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Experimental Music: Cage and Beyond (Music in the Twentieth Century) (Taschenbuch)

von Michael Nyman (Autor), Brian Eno (Vorwort) "In this opening chapter I shall make an attempt to isolate and identify what experimental music is, and what distinguishes it from the music of..." (mehr)

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Produktinformation

Taschenbuch: 216 Seiten
Verlag: Cambridge University Press; Auflage: 2 (29. Juli 1999)
Sprache: Englisch
ISBN-10: 0521653835
ISBN-13: 978-0521653831
Gr��e und/oder Gewicht: 24,4 x 17 x 1,2 cm

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Amazon.de Verkaufsrang: Nr. 77.019 in Englische Bücher (Die Bestseller Englische Bücher)

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Produktbeschreibungen

Pressestimmen

‘Nyman’s book remains a privileged window into that strange world, and its republication will be a boon to a new generation.’ BBC Music Magazine

‘… a welcome reissue of the book … Above all, Experimental Music is a useful source book for a period of radicalism in musical practice in which the rule was to break the rules.’ Music Teacher

Book Description

Michael Nyman's book is a first-hand account of experimental music from 1950 to 1970. First published in 1974, it has remained the classic text on a significant form of music making and composing which developed alongside, and partly in opposition to, the post-war modernist tradition of composers such as Boulez, Berio, or Stockhausen. The experimentalist par excellence was John Cage whose legendary 4' 33'' consists of four minutes and thirty three seconds of silence to be performed on any instrument. Such pieces have a conceptual rather than purely musical starting point and radically challenge conventional notions of the musical work. Nyman's book traces the revolutionary attitudes that were developed towards concepts of time, space, sound, and composer/performer responsibility. It was within the experimental tradition that the seeds of musical minimalism were sown and the book contains reference to the early works of Reich, Riley, Young, and Glass.

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In diesem Buch (Mehr dazu)

Einleitungssatz
In this opening chapter I shall make an attempt to isolate and identify what experimental music is, and what distinguishes it from the music of such avant-garde composers as Boulez, Kagel, Xenakis, Birtwistle, Berio, Stockhausen, Bussotti, which is conceived and executed along the well-trodden but sanctified path of the post-Renaissance tradition. Lesen Sie die erste Seite

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5.0 von 5 Sternen THE 20th CENTURY RADICAL AVANT-GARDE, 2. M�rz 2003

Von	Pieter "Toypom" (Johannesburg) - Alle meine Rezensionen ansehen (TOP 500 REVIEWER)

In this work originally published in 1974, Nyman discusses the work of composers and performers who shifted the boundaries of music as regards notation, time, space, and the roles of the composer, performer and audience. The author seeks to identify and explain a whole body of musical work that existed outside the classical tradition and the avant-garde orthodoxies that flowed from it. He thus explores the Anglo-American musical tradition loosely associated with John Cage. Since 1974 this book has been considered the classical work on the radical alternative to the mainstream avant-garde as represented by Berio, Boulez and Stockhausen. Many of the current popular composers like Glass and Reich trace their root to this experimental school. The most fascinating chapter to me is "Minimal Music, Determinacy And The New Tonality" in which the Theatre Of Eternal Music (Tony Conrad, La Monte Young, Marion Zazeela and John Cale) as well as the work of Terry Riley is discussed. Photographs, illustrations and musical notations enliven the text and the book concludes with a selected source bibliography, a discography of experimental music and a bibliography of publications since 1974. Brian Eno has contributed an interesting foreword to this edition. The text can get a bit technical for the non-musician, but it remains a detailed work on a radical musical direction that has borne great fruit in the years since it was first analysed in this thorough and scholarly work.

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2 von 2 Kunden fanden die folgende Rezension hilfreich:

5.0 von 5 Sternen perhaps the only history of the what was the avant-garde, 8. Mai 2000

Von	scarecrow "scarecrow" (Chicago, Illinois United States) - Alle meine Rezensionen ansehen

Before Michael Nyman was a successful composer topping a millionaire gross worth, he was indeed a perceptive writer,with a turn of poetic phrase as when he described Cardew's magnum opus The Great Learning. There he described the confluence of Cardew's use of the Analects of Confucius with expression for the common man/woman,Cardew's intent utilized graphics as a common language read by anyone, a music for amateurs and professional instrumentalists to sing and play simultaneously.Nyman's rather modest pamphlet here when written, it was the only comprehensive explanation of what for the most part remained a confused, variegated,and fragemented avant-garde.One with no discernable direction,nor creative agenda accept possibly not to have one,in the typical Zen fashion of the times. The departures here and most of what Nyman discusses emanate from the Post-Cage realm of non-expression. The concern was in process,in graphic notation, in the means rather than the ends, how a process can undergo multiplication either through determinate means, actual writing of music or improvisation, or a mixtures of both.Cage began much of these departures along with associates Morton Feldman and Earle Brown, and later Christian Wolff.Here Cage with his various Variations, was the biginning marks where the performers needed to prepare a score to perform from a set of guidelines determining tones,rhythm,duration,physical placement and selection of instrument.The score was a set of instructions, a blueprint in a way.There was no right or wrong way merely one that didn't excite and inspire. This reduction of the creative process to its bare minimum was an exciting step hence there was plenty of room for divine intervention. Schoenberg, Cage's teacher had taught him the wealth of processes in music from the reservoir of variation form. And his use of it throughout his life, is akin to an unoffical hommage to the master of dodecaphonic thinking.Cage went on to compose seven such works each entitled Variations with a successive number. It was like a diary. Nyman is a perceptive writer discussing the minimalist expressions as well,a realm which came to work for him.Back when he wrote this work minimalism was just beginning to be recognized as a viable road a subversion of the Western Canon, and what was labeled as the tyrannical serial road as practiced by the Europeans. Reading Nyman today in retrospect is far more interesting however than appraising the repetitive patterns cadre today, for back in the late Sixties, early Seventies, these minimalists concepts, of transforming, scaling,nuanced timbral changes and permutating rhythm as mosaic patterns indeed opened up a creative chasm that has only been closed now. The market success of it is all a matter of history now.Even the Post-minimalists a la John Adams have exhausted its bleak emotive world. But Nyman was the first to discuss Reich's music, and that of Phillip Glass, and there early music was indeed much more exciting than their current homogenized,mannered and overlabored music today.Nyman was actually the shrewdest of the lot regenerating this creativity into the service (uncompromised) market. Improvisation also represented a new turn of the page, and a profound way of eradicating the package, the creator. The remarkable improvisors AMM, Keith Rowe and Eddie Prevost(later Cornelius Cardew,and John Tilbury) also make a great contribution here to Nyman's work. AMM was the first to adopt a post-Cage perspective,yet infusing their sensitive performances with more an ethic, a concern for the human condition which was a rather opaque and of mariginal value in the Cage edifice of creativity.Rowe utilized the radio as a sound source for instnace, but had projected a deep musicianship in its mixing it with his signature sound of the bowed electric guitar .A genre today where countless copy cats exhibit their expressions. Nyman also touches on the new use of melodic means, a realm that was to blossum wholeheartedly along all the creative avenues of the avant-garde throughout the Seventies coming ferociously up to the present times, with the homogenization of the commissioning agenda in today's orchestral venues.Melody represented a common experience a common language, and similar to jazz it was the focus of a piece.The work ends with Cardew's apostasy into Marxism and his utilization of revolutionary songs in arrangement form.Nyman short-changes this in some way, not realizing its implication, as no one else.

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