What's the matter with today's experimental music? : organized sound too rarely heard
by Leigh Landy
Bok Engelsk 1991 · Electronic books.
| Annen tittel | |
|---|---|
| Utgitt | Chur : Harwood , c1991
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| Omfang | xiv, 308 s. : mus.
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| Opplysninger | Description based upon print version of record.. - Cover; Title; Copyright; Contents; Introduction to the Series; Preface; PART 1. INTRODUCTION; I. What it's all about - Definition, delineation of the area: also the ""parameter"" question and Cage's double role (composer/philosopher); PART 2. FOUR EXTRA-MUSICAL SUBJECTS OF RELEVANCE; II. The media/1 - Including a double failure: the media's relative lack of support, the musicians' lack of application and the ""perfect"" recording; III. Technology - Increased knowledge and utilities in our society ... How are these used/translated in today's music?. - IV. Local music - Have we forgotten regional values? and an overflow of ""exotic"" goods (recordings) in the supermarketV. Music and politics - Including Henze's salon, Cage's anarchism; PART 3. STATUS REPORT: ADVANCES WITHIN EXPERIMENTAL MUSIC; VI. New notation and instrument practice - Avant-gardism is alive and well - it's the musician who's still suffering/music education and two of Cage's pages; VII. Form and structure, (a)tonality and rhythm and our perception's fuse box - The questions of the lost melody, the lot of Xenakis' (dis)order, energy; minimalism's twentieth birthday. - VIII. Sound sources, color - Organized sounds, notes and silences or not?IX. The "parameter" space - Quadraphonics, the podium, the street, etc; X. The media/2: How often have you seen your compositions performed? - An often ignored potential; PART 4. CONTEMPORARY MUSIC TODAY; XI. Survey: One step forwards, two steps backwards? - Including neo ≠ new; XII. The maestros of the 50s and 60s in 1989 - Cage, Stockhausen and Xenakis plus Ligeti, Kagel, and others. Also the parameters, ""compositional bearing"" and ""Former. - XIII. Today's music of sounds: Electroacoustic music and extended vocal techniques - e.g. the MIDI influence and computer music is number oneXIV. Fusion music - Fortunately the borders with pop music and jazz are becoming more and more vague; PART 5. CONCLUSION; XV. A possible future for experimental music - Among other subjects: the influence of the economy, our schools, today's perspectives in experimentation; PART 6. Work Descriptions and Cues for the Listener; XVIa. Melodylessness and beatlessness â€" Ligeti's Ten Pieces for Wind Quintet - Ligeti's Ten Pieces for Wind Quintet. - XVIb. Extended vocal techniques, new instrumental techniques and new virtuosity - Berio's Sequenza IIIXVIc. Dealing with highly complex music - for example Carter's Concerto for Orchestra; XVId. Sophisticated formal structures in experimental music which you can hear if you try - Xenakis' Nomos α; XVIe. Music as process - Reich's Piano Phase; XVIf. Available (open) forms - Brown's Available Forms I; XVIg. Politically influenced music-making - Wolffs In Between Pieces; XVIh. Music as organized notes and sounds - de Leeuw's Mountains; XVIi. Recent electroacoustic music - Risset's Sud. - XVIj. An analysis of Shinohara's Tayutai for koto (1972) - a three-dimensional approach of assimilation in experimental music. - Today's education and communications media are seen to be the main cause of the anonymity of contemporary music and suggestions are made to improve this situation. Leigh Landy investigates audio-visual applications that have hardly been explored, new timbres and sound sources, the discovery of musical space, new notations, musical politics, and the 'musical community' in an attempt to incite more composers, musicians and musicologists to get this music out into the works and to stimulate the creation of new experimental works.
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| Emner | |
| Sjanger | |
| Dewey | |
| ISBN | 3718651688
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