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Re: [microsound] experimental music





i think there is a problem with taking the word experimental in experimental music to be something scientific -- ie the music is like a science experiment, any out come is useful right or wrong etc etc (am generalising here and could get wacked over the head by a phil of science student , which i was way back so i do know my generalisation.)

anyway >> the word 'experimental' gets tossed around and used both lightly and with thought. a significant use of the word comes after old nyman and his experimental music book in which he uses the term to differentiate the european serialist school (the then contemporary western art music) and what was coming out of the usa, ie cage et.al (cage is experimental here). here we see an example of how the term has been switched around from the original definition. The european school seems to approximate the science thing much closer. ie stockhausen in his studio literally expanding sound/music with his electronic instrument 'tests', while cage et.al went about doing things in an indeterminate manner, throwing dice etc >> this itself doesn't seem very scientific (again i am open to the phil of sci student).

if we take nyman's definition of the us school >> cage, through lucier, through minimalism etc et >> being experimental composers then we must ditch the idea of experimental as scientific in nature
even with the idea of process above outcome as i think this is a
hard line to argue in relation to this group of composers and an undesirable one.

things get really messy when we start to use it for contemporary musics such as those produced with computers and discussed on this list. just how is it experimental exactly? do we want to call it experimental at all? do we need to? it is a tricky one as i want to use the term in a title to differentiate a specific historical type of music from pop, rock, indie, industrial, punk etc etc << all of which have been experimental in nature at some point.

anyways   >>   2cents

caleb~k
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