext edit →
Line 1: Line 1:
{{for|experimental ]|experimental rock}} {{for|experimental ]|experimental rock}}
{{redirect|Avantgarde music|the record label|Avantgarde Music}}
⚫ '''Experimental music''' is a term introduced by composer ] in 1955. Cage defined "an experimental action is one the outcome of which is not foreseen" (Cage 1961, 39), and he was specifically interested in completed works that performed an ] (Mauceri 1997, 197)
⚫ In a broader sense, it has come to mean any music that challenges the commonly accepted notions of ]. Avant-garde music is another term for it. David Cope describes experimental music as that, "which represents a refusal to accept the status quo" (Cope, 1997, 222).


⚫ ] (1974) uses the term "experimental" to describe the work of American composers (], ], ], ], ], ], ], ], ], ], ], etc.) as opposed to the European avant-garde at the time (], ], ]). The word "experimental" in the former cases "is apt, providing it is understood not as descriptive of an act to be later judged in terms of success or failure, but simply as of an act the outcome of which is unknown" (Cage 1961, 13).
⚫ '''Experimental music''' is a term introduced by composer ] in 1955. Cage defined "an experimental action is one the outcome of which is unforeseen" and he was specifically interested in completed works that performed an ] (Cage 1973, 39, quoted and so interpreted in Mauceri 1997, 197).


⚫ According to David Nicholls, "...very generally, avant-garde music can be viewed as occupying an extreme position within the tradition, while experimental music lies outside it" (Nicholls 1998, 318). That tradition is the inheritance of common-practice Western ], with its concern for increased technical complexity, historical inheritance, composer intention and other features. In general, and at least originally, experimental music took its inspiration from non-Western sources and from varying times. It may take its inspiration (directly in terms of generating systems) from other media; practitioners may or may not be professionals in the traditional sense of the word, although they may still be trained in their work and adept at it.
⚫ There is an overlap with ] music. ] describes experimental music as that, "which represents a refusal to accept the status quo" (Cope, 1997, p. 222)


], on the other hand, includes under "experimental music" composers such as ], ], and ], as well as the techniques of "total ]" (Meyer 1994, 106–107 and 266), holding that "there is no single, or even pre-eminent, experimental music, but rather a plethora of different methods and kinds" (Meyer 1994, 237).
"Experimental music" is therefore by definition completely outside all established genres and classifications.


⚫ 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 ], modifications to instruments, noises, and other novelties to compositions. At the other extreme, there are performances that most listeners would not characterize as music at all.
⚫ ] (1974) uses the term "experimental" (without reference to "classical" or any other qualification) to describe the work of American modernist composers (], ], ], ], ], ], ], ], ], ], etc.) as opposed to the European avant-garde at the time (], ], ]). The "experiment" in this case is not whether a piece succeeds or fails, but is in the fact that the outcome of the piece is uncertain or unforeseeable (Cage 1961, 13).

⚫ According to David Nicholls, "...very generally, avant-garde music can be viewed as occupying an extreme position within the tradition, while experimental music lies outside it" (Nicholls 1998, 318). That tradition (i.e., "classical music") is the inheritance of common-practice Western art music, with its concern for increased technical complexity, historical inheritance, composer intention and other features. In general, and at least originally, experimental music took its inspiration from non-Western sources and from varying times. It may take its inspiration (directly in terms of generating systems) from other media; practitioners may or may not be professionals in the traditional sense of the word, although they may still be trained in their work and adept at it.

⚫ 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 compositions. At the other extreme, there are performances that most listeners would not characterize as music at all.


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. 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 term "experimental music" was used contemporaneously for electronic music, particularly in the early ] work of Schaeffer and Henry in France and in the Experimental Studios at the University of Illinois, run by Lejaren Hiller. "Experimental" electronic composition may be "experimental" in the sense used in Nyman (for instance, Cage, ''Cartridge Music'' or the early work of Alvin Lucier); it may also lie more comfortably with the avant garde. The term "experimental music" was used contemporaneously for ], particularly in the early ] work of Schaeffer and Henry in France (Vignal 2003, 298) and in the Experimental Studios at the University of Illinois, run by ].{{Fact|date=December 2007}} "Experimental" electronic composition may be "experimental" in the sense used in Nyman (for instance, Cage, ''Cartridge Music'' or the early work of Alvin Lucier); it may also lie more comfortably with the avant garde.{{Fact|date=December 2007}}


==Keywords== ==Keywords==
Line 38: Line 37:
Some of the more common techniques include: 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. *'']s'': Any of a number of methods of performing on a ] that are unique, innovative, and sometimes regarded as improper.
:* "Prepared" instruments—ordinary instruments 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). Cage's ] was one of the first such instruments. :* "Prepared" instruments—ordinary instruments 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). Cage's ] was one of the first such instruments.A different form is not hanging objects on the strings, but divide the string in two with a third bridge and play the inverse side, causing resonating ]-like ] tones at the ] side.


:* Unconventional playing techniques—for example, strings on a piano can be manipulated directly instead of being played the orthodox, keyboard-based way (an innovation of ]'s known as ]), a dozen or more piano keys may be depressed simultaneously with the forearm to produce a ] (another technique popularized by Cowell), or the tuning pegs on a guitar can be rotated while a note sounds (called a "tuner ]"). :* Unconventional playing techniques—for example, strings on a piano can be manipulated directly instead of being played the orthodox, keyboard-based way (an innovation of ]'s known as ]), a dozen or more piano keys may be depressed simultaneously with the forearm to produce a ] (another technique popularized by Cowell), or the tuning pegs on a guitar can be rotated while a note sounds (called a "tuner ]").
Line 44: Line 43:
* Use of sound sources other than conventional musical instruments such as trash cans, telephone ringers, and doors slamming. * 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). * Playing with deliberate disregard for the ordinary musical controls (pitch, duration, volume).
* Use of 'radical' scores which serve as non-conventional written/graphic 'instructions' to be actively interpreted by the performer(s). Cage is credited with the original development of the radical score and this influence continued through other composers/artists such as ], ], ], and far beyond. * Use of ], non-conventional written/graphic 'instructions' actively interpreted by the performer(s). ] is credited with the original development of the radical score,{{Fact|date=October 2007}} and this influence continued through other composers/artists such as ], ], ], ], ], ] and beyond.
* Creating ] for enhancing the timbre of compositions and exploring new techniques or possibilities. * Creating ]s for enhancing the timbre of compositions and exploring new techniques or possibilities.


==See also== ==See also==
Line 51: Line 50:
* ] * ]
* ] * ]
* ] * ]
* ] * ]
* ] * ]
* ] * ]
* ] * ]
* ]
* ] * ]
* ] * ]
Line 62: Line 60:
* ] * ]
* ] * ]
* ] * ]
* ] * ]
* ] * ]
* ] * ]

* ]
==Articles==
By ], ], July 9, 2000<br />
By ], ], January 9, 2000


==Further reading== ==Further reading==
Line 75: Line 76:
* Sutherland, Roger, 1994. ''New Perspectives in Music''. London: Sun Tavern Fields. ISBN 0-951-7012-6-6 * Sutherland, Roger, 1994. ''New Perspectives in Music''. London: Sun Tavern Fields. ISBN 0-951-7012-6-6


==References==

{{reflist}}


==Sources== ==Sources==
* ]. 1961. ''Silence: Lectures and Writings''. Middletown, Connecticut: Wesleyan University Press. Unaltered reprints: Weslyan University press, 1966 (pbk), 1967 (cloth), 1973 (pbk , 1975 (unknown binding); Cambridge, Mass: MIT Press, 1966, 1967, 1969, 1970, 1971; London: Calder & Boyars, 1968, 1971, 1973 ISBN 0714505269 (cloth) ISBN 0714510432 (pbk). London: Marion Boyars, 1986, 1999 ISBN: 0714510432 (pbk); : Reprint Services Corporation, 1988 (cloth) ISBN 9991178015
* ]. 1961. "Experimental Music" and "Experimental Music: Doctrine", in ''Silence: Lectures and Writings'', 7–12 and 13–17. Middletown, Connecticut: Wesleyan University Press.
* ]. 1973. ''Silence''. Middletown, Connecticut: Wesleyan University Press.
* Cope, David. 1997. ''Techniques of the Contemporary Composer''. New York, New York: Schirmer Books. ISBN 0-02-864737-8. * Cope, David. 1997. ''Techniques of the Contemporary Composer''. New York, New York: Schirmer Books. ISBN 0-02-864737-8.
*Mauceri, Frank X. 1997. "From Experimental Music to Musical Experiment". ''Perspectives of New Music'' 35, no. 1 (Winter): 187-204. * Mauceri, Frank X. 1997. "From Experimental Music to Musical Experiment". ''Perspectives of New Music'' 35, no. 1 (Winter): 187-204.
* Meyer, Leonard B. 1994. ''Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture''. Second edition. Chicago: University of Chicago Press. ISBN 0-226-52143-5
* Nicholls, David. 1998. "Avant-garde and Experimental Music." In ''Cambridge History of American Music''. Cambridge and New York: Cambridge University Press. ISBN 0521454298 * Nicholls, David. 1998. "Avant-garde and Experimental Music." In ''Cambridge History of American Music''. Cambridge and New York: Cambridge University Press. ISBN 0521454298
* Nyman, Michael. 1974. ''Experimental Music: Cage and Beyond''. New York: Schirmer Books. ISBN 0028712005. Second edition, Cambridge & New York: Cambridge University Press, 1999. ISBN 0521652979 * Nyman, Michael. 1974. ''Experimental Music: Cage and Beyond''. New York: Schirmer Books. ISBN 0028712005. Second edition, Cambridge & New York: Cambridge University Press, 1999. ISBN 0521652979
*Vignal, Marc(éd.), 2003, "Expérimentale (musique)" in ''Dictionnaire de la Musique'', Larousse, Paris, (ISBN 2035113547)


==External links== ==External links==


* - Experimental Music Catalogue has been publishing American and British experimental music scores and recordings since 1969. This site sponsors the Journal of Experimental Music Studies (JEMS), a peer-reviewed online journal devoted to experimental music. * - Experimental Music Catalogue has been publishing American and British experimental music scores and recordings since 1969. This site sponsors the Journal of Experimental Music Studies (JEMS), a peer-reviewed online journal devoted to experimental music.
* - The Sound Projector music magazine and radio show
* http://www.addlimb.org ADDLIMB Organization
* Original experimental music recordings.



] ]
Line 93: Line 100:


] ]
]
] ]
] ]
⚫ ]
] ]
⚫ ]
] ]

Revision as of 22:18, 26 March 2008

For experimental rock music, see experimental rock. "Avantgarde music" redirects here. For the record label, see Avantgarde Music.

Experimental music is a term introduced by composer John Cage in 1955. Cage defined "an experimental action is one the outcome of which is not foreseen" (Cage 1961, 39), and he was specifically interested in completed works that performed an unpredictable action (Mauceri 1997, 197) In a broader sense, it has come to mean any music that challenges the commonly accepted notions of what music is. Avant-garde music is another term for it. David Cope describes experimental music as that, "which represents a refusal to accept the status quo" (Cope, 1997, 222).

Michael Nyman (1974) uses the term "experimental" to describe the work of American composers (John Cage, Christian Wolff, Earle Brown, Meredith Monk, Malcolm Goldstein, Morton Feldman, Terry Riley, La Monte Young, Philip Glass, John Cale, Steve Reich, etc.) as opposed to the European avant-garde at the time (Karlheinz Stockhausen, Pierre Boulez, Iannis Xenakis). The word "experimental" in the former cases "is apt, providing it is understood not as descriptive of an act to be later judged in terms of success or failure, but simply as of an act the outcome of which is unknown" (Cage 1961, 13).

According to David Nicholls, "...very generally, avant-garde music can be viewed as occupying an extreme position within the tradition, while experimental music lies outside it" (Nicholls 1998, 318). That tradition is the inheritance of common-practice Western art music, with its concern for increased technical complexity, historical inheritance, composer intention and other features. In general, and at least originally, experimental music took its inspiration from non-Western sources and from varying times. It may take its inspiration (directly in terms of generating systems) from other media; practitioners may or may not be professionals in the traditional sense of the word, although they may still be trained in their work and adept at it.

Leonard B. Meyer, on the other hand, includes under "experimental music" composers such as Berio, Boulez, and Stockhausen, as well as the techniques of "total serialism" (Meyer 1994, 106–107 and 266), holding that "there is no single, or even pre-eminent, experimental music, but rather a plethora of different methods and kinds" (Meyer 1994, 237).

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 compositions. At the other extreme, there are performances that most listeners would not characterize as music at all.

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 term "experimental music" was used contemporaneously for electronic music, particularly in the early musique concrète work of Schaeffer and Henry in France (Vignal 2003, 298) and in the Experimental Studios at the University of Illinois, run by Lejaren Hiller. "Experimental" electronic composition may be "experimental" in the sense used in Nyman (for instance, Cage, Cartridge Music or the early work of Alvin Lucier); it may also lie more comfortably with the avant garde.

Keywords

Aleatoric music - A term coined by Werner Meyer-Eppler and used by Boulez and other composers of the avant garde (in Europe) to refer to a strictly limited form of indeterminacy, also called "controlled chance". As this distinction was misunderstood, the term is often (and somewhat inaccurately) used interchangeably with, or in place of, "indeterminacy".

Graphic notation - Music which is written in the form of diagrams or drawings rather than using “conventional” notation (with staves, clefs, notes, etc).

Indeterminate music - Related to 'chance music' (one of Cage's terms). Music in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. This term is used by experimental composers, performers and scholars working in experimental music in the United States, Britain, and in other countries influenced by Cagean aesthetics.

Literalism - Music that rejects the aesthetic as motivating force for the creation and pursuit of sound, using either the basic building blocks of orchestral composition (strict literalism) or sounds present at the site of performance (direct literalism) instead.

Microtones - A pitch interval that is smaller than a semitone. This includes quarter tones and intervals even smaller. Composers have, for example, divided the octave into 22, 31, 43, 53, 72, etc. microtones, either equally or unequally, and then used this scale as a basis for composition.

Techniques

Some of the more common techniques include:

  • "Prepared" instruments—ordinary instruments 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 (Keith Rowe is one musician to have experimented with such prepared guitar techniques). Cage's prepared piano was one of the first such instruments.A different form is not hanging objects on the strings, but divide the string in two with a third bridge and play the inverse side, causing resonating bell-like harmonic tones at the pick-up side.
  • Unconventional playing techniques—for example, strings on a piano can be manipulated directly instead of being played the orthodox, keyboard-based way (an innovation of Henry Cowell's known as "string piano"), a dozen or more piano keys may be depressed simultaneously with the forearm to produce a tone cluster (another technique popularized by Cowell), or the tuning pegs on a guitar can be rotated while a note sounds (called a "tuner glissando").

See also

Articles

MUSIC; Electronic Music, Always Current By KYLE GANN, New York Times, July 9, 2000
It's Sound, It's Art, and Some Call It Music By KYLE GANN, New York Times, January 9, 2000

Further reading

  • Bailey, Derek. 1980. "Musical Improvisation: Its Nature and Practice in Music". Englewood Cliffs, N.J.: Prentice-Hall; Ashbourne: Moorland. ISBN 0136070442. Second edition, London: British Library National Sound Archive, 1992. ISBN 0712305068
  • Experimental musical instruments (magazine). 1985–1999. A periodical (no longer published) devoted to experimental music and instruments
  • Holmes, Thomas B. 2002. Electronic and Experimental Music: Pioneers in Technology and Composition. Second edition. London: Routledge. ISBN 0415936438
  • Smith Brindle, Reginald. 1975. pepr. 1986. Oxford: Oxford University Press. ISBN 0-19-315471-4
  • Sutherland, Roger, 1994. New Perspectives in Music. London: Sun Tavern Fields. ISBN 0-951-7012-6-6

References

Sources

  • Cage, John. 1961. Silence: Lectures and Writings. Middletown, Connecticut: Wesleyan University Press. Unaltered reprints: Weslyan University press, 1966 (pbk), 1967 (cloth), 1973 (pbk , 1975 (unknown binding); Cambridge, Mass: MIT Press, 1966, 1967, 1969, 1970, 1971; London: Calder & Boyars, 1968, 1971, 1973 ISBN 0714505269 (cloth) ISBN 0714510432 (pbk). London: Marion Boyars, 1986, 1999 ISBN: 0714510432 (pbk); : Reprint Services Corporation, 1988 (cloth) ISBN 9991178015
  • Cope, David. 1997. Techniques of the Contemporary Composer. New York, New York: Schirmer Books. ISBN 0-02-864737-8.
  • Mauceri, Frank X. 1997. "From Experimental Music to Musical Experiment". Perspectives of New Music 35, no. 1 (Winter): 187-204.
  • Meyer, Leonard B. 1994. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Second edition. Chicago: University of Chicago Press. ISBN 0-226-52143-5
  • Nicholls, David. 1998. "Avant-garde and Experimental Music." In Cambridge History of American Music. Cambridge and New York: Cambridge University Press. ISBN 0521454298
  • Nyman, Michael. 1974. Experimental Music: Cage and Beyond. New York: Schirmer Books. ISBN 0028712005. Second edition, Cambridge & New York: Cambridge University Press, 1999. ISBN 0521652979
  • Vignal, Marc(éd.), 2003, "Expérimentale (musique)" in Dictionnaire de la Musique, Larousse, Paris, (ISBN 2035113547)

External links

  • Experimental Music Catalogue - Experimental Music Catalogue has been publishing American and British experimental music scores and recordings since 1969. This site sponsors the Journal of Experimental Music Studies (JEMS), a peer-reviewed online journal devoted to experimental music.
  • The Sound Projector - The Sound Projector music magazine and radio show
  • http://www.addlimb.org ADDLIMB Organization
  • Feza Neverd Original experimental music recordings.
Categories: