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concepts", since they did not "grasp a subject". This was an attempt to marginalize, and thereby dismiss various kinds of music that did not conform to established conventions. In 1955, Pierre Boulez identified it as a "new definition that makes it possible to restrict to a laboratory, which is tolerated but subject to inspection, all attempts to corrupt musical morals. Once they have set limits to the danger, the good ostriches go to sleep again and wake only to stamp their feet with rage when they are obliged to accept the bitter fact of the periodical ravages caused by experiment." He concludes, "There is no such thing as experimental music ... but there is a very real distinction between sterility and invention".
407:" composers. Whatever success this might have had in academe, this attempt to construct a genre was as abortive as the meaningless namecalling noted by Metzger, since by the "genre's" own definition the work it includes is "radically different and highly individualistic". It is therefore not a genre, but an open category, "because any attempt to classify a phenomenon as unclassifiable and (often) elusive as experimental music must be partial". Furthermore, the characteristic indeterminacy in performance "guarantees that two versions of the same piece will have virtually no perceptible musical 'facts' in common".
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that pushes existing boundaries and genre definitions. Experimental compositional practice is defined broadly by exploratory sensibilities radically opposed to, and questioning of, institutionalized compositional, performing, and aesthetic conventions in music. Elements of experimental music include
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In the 1950s, the term "experimental" was often applied by conservative music critics—along with a number of other words, such as "engineers art", "musical splitting of the atom", "alchemist's kitchen", "atonal", and "serial"—as a deprecating jargon term, which must be regarded as "abortive
285:), for whom "The identity of a composition is of paramount importance". 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".
153:, tape music, and world music under the rubric "musique experimentale". Publication of Schaeffer's manifesto was delayed by four years, by which time Schaeffer was favoring the term "recherche musicale" (music research), though he never wholly abandoned "musique expérimentale".
1213:. Middletown, Connecticut: Wesleyan University Press. Unaltered reprints: Wesleyan University press, 1966 (pbk), 1967 (cloth), 1973 (pbk , 1975 (unknown binding); Cambridge, Massachusetts: MIT Press, 1966, 1967, 1969, 1970, 1971; London: Calder & Boyars, 1968, 1971, 1973
421:
In the late 1950s, Lejaren Hiller and L. M. Isaacson used the term in connection with computer-controlled composition, in the scientific sense of "experiment": making predictions for new compositions based on established musical technique
49:, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. Artists may approach a hybrid of disparate styles or incorporate unorthodox and unique elements.
402:
Starting in the 1960s, "experimental music" began to be used in
America for almost the opposite purpose, in an attempt to establish an historical category to help legitimize a loosely identified group of radically innovative,
156:
John Cage was also using the term as early as 1955. According to Cage's definition, "an experimental action is one the outcome of which is not foreseen", and he was specifically interested in completed works that performed an
350:"grouping", rather than asking the question "How have these composers been collected together in the first place, that they can now be the subject of a description?" That is, "for the most part, experimental music studies
295:". David Nicholls, too, makes this distinction, saying that "...very generally, avant-garde music can be viewed as occupying an extreme position within the tradition, while experimental music lies outside it".
145:, organized the First International Decade of Experimental Music between 8 and 18 June 1953. This appears to have been an attempt by Schaeffer to reverse the assimilation of musique concrète into the German
463:
A number of early 20th-century
American composers, seen as precedents to and influences on John Cage, are sometimes referred to as the "American Experimental School". These include Charles Ives,
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The term "experimental" has sometimes been applied to the mixture of recognizable music genres, especially those identified with specific ethnic groups, as found for example in the music of
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without any rules beyond the taste or inclination of the musician(s) involved; in many cases the musicians make an active effort to avoid overt references to recognizable musical genres.
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497:
The New York School was an informal group of
American poets, painters, dancers, and musicians active in the 1950s and 1960s in New York City. They often drew inspiration from
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cautions that, as "a combination of leading-edge techniques and a certain exploratory attitude", experimental music requires a broad and inclusive definition, "a series of
386:, on the other hand, includes under "experimental music" composers rejected by Nyman, such as Berio, Boulez and Stockhausen, as well as the techniques of "total
341:
community music, among others, when these activities are done with the aim of finding those musics 'we don't like, yet', in a 'problem-seeking environment' ".
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it". He finds laudable exceptions in the work of David
Nicholls and, especially, Amy Beal, and concludes from their work that "The fundamental
124:
without any rules beyond the taste or inclination of the musician(s) involved; in many cases, the musicians make an active effort to avoid
161:. In Germany, the publication of Cage's article was anticipated by several months in a lecture delivered by Wolfgang Edward Rebner at the
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also distinguishes between experimental and avant-garde, describing experimental music as that "which represents a refusal to accept the
1578:. 1980. "Musical Improvisation: Its Nature and Practice in Music". Englewood Cliffs, New Jersey: Prentice-Hall; Ashbourne: Moorland.
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Im Zenit der
Moderne: Geschichte und Dokumentation in vier Bänden—Die Internationalen Ferienkurse für Neue Musik Darmstadt, 1946–1966
390:", holding that "there is no single, or even pre-eminent, experimental music, but rather a plethora of different methods and kinds".
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worked with other tuning scales based on the physical laws for harmonic music. For this music they both developed a group of
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starts from Cage's definition, and develops the term "experimental" also to describe the work of other
American composers (
165:
on 13 August 1954, titled "Amerikanische
Experimentalmusik". Rebner's lecture extended the concept back in time to include
1607:. 1989. "Die musikalische Avantgarde als ahistorische Utopie: Die gescheiterten Implikationen der experimentellen Musik".
1435:
Piekut, Benjamin. 2008. "Testing, Testing ...: New York
Experimentalism 1964". Ph.D. diss. New York: Columbia University.
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and what is more generally called experimental music, especially as that term was defined at length by Nyman in his book
376:", so that "an explanation of experimentalism that already assumes the category it purports to explain is an exercise in
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as a compositional resource. The compositional material is not restricted to the inclusion of sonorities derived from
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1153:. Website of Hugh McCarney, Communication Department, Western Connecticut University. (Accessed 15 February 2009)
616:
Fluxus was an artistic movement started in the 1960s, characterized by an increased theatricality and the use of
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1409:
Palombini, Carlos. 1993a. "Machine Songs V: Pierre
Schaeffer: From Research into Noises to Experimental Music".
56:
was one of the earliest composers to use the term and one of experimental music's primary innovators, utilizing
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Metzger, Heinz-Klaus. 1959. "Abortive
Concepts in the Theory and Criticism of Music", translated by Leo Black.
521:, improvisational theater, experimental music, and the interaction of friends in the New York City art world's
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1568:. 1995. "Was ist experimentelles Musiktheater? Mitglieder des 'Ensemble Modern' befragen Hans Zender".
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New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification
162:
1302:
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Jaffe, Lee David. 1983. "The Last Days of the Avant Garde; or How to Tell Your Glass from Your Eno".
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no. 236 (Vers une musique experimentale), edited by Pierre Schaeffer, 18–23. Paris: Richard-Masse.
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Lubet, Alex. 1999. "Indeterminate Origins: A Cultural theory of American Experimental Music". In
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The practice became prominent in the mid-20th century, particularly in Europe and North America.
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1601:. 1985–1999. A periodical (no longer published) devoted to experimental music and instruments.
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Benitez, Joaquim M. 1978. "Avant-Garde or Experimental? Classifying Contemporary Music".
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177:, as well as Cage, due to their focus on sound as such rather than compositional method.
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84:. In America, a quite distinct sense of the term was used in the late 1950s to describe
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1468:, second edition, edited by Charles Hiroshi Garrett. New York: Oxford University Press.
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Proceedings of the 25th Annual Congress of the Musicological Society of Southern Africa
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1672:. 2002. "An einem hellen Tag: Avantgarde und Experiment", trans. Gisela Gronemeyer.
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Blake, Michael. 1999. "The Emergence of a South African Experimental Aesthetic". In
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Benjamin Piekut argues that this "consensus view of experimentalism" is based on an
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1444:. Rombach Wissenschaften: Reihe Musicae 2, 4 vols., edited by Gianmario Borio and
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Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture
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620:. Another known musical aspect appearing in the Fluxus movement was the use of
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1162:, edited by Izak J. Grové. Pretoria: Musicological Society of Southern Africa.
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1962:
1846:
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Silencing the Sounded Self: John Cage and the American Experimental Tradition
1551:
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Ballantine, Christopher. 1977. "Towards an Aesthetic of Experimental Music".
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and so on). The theoretical underpinnings of the aesthetic were developed by
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The Groupe de Recherches de Musique Concrète (GRMC), under the leadership of
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1396:. Second edition, Cambridge and New York: Cambridge University Press, 1999.
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1972:
1940:
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Electronic and Experimental Music: Pioneers in Technology and Composition
1626:. 1977. "Musikalisches Experimentiertheater. Kommentare aus der Praxis".
1300:
Mauceri, Frank X. 1997. "From Experimental Music to Musical Experiment".
660:
617:
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426:, 194–195). The term "experimental music" was used contemporaneously for
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97:
41:
1586:. Second edition, London: British Library National Sound Archive, 1992.
128:; i.e., overt references to recognizable musical conventions or genres.
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techniques and seeking unknown outcomes. In France, as early as 1953,
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Dialectics in the Arts: The Rise of Experimentalism in American Music
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Rebner, Wolfgang Edward. 1997. "Amerikanische Experimentalmusik". In
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1288:, edited by James R. Heintze. New York: General Music Publishing Co.
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Experimentalism Otherwise: The New York Avant-Garde and its Limits
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1803:, second edition. Oxford and New York: Oxford University Press.
1775:, edited by Otto Kolleritsch, 14–24. Vienna: Universal Edition.
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Nicholls, David. 1998. "Avant-garde and Experimental Music". In
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shift that marks experimentalism as an achievement is that from
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Henius, Carla. 1994. "Experimentelles Musiktheater seit 1946".
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Burt, Warren. 1991. "Australian Experimental Music 1963–1990".
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305:, if you will", encompassing such areas as "Cageian influences
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Grant, Morag Josephine. 2003. "Experimental Music Semiotics".
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1618:
International Review of the Aesthetics and Sociology of Music
1524:
International Review of the Aesthetics and Sociology of Music
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Originally published as "Expérience, autriches et musique".
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1453:
Schaeffer, Pierre. 1957. "Vers une musique experimentale".
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Experimental Music: Composition with an Electronic Computer
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502:
1758:. Aldershot, Hampshire, and Burlington, Vermont: Ashgate.
994:
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Avant-Garde » Modern Composition » Experimental
582:, nor to elements traditionally thought of as "musical" (
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Vignal, Marc (ed.). 2003. "Expérimentale (musique)". In
1326:. Second edition. Chicago: University of Chicago Press.
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667:, Martin Scherzinger, Michael Blake, and Rüdiger Meyer.
1422:"Pierre Schaeffer, 1953: Towards an Experimental Music"
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to describe compositional activities that incorporated
1683:. Middletown, Connecticut: Wesleyan University Press.
1360:. Cambridge and New York: Cambridge University Press.
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The Ashgate Research Companion to Experimental Music
1237:(pbk); : Reprint Services Corporation, 1988 (cloth)
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1170:. 1986. "Experiment, Ostriches, and Music", in his
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442:in France. There is a considerable overlap between
253:. Nyman opposes experimental music to the European
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1650:. Third edition. London and New York: Routledge.
1317:5: "Reports, Analysis" (English edition): 21–29).
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149:, and instead tried to subsume musique concrète,
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1641:Bayerische Akademie der Schönen Künste: Jahrbuch
1531:Mavericks and Other Traditions in American Music
1464:Sun, Cecilia. 2013. "Experimental Music". 2013.
1178:, 430–431. Cambridge: Harvard University Press.
712:
727:
180:
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1886:
566:; literally, "concrete music"), is a form of
1743:. Berkeley: University of California Press.
1511:. Berkeley: University of California Press.
1771:. 2001. "Experimentelles Musiktheater". In
1547:. Continuum International Publishing Group.
1448:, 3:178–189. Freiburg im Breisgau: Rombach.
1266:Hiller, Lejaren, and L. M. Isaacson. 1959.
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493:New York School (art) § The composers
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1801:The New Music: The Avant-Garde Since 1945
1789:. Boston: Northeastern University Press.
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1286:Perspectives on American music since 1950
1229:(pbk). London: Marion Boyars, 1986, 1999
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393:
1855:) is being considered for deletion. See
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1343:. New York: Cambridge University Press.
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1251:Techniques of the Contemporary Composer
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1681:Music 109: Notes on Experimental Music
1674:MusikTexte: Zeitschrift für Neue Musik
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1466:The Grove Dictionary of American Music
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1341:American Experimental Music, 1890–1940
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225:, etc.), as well as composers such as
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2336:List of experimental music festivals
1676:, no. 92 (February), pp. 13–14.
1570:Positionen: Beiträge zur Neuen Musik
1248:
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40:is a general label for any music or
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1773:Das Musiktheater: Exempel der Kunst
1533:. New Haven: Yale University Press.
1463:
1378:Experimental Music: Cage and Beyond
1358:Cambridge History of American Music
733:
632:used this technique of expression.
551:
448:Experimental Music: Cage and Beyond
24:
2341:List of electronic music festivals
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624:at performances, derived from the
486:
88:associated with composers such as
25:
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1859:to help reach a consensus. ›
1838:
1540:. Westport, Connecticut: Praeger.
646:
2794:
2785:
2784:
1708:. London: Black Dog Publishing.
1613:61, no. 2 (May–August): 217–237.
1598:Experimental Musical Instruments
1172:Orientations: Collected Writings
360:] a category without really
102:experimental musical instruments
2275:Experimental musical instrument
1799:Smith Brindle, Reginald. 1987.
602:, beginning in the late 1940s.
525:. Composers/Musicians included
86:computer-controlled composition
2658:Modes of limited transposition
2346:List of experimental musicians
1620:34, no. 2 (December): 173–191.
1430:74, no. 4 (November): 542–557.
1211:Silence: Lectures and Writings
695:
13:
1:
2320:Electroacoustic improvisation
1844:
1826:. London: Sun Tavern Fields.
706:
635:
545:among others. Dance related:
509:art movements, in particular
450:(1974, second edition 1999).
116:as a compositional resource.
1785:Shultis, Christopher. 1998.
1415:, 17, No. 3 (Autumn): 14–19.
1388:. New York: Schirmer Books.
1306:35, no. 1 (Winter): 187-204.
1279:19, no. 1 (Winter): 105–122.
1253:. New York: Schirmer Books.
430:, particularly in the early
7:
2708:Quartal and quintal harmony
2397:List of modernist composers
1504:63, no. 2 (April): 224–246.
1189:La Nouvelle Revue française
181:Alternative classifications
10:
2837:
1633:Neue Zeitschrift für Musik
1536:Cameron, Catherine. 1996.
1475:Dictionnaire de la musique
1420:Palombini, Carlos. 1993b.
699:
674:
639:
609:
555:
490:
453:
414:
337:work with high technology
136:
29:
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2199:
2114:
1999:
1988:
1908:
1824:New Perspectives in Music
1822:Sutherland, Roger, 1994.
1552:"Dusted Reviews: Neptune—
1303:Perspectives of New Music
1149:Bateman, Shahbeila. n.d.
605:
309:work with low technology
64:had begun using the term
1857:templates for discussion
1739:Piekut, Benjamin. 2011.
1646:Holmes, Thomas B. 2008.
1550:Crumsho, Michael. 2008.
1529:Broyles, Michael. 2004.
1322:Meyer, Leonard B. 1994.
1277:Drexel Library Quarterly
1270:. New York: McGraw-Hill.
1049:Hiller and Isaacson 1959
325:new instrument building
30:Not to be confused with
2096:Intelligent dance music
1754:Saunders, James. 2009.
1526:9, no. 1 (June): 53–77.
1380:. London: Studio Vista
1339:Nicholls, David. 1990.
1151:"Biography of Yoko Ono"
459:Influential antecedents
163:Darmstädter Ferienkurse
2759:Second Viennese School
2752:Schools of composition
1543:Cox, Christoph. 2004.
1412:Computer Music Journal
1199:Leonardo Music Journal
394:Abortive critical term
2743:Twelve-tone technique
1719:Parkin, Chris. 2008.
1702:Masters, Marc. 2007.
1679:Lucier, Alvin. 2012.
1572:22 (February): 17–20.
1501:The Musical Quarterly
568:electroacoustic music
132:Definitions and usage
110:electroacoustic music
66:musique expérimentale
2280:Experimental luthier
1990:Experimental popular
1721:"Micachu: Interview"
469:Ruth Crawford Seeger
411:Computer composition
185:Composer and critic
159:unpredictable action
2201:Extended techniques
1507:Beal, Amy C. 2006.
1477:. Paris: Larousse.
1427:Music & Letters
1249:Cope, David. 1997.
576:musical instruments
370:representationalism
151:elektronische Musik
147:elektronische Musik
81:elektronische Musik
2821:Experimental music
2305:Sound installation
2152:Free improvisation
2044:Deconstructed club
1902:Experimental music
1862:Experimental music
1726:2012-09-24 at the
702:Game piece (music)
682:Free improvisation
677:Free improvisation
671:Free improvisation
562:Musique concrète (
118:Free improvisation
38:Experimental music
18:Experimental Music
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2617:
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2353:
2290:Progressive music
2270:Data sonification
2195:
2194:
2054:Experimental rock
2012:Avant-garde metal
1764:978-0-7546-6282-2
1749:978-0-520-26851-7
1714:978-1-906155-02-5
1697:978-0-8195-7298-1
1689:978-0-8195-7297-4
1664:978-0-415-95782-3
1656:978-0-415-95781-6
1636:3, no. 6:489–492.
1610:Acta Musicologica
1456:La Revue musicale
505:and contemporary
380:, not ontology".
203:Malcolm Goldstein
120:or free music is
32:Avant-garde music
16:(Redirected from
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2788:
2787:
2764:Darmstadt School
2698:Post-romanticism
2408:
2407:
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2358:
2357:
2329:Events and lists
2253:Related concepts
2177:Progressive jazz
2049:Experimental pop
2007:Avant-garde jazz
1997:
1996:
1968:Musique concrete
1951:Acousmatic music
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1769:Schnebel, Dieter
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1040:
1034:
1028:
1022:
1016:
1010:
1004:
998:
992:
986:
980:
974:
968:
962:
956:
950:
944:
938:
932:
926:
920:
914:
908:
902:
896:
890:
884:
878:
872:
866:
860:
854:
848:
847:, 78–81, 93–115.
842:
836:
830:
824:
818:
809:
803:
797:
791:
785:
779:
773:
767:
761:
755:
749:
743:
737:
731:
725:
719:
690:improvised music
642:Minimalist music
600:Pierre Schaeffer
572:acousmatic sound
558:Musique concrète
552:Musique concrète
547:Merce Cunningham
432:musique concrète
428:electronic music
384:Leonard B. Meyer
247:Frederic Rzewski
239:Cornelius Cardew
235:Toshi Ichiyanagi
143:Pierre Schaeffer
122:improvised music
114:acousmatic sound
106:Musique concrète
75:musique concrète
62:Pierre Schaeffer
21:
2836:
2835:
2831:
2830:
2829:
2827:
2826:
2825:
2811:
2810:
2809:
2804:
2781:
2768:
2747:
2673:New Objectivity
2626:
2624:
2613:
2577:
2399:
2390:
2388:Modernist music
2385:
2355:
2350:
2324:
2310:Sound sculpture
2248:
2229:Prepared guitar
2214:Circuit bending
2191:
2110:
1993:
1991:
1984:
1946:Electroacoustic
1917:
1914:classical music
1913:
1904:
1899:
1860:
1841:
1836:
1733:Time Out London
1728:Wayback Machine
1566:Ensemble Modern
1560:Dusted Magazine
1494:
1492:Further reading
1489:
1446:Hermann Danuser
1127:
1119:
1115:
1107:
1103:
1095:
1091:
1083:
1079:
1071:
1067:
1059:
1055:
1047:
1043:
1035:
1031:
1023:
1019:
1011:
1007:
999:
995:
987:
983:
975:
971:
963:
959:
955:, 106–107, 266.
951:
947:
939:
935:
927:
923:
915:
911:
903:
899:
891:
887:
879:
875:
867:
863:
855:
851:
843:
839:
831:
827:
819:
812:
804:
800:
792:
788:
782:Palombini 1993b
780:
776:
770:Palombini 1993a
768:
764:
756:
752:
746:Palombini 1993a
744:
740:
732:
728:
720:
713:
709:
704:
698:
679:
673:
653:Laurie Anderson
649:
644:
638:
614:
608:
560:
554:
535:Christian Wolff
523:vanguard circle
495:
489:
487:New York School
461:
456:
419:
413:
396:
191:Christian Wolff
183:
139:
134:
35:
28:
23:
22:
15:
12:
11:
5:
2834:
2824:
2823:
2806:
2805:
2803:
2802:
2792:
2778:Romantic music
2774:
2773:
2770:
2769:
2767:
2766:
2761:
2755:
2753:
2749:
2748:
2746:
2745:
2740:
2735:
2730:
2725:
2720:
2715:
2710:
2705:
2700:
2695:
2690:
2685:
2683:Pandiatonicism
2680:
2675:
2670:
2668:New Complexity
2665:
2660:
2655:
2650:
2645:
2640:
2635:
2629:
2627:
2622:
2619:
2618:
2615:
2614:
2612:
2611:
2610:
2609:
2604:
2599:
2594:
2588:United States
2585:
2583:
2579:
2578:
2576:
2575:
2574:
2573:
2568:
2563:
2555:
2554:
2553:
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2534:
2533:
2525:
2524:
2523:
2518:
2510:
2509:
2508:
2503:
2498:
2493:
2488:
2483:
2475:
2474:
2473:
2465:
2464:
2463:
2455:
2454:
2453:
2445:
2444:
2443:
2438:
2433:
2428:
2423:
2414:
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2405:
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2400:
2395:
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2326:
2325:
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2317:
2312:
2307:
2302:
2297:
2292:
2287:
2282:
2277:
2272:
2267:
2262:
2256:
2254:
2250:
2249:
2247:
2246:
2241:
2236:
2234:Prepared piano
2231:
2226:
2224:Plunderphonics
2221:
2219:Frippertronics
2216:
2211:
2205:
2203:
2197:
2196:
2193:
2192:
2190:
2189:
2184:
2179:
2174:
2169:
2164:
2159:
2154:
2149:
2144:
2139:
2134:
2129:
2124:
2118:
2116:
2112:
2111:
2109:
2108:
2103:
2098:
2093:
2092:
2091:
2086:
2081:
2076:
2071:
2066:
2061:
2051:
2046:
2041:
2036:
2031:
2026:
2021:
2020:
2019:
2009:
2003:
2001:
1994:
1989:
1986:
1985:
1983:
1982:
1981:
1980:
1970:
1965:
1960:
1959:
1958:
1953:
1943:
1938:
1933:
1932:
1931:
1920:
1918:
1909:
1906:
1905:
1898:
1897:
1890:
1883:
1875:
1869:
1868:
1840:
1839:External links
1837:
1835:
1834:
1820:
1797:
1783:
1766:
1752:
1737:
1736:(February 26).
1717:
1700:
1677:
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1644:
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1621:
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1602:
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1573:
1563:
1562:(February 19).
1548:
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1505:
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1417:
1406:
1374:Nyman, Michael
1370:
1353:
1336:
1319:
1308:
1297:
1281:
1272:
1263:
1246:
1203:
1201:1, no. 1:5–10.
1194:
1168:Boulez, Pierre
1164:
1155:
1146:
1133:
1126:
1125:
1113:
1101:
1089:
1077:
1065:
1053:
1041:
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1005:
993:
981:
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957:
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933:
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909:
897:
885:
873:
861:
849:
837:
825:
810:
798:
786:
774:
762:
758:Schaeffer 1957
750:
738:
726:
710:
708:
705:
700:Main article:
697:
694:
675:Main article:
672:
669:
657:Chou Wen-chung
648:
647:Transethnicism
645:
640:Main article:
637:
634:
626:primal therapy
610:Main article:
607:
604:
570:that utilises
556:Main article:
553:
550:
539:Morton Feldman
511:conceptual art
499:Marcel Duchamp
491:Main article:
488:
485:
460:
457:
455:
452:
444:Downtown music
417:Computer music
415:Main article:
412:
409:
395:
392:
374:performativity
340:
336:
333:music theatre
332:
328:
324:
320:
316:
313:improvisation
312:
308:
215:La Monte Young
207:Morton Feldman
182:
179:
138:
135:
133:
130:
112:that utilises
90:Lejaren Hiller
26:
9:
6:
4:
3:
2:
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2649:
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2644:
2643:Expressionism
2641:
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2427:
2424:
2422:
2419:
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2301:
2300:Sound collage
2298:
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2286:
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2217:
2215:
2212:
2210:
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2204:
2202:
2198:
2188:
2185:
2183:
2180:
2178:
2175:
2173:
2170:
2168:
2165:
2163:
2160:
2158:
2155:
2153:
2150:
2148:
2145:
2143:
2140:
2138:
2135:
2133:
2130:
2128:
2125:
2123:
2120:
2119:
2117:
2113:
2107:
2104:
2102:
2099:
2097:
2094:
2090:
2087:
2085:
2082:
2080:
2077:
2075:
2072:
2070:
2067:
2065:
2062:
2060:
2057:
2056:
2055:
2052:
2050:
2047:
2045:
2042:
2040:
2037:
2035:
2032:
2030:
2027:
2025:
2022:
2018:
2015:
2014:
2013:
2010:
2008:
2005:
2004:
2002:
1998:
1995:
1987:
1979:
1976:
1975:
1974:
1971:
1969:
1966:
1964:
1961:
1957:
1954:
1952:
1949:
1948:
1947:
1944:
1942:
1939:
1937:
1934:
1930:
1929:indeterminacy
1927:
1926:
1925:
1922:
1921:
1919:
1915:
1907:
1903:
1896:
1891:
1889:
1884:
1882:
1877:
1876:
1873:
1867:
1863:
1858:
1854:
1853:
1848:
1843:
1842:
1833:
1832:0-9517012-6-6
1829:
1825:
1821:
1818:
1817:0-19-315468-4
1814:
1810:
1809:0-19-315471-4
1806:
1802:
1798:
1796:
1795:1-55553-377-9
1792:
1788:
1784:
1782:
1781:3-7024-0263-2
1778:
1774:
1770:
1767:
1765:
1761:
1757:
1753:
1750:
1746:
1742:
1738:
1735:
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1715:
1711:
1707:
1706:
1701:
1698:
1694:
1690:
1686:
1682:
1678:
1675:
1671:
1670:Lucier, Alvin
1668:
1665:
1661:
1657:
1653:
1649:
1645:
1642:
1638:
1635:
1634:
1629:
1625:
1624:Henius, Carla
1622:
1619:
1615:
1612:
1611:
1606:
1603:
1600:
1599:
1595:
1593:
1592:0-7123-0506-8
1589:
1585:
1584:0-13-607044-2
1581:
1577:
1576:Bailey, Derek
1574:
1571:
1567:
1564:
1561:
1557:
1555:
1549:
1546:
1545:Audio Culture
1542:
1539:
1535:
1532:
1528:
1525:
1521:
1518:
1517:0-520-24755-8
1514:
1510:
1506:
1503:
1502:
1497:
1496:
1484:
1483:2-03-511354-7
1480:
1476:
1471:
1467:
1462:
1458:
1457:
1451:
1447:
1443:
1438:
1433:
1429:
1428:
1423:
1418:
1414:
1413:
1407:
1403:
1402:0-521-65297-9
1399:
1395:
1394:0-02-871200-5
1391:
1387:
1386:0-289-70182-1
1383:
1379:
1375:
1371:
1367:
1366:0-521-45429-8
1363:
1359:
1354:
1350:
1349:0-521-34578-2
1346:
1342:
1337:
1333:
1332:0-226-52143-5
1329:
1325:
1320:
1316:
1315:
1309:
1305:
1304:
1298:
1295:
1294:0-8153-2144-9
1291:
1287:
1282:
1278:
1273:
1269:
1264:
1260:
1259:0-02-864737-8
1256:
1252:
1247:
1244:
1243:99911-780-1-5
1240:
1236:
1235:0-7145-1043-2
1232:
1228:
1227:0-7145-1043-2
1224:
1220:
1219:0-7145-0526-9
1216:
1212:
1208:
1204:
1200:
1195:
1191:
1190:
1185:
1184:0-674-64375-5
1181:
1177:
1176:Martin Cooper
1173:
1169:
1165:
1161:
1156:
1152:
1147:
1144:
1140:
1135:
1134:
1132:
1131:
1122:
1117:
1110:
1105:
1098:
1093:
1086:
1081:
1074:
1073:Nicholls 1990
1069:
1062:
1057:
1050:
1045:
1038:
1033:
1026:
1021:
1014:
1009:
1002:
997:
990:
985:
978:
973:
966:
961:
954:
949:
942:
937:
930:
925:
918:
913:
906:
901:
894:
893:Nicholls 1998
889:
882:
877:
870:
865:
858:
853:
846:
841:
834:
829:
822:
817:
815:
807:
802:
795:
790:
783:
778:
771:
766:
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754:
747:
742:
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730:
723:
718:
716:
711:
703:
693:
691:
687:
683:
678:
668:
666:
662:
658:
654:
643:
633:
631:
627:
623:
622:Primal Scream
619:
613:
603:
601:
597:
593:
589:
585:
581:
577:
573:
569:
565:
559:
549:
548:
544:
540:
536:
532:
528:
524:
520:
516:
512:
508:
504:
500:
494:
484:
482:
478:
474:
470:
466:
451:
449:
445:
441:
437:
433:
429:
425:
418:
408:
406:
400:
391:
389:
385:
381:
379:
375:
371:
367:
363:
359:
358:
353:
349:
348:
342:
338:
334:
330:
326:
322:
318:
317:sound poetry
314:
310:
306:
304:
300:
296:
294:
290:
286:
284:
280:
276:
272:
268:
264:
260:
257:of the time (
256:
252:
248:
244:
240:
236:
232:
228:
224:
220:
216:
212:
208:
204:
200:
199:Meredith Monk
196:
192:
188:
187:Michael Nyman
178:
176:
172:
171:Edgard Varèse
168:
164:
160:
154:
152:
148:
144:
129:
127:
123:
119:
115:
111:
108:is a form of
107:
103:
99:
95:
91:
87:
83:
82:
77:
76:
71:
67:
63:
59:
58:indeterminacy
55:
50:
48:
47:indeterminacy
43:
39:
33:
19:
2776:
2738:Tone cluster
2693:Polytonality
2638:Experimental
2637:
1992:music genres
1912:contemporary
1901:
1850:
1823:
1800:
1786:
1772:
1755:
1740:
1731:
1703:
1680:
1673:
1647:
1640:
1631:
1627:
1617:
1608:
1605:Gligo, Nikša
1596:
1569:
1559:
1553:
1544:
1537:
1530:
1523:
1508:
1499:
1474:
1465:
1454:
1441:
1425:
1410:
1377:
1357:
1340:
1323:
1312:
1301:
1285:
1276:
1267:
1250:
1210:
1198:
1187:
1171:
1159:
1137:Anon. n.d. "
1129:
1128:
1116:
1104:
1092:
1080:
1068:
1056:
1044:
1032:
1020:
1013:Mauceri 1997
1008:
996:
989:Mauceri 1997
984:
977:Metzger 1959
972:
960:
948:
936:
924:
912:
900:
888:
876:
864:
852:
840:
828:
806:Mauceri 1997
801:
789:
777:
765:
753:
741:
729:
680:
665:Kevin Volans
650:
615:
561:
496:
477:Carl Ruggles
473:Henry Cowell
462:
447:
431:
424:Mauceri 1997
420:
401:
397:
382:
361:
355:
351:
345:
343:
321:linguistics
302:
297:
287:
243:John Tilbury
227:Gavin Bryars
219:Philip Glass
184:
175:Henry Cowell
167:Charles Ives
155:
150:
146:
140:
105:
94:Harry Partch
79:
73:
65:
51:
37:
36:
2688:Polyrhythms
2663:Neotonality
2551:Szymanowski
2244:Turntablism
2187:Witch house
2147:Drone metal
1936:Avant-garde
1845:‹ The
1085:Bateman n.d
1061:Vignal 2003
1003:, 430, 431.
1001:Boulez 1986
941:Piekut 2008
929:Piekut 2008
917:Piekut 2008
821:Rebner 1997
696:Game pieces
661:Steve Reich
618:mixed media
543:David Tudor
531:Earle Brown
507:avant-garde
481:John Becker
378:metaphysics
366:ontological
329:multimedia
299:Warren Burt
279:Stockhausen
255:avant-garde
223:Steve Reich
211:Terry Riley
195:Earle Brown
98:Ivor Darreg
42:music genre
27:Music genre
2733:Surrealism
2728:Stochastic
2718:Sound mass
2653:Microtonal
2625:techniques
2623:Genres and
2571:Stravinsky
2531:Skalkottas
2436:Schoenberg
2315:Soundscape
2239:Scordatura
2209:3rd bridge
2172:Industrial
2137:Avant-funk
2079:noise rock
2034:Avant-punk
2029:Avant-prog
2017:Post-metal
1956:Tape music
1643:8:131–154.
1207:Cage, John
1121:Lubet 1999
1109:Jaffe 1983
1097:Blake 1999
1037:Nyman 1974
1025:Nyman 1974
965:Meyer 1994
953:Meyer 1994
857:Nyman 1974
845:Nyman 1974
833:Nyman 1974
707:References
686:free music
636:Minimalism
362:explaining
354: [
293:status quo
289:David Cope
271:Birtwistle
251:Keith Rowe
70:tape music
2713:Serialism
2633:Atonality
2561:Prokofiev
2404:Composers
2295:Sound art
2182:Punk jazz
2157:Free jazz
2089:post-rock
2084:post-punk
2064:math rock
2059:krautrock
2024:Avant-pop
1924:Aleatoric
1691:(cloth);
1554:Gong Lake
1314:Die Reihe
905:Burt 1991
881:Cope 1997
869:Cage 1961
794:Cage 1961
722:Anon. n.d
527:John Cage
436:Schaeffer
388:serialism
352:describes
231:John Cale
54:John Cage
2815:Category
2790:Category
2723:Spectral
2648:Futurism
2582:Americas
2566:Scriabin
2537:Hungary
2512:Germany
2496:Messiaen
2491:Koechlin
2467:Finland
2457:Czechia
2451:Pousseur
2447:Belgium
2417:Austria
2260:Cymatics
2167:Hyperpop
2132:Art rock
2127:Art punk
2069:neo-prog
2039:Biomusic
2000:By style
1910:Related
1847:template
1811:(cloth)
1724:Archived
1699:(ebook).
1376:. 1974.
1221:(cloth)
1209:. 1961.
1143:AllMusic
734:Sun 2013
630:Yoko Ono
434:work of
405:outsider
347:a priori
283:Bussotti
2775: ←
2703:Process
2592:Antheil
2557:Russia
2547:Poland
2527:Greece
2521:Strauss
2501:Milhaud
2486:Jolivet
2477:France
2471:Bergman
2142:Ambient
2122:Art pop
2115:Related
2101:Neofolk
2074:no wave
1963:Minimal
1849:below (
1705:No Wave
1658:(hbk.)
1130:Sources
859:, 2, 9.
588:harmony
515:pop art
465:Charles
454:History
267:Xenakis
137:Origins
126:clichés
2800:Portal
2602:Cowell
2597:Carter
2541:Bartók
2506:Varèse
2441:Webern
2431:Mahler
2426:Krenek
2411:Europe
2285:Fluxus
2162:Glitch
1978:Danger
1916:genres
1866:Curlie
1852:Curlie
1830:
1819:(pbk.)
1815:
1807:
1793:
1779:
1762:
1747:
1712:
1695:
1687:
1666:(pbk.)
1662:
1654:
1590:
1582:
1515:
1481:
1400:
1392:
1384:
1364:
1347:
1330:
1292:
1257:
1241:
1233:
1225:
1217:
1182:
1063:, 298.
1015:, 190.
991:, 189.
967:, 237.
919:, 2–5.
895:, 318.
883:, 222.
808:, 197.
784:, 557.
612:Fluxus
606:Fluxus
592:rhythm
584:melody
580:voices
564:French
479:, and
281:, and
259:Boulez
249:, and
173:, and
78:, and
2678:Noise
2516:Reger
2481:Henry
1973:Noise
1941:Drone
1628:Melos
979:, 21.
871:, 13.
796:, 39.
772:, 19.
748:, 18.
596:metre
440:Henry
275:Berio
263:Kagel
2607:Ives
2461:Hába
2421:Berg
2265:Dada
2106:Wave
1828:ISBN
1813:ISBN
1805:ISBN
1791:ISBN
1777:ISBN
1760:ISBN
1745:ISBN
1710:ISBN
1693:ISBN
1685:ISBN
1660:ISBN
1652:ISBN
1588:ISBN
1580:ISBN
1513:ISBN
1479:ISBN
1398:ISBN
1390:ISBN
1382:ISBN
1362:ISBN
1345:ISBN
1328:ISBN
1290:ISBN
1255:ISBN
1239:ISBN
1231:ISBN
1223:ISBN
1215:ISBN
1180:ISBN
1039:, 9.
1027:, 5.
943:, 7.
931:, 5.
907:, 5.
835:, 1.
519:jazz
503:Dada
501:and
467:and
438:and
303:ands
96:and
1864:at
1141:".
688:is
684:or
578:or
372:to
357:sic
339:and
335:and
331:and
327:and
323:and
319:and
315:and
311:and
307:and
2817::
1730:.
1558:.
1424:.
813:^
714:^
663:,
659:,
655:,
628:.
594:,
590:,
586:,
541:,
537:,
533:,
529:,
517:,
513:,
483:.
475:,
471:,
277:,
273:,
269:,
265:,
261:,
245:,
241:,
237:,
233:,
229:,
221:,
217:,
213:,
209:,
205:,
201:,
197:,
193:,
169:,
104:.
92:.
72:,
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1751:.
1716:.
1630:/
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1519:.
1485:.
1404:.
1368:.
1351:.
1334:.
1261:.
1123:.
1111:.
1099:.
1087:.
1075:.
1051:.
823:.
760:.
736:.
724:.
422:(
403:"
34:.
20:)
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