Complexity and Emergence in the American Experimental Music Tradition

2003 ◽  
pp. 75-84
Author(s):  
Tim Perkis
Keyword(s):  
Experimental Music ◽  
Music Tradition

scholarly journals THE MUSIC OF LAURENCE CRANE AND A POST-EXPERIMENTAL PERFORMANCE PRACTICE

Tempo ◽  
2015 ◽  
Vol 70 (275) ◽  
pp. 5-21 ◽  
Author(s):  
Philip Thomas
Keyword(s):  
Performance Practice ◽  
Experimental Approach ◽  
Experimental Music ◽  
Experimental Performance ◽  
Selection Of ◽  
Music Tradition

AbstractLaurence Crane's music is often described as experimental or considered as a continuation of the English experimental tradition. In this first extended examination of Crane's music it is proposed that, instead of relying upon associations and aesthetic alignments, the music might be considered as experimental through a particularly experimental approach to performance. After a brief overview of Crane's output his position as a composer is considered within the context of the experimental music tradition. This tradition is then considered in relation to performance practice, both historical and contemporary. A selection of Crane's music is examined in the light of that practice, whilst aspects of the composer's approaches to tonality, instrumentation, form and notation are also highlighted.

‘Newness which never perishes’? Schoenberg’s ambivalent reception of Haydn

2010 ◽  
Vol 51 (1-2) ◽  
pp. 215-224
Author(s):  
Alexander Carpenter
Keyword(s):  
The Other ◽  
Major Influence ◽  
Musical Style ◽  
The Past ◽  
Other Hand ◽  
The Future ◽  
Music Tradition

This paper explores Arnold Schoenberg’s curious ambivalence towards Haydn. Schoenberg recognized Haydn as an important figure in the German serious music tradition, but never closely examined or clearly articulated Haydn’s influence and import on his own musical style and ethos, as he did with many other major composers. This paper argues that Schoenberg failed to explicitly recognize Haydn as a major influence because he saw Haydn as he saw himself, namely as a somewhat ungainly, paradoxical figure, with one foot in the past and one in the future. In his voluminous writings on music, Haydn is mentioned by Schoenberg far less frequently than Bach, Mozart, or Beethoven, and his music appears rarely as examples in Schoenberg’s theoretical texts. When Schoenberg does talk about Haydn’s music, he invokes — with tacit negativity — its accessibility, counterpoising it with more recondite music, such as Beethoven’s, or his own. On the other hand, Schoenberg also praises Haydn for his complex, irregular phrasing and harmonic exploration. Haydn thus appears in Schoenberg’s writings as a figure invested with ambivalence: a key member of the First Viennese triumvirate, but at the same time he is curiously phantasmal, and is accorded a peripheral place in Schoenberg’s version of the canon and his own musical genealogy.

Art School Manifestos, Classical Music, and Industrial Abjection: Tracing the Artistic, Political, and Musical Antecedents of Punk

2020 ◽  
Author(s):  
Mike Dines
Keyword(s):  
Case Studies ◽  
Classical Music ◽  
Situationist International ◽  
Political Activities ◽  
Sex Pistols ◽  
Contemporary Classical Music ◽  
Cultural Origins ◽  
Art School ◽  
Music Tradition

This chapter charts and explores the complex cultural origins of punk in Britain through three different case studies, beginning with an exploration of the influence of the Situationist International (SI) on the punk ethos and aesthetic around the Sex Pistols. Second, it looks at the musical and artistic trajectory of the anarcho-punk band Crass and, in particular, the contemporary classical music tradition that informed the work of Penny Rimbaud et al., from the late 1960s to the formation of Crass in the 1970s. Third, the chapter turns to the artistic influences of Neil Megson, later to be known as Genesis P-Orridge. Here, emphasis is placed on a timeline of artistic and political activities by P-Orridge, from his time in school, through his forming of COUM Transmissions in the early 1970s, to the early days of the innovative musical ensemble Throbbing Gristle (TG), formed in 1975. The case studies contribute to a wider understanding of the richer cultural references, practices, and traditions that early punk drew on.

Dante Boon, Six Melodies (2020), 3×3 Concerts 5 June, 3 July and 7 August 2020.

Tempo ◽  
2021 ◽  
Vol 75 (296) ◽  
pp. 90-92
Author(s):  
Sophie Stone
Keyword(s):  
Experimental Music ◽  
Free Range ◽  
Difficult Time ◽  
Music Ensemble

The Covid-19 pandemic is an extremely difficult time for musicians, and some, out of necessity and perhaps curiosity and experimentation, have been exploring digital realisations of music, such as live streamed or pre-recorded concerts. Examples that I have experienced or have been a part of include the experimental music ensemble Bastard Assignment's Lockdown Jams involving Zoom experiments, the experimental Free Range Concert Series streamed on YouTube, the Montrose Composers’ Club Zoom collaborations, and The Ensemble Whose Name is Uhhhhmm … (formerly Lil’ Jürg Frey) who perform music in Animal Crossing using in-game sounds.

Bill Dixon's Voice (Letter)

2015 ◽  
Vol 9 (2) ◽  
pp. 204-231
Author(s):  
ERIC PORTER
Keyword(s):  
Experimental Music ◽  
Artistic Production ◽  
Improvised Music ◽  
Wage Employment ◽  
Nuanced Understanding ◽  
And Performance ◽  
The 1960S ◽  
Critical Intervention ◽  
The City ◽  
The Voice

AbstractIn November 1966 composer and improviser Bill Dixon recorded a seventeen-minute-long “voice letter” to jazz writer Frank Kofsky. This letter may be analyzed as a critical intervention by Dixon, an attempt to change the context of interpretation around improvised music. But the voice letter may also be heard and analyzed as a kind of performance. As Dixon speaks, one can hear the rumbling and roar of the city as well as the staccato sounds of car and truck horns unfolding in dynamic counterpoint to his words. In this essay, I put the voice letter into dialogue with Dixon's personal history, his writings and interview statements, and some of his contemporaneous musical and multi-generic projects, especially his collaboration with dancer and choreographer Judith Dunn. I show how the letter maps Dixon's and Dunn's positions within a geography of intellectual circles, experimental artistic communities, and low-wage employment networks. By extension, I examine how the voice letter, as critical intervention and performance, points us to a nuanced understanding of black experimental music of the 1960s as a socially inflected, self-conscious and, ultimately, serious engagement with various modes of artistic production and thought, carried out under conditions of both precarity and inspiration.

A Musical Technography of John Bischoff

2004 ◽  
Vol 14 ◽  
pp. 75-79
Author(s):  
Douglas Kahn
Keyword(s):  
San Francisco ◽  
Early Development ◽  
Computer Music ◽  
Turning Point ◽  
San Francisco Bay Area ◽  
Experimental Music ◽  
Music Technology ◽  
Electronic Components ◽  
Bay Area ◽  
The Impact

John Bischoff has been part of the formation and growth of electronic and computer music in the San Francisco Bay Area for over three decades. In an interview with the author, he describes his early development as a student of experimental music technology, including the impact of hearing and assisting in the work of David Tudor. Bischoff, like Tudor, explored the unpredictable potentials within electronic components, and he brought this curiosity to bear when he began working on one of the first available micro-computers. He was a key individual at the historical turning point when computer music escaped its institutional restric-tions and began becoming widespread.

In re: ‘Experimental Music’

2012 ◽  
Vol 31 (1) ◽  
pp. 37-62 ◽  
Author(s):  
William Brooks
Keyword(s):  
Experimental Music

Cybernetic Performance Ecosystems: The Im-Medea Cycle

Leonardo ◽  
2021 ◽  
pp. 1-12
Author(s):  
Thanos Polymeneas-Liontiris ◽  
M. Eugenia Demeglio
Keyword(s):  
System Theory ◽  
Performance Practice ◽  
Creative Process ◽  
Experimental Music ◽  
Creative Processes ◽  
Art Based Research ◽  
Different Levels

Abstract This article presents a series of experimental music theatre performances that took place between 2015 and 2017. This art-based research investigates how qualities of the posthuman condition could manifest in experimental music theatre, by applying cybernetic and system theory principles at different levels (i.e. compositionally, aesthetically, dramaturgically) in the creative process. The aim of this article is to present these creative processes and to introduce this type of performance practice, namely cybernetic performance ecosystem.

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