Tomorrow Is the Question

New Directions in Experimental Music Studies

Nonfiction, Entertainment, Music, Music Styles, Electronic & Computer, Instruments & Instruction
Cover of the book Tomorrow Is the Question by , University of Michigan Press
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: ISBN: 9780472120116
Publisher: University of Michigan Press Publication: April 9, 2014
Imprint: University of Michigan Press Language: English
Author:
ISBN: 9780472120116
Publisher: University of Michigan Press
Publication: April 9, 2014
Imprint: University of Michigan Press
Language: English

In recent decades, experimental music has flourished outside of European and American concert halls. The principles of indeterminacy, improvisation, nonmusical sound, and noise, pioneered in concert and on paper by the likes of Henry Cowell, John Cage, and Ornette Coleman, can now be found in all kinds of new places: activist films, rock recordings, and public radio broadcasts, not to mention in avant-garde movements around the world.

The contributors to Tomorrow Is the Question explore these previously unexamined corners of experimental music history, considering topics such as Sonic Youth, Julius Eastman, the Downtown New York pop avant-garde of the 1970s, Fluxus composer Benjamin Patterson, Tokyo’s Music group (aka Group Ongaku), the Balinese avant-garde, the Leicester school of British experimentalists, Cuba’s Grupo de Experimentación Sonora del ICAIC, Pauline Oliveros’s score for the feminist documentary Maquilapolis, NPR’s 1980s RadioVisions, and the philosophy of experimental musical aesthetics.

Taken together, this menagerie of people, places, and things makes up an actually existing experimentalism that is always partial, compromised, and invented in its local and particular formations—in other words, these individual cases suggest that experimentalism has been a far more variegated set of practices and discourses than previously recognized. Asking new questions leads to researching new materials, new individuals, and new contexts and, eventually, to the new critical paradigms that are necessary to interpret these materials. Gathering contributions from historical musicology, enthnomusicology, history, philosophy, and cultural studies, Tomorrow Is the Question generates future research directions in experimental music studies by way of a productive inquiry that sustains and elaborates critical conversations.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

In recent decades, experimental music has flourished outside of European and American concert halls. The principles of indeterminacy, improvisation, nonmusical sound, and noise, pioneered in concert and on paper by the likes of Henry Cowell, John Cage, and Ornette Coleman, can now be found in all kinds of new places: activist films, rock recordings, and public radio broadcasts, not to mention in avant-garde movements around the world.

The contributors to Tomorrow Is the Question explore these previously unexamined corners of experimental music history, considering topics such as Sonic Youth, Julius Eastman, the Downtown New York pop avant-garde of the 1970s, Fluxus composer Benjamin Patterson, Tokyo’s Music group (aka Group Ongaku), the Balinese avant-garde, the Leicester school of British experimentalists, Cuba’s Grupo de Experimentación Sonora del ICAIC, Pauline Oliveros’s score for the feminist documentary Maquilapolis, NPR’s 1980s RadioVisions, and the philosophy of experimental musical aesthetics.

Taken together, this menagerie of people, places, and things makes up an actually existing experimentalism that is always partial, compromised, and invented in its local and particular formations—in other words, these individual cases suggest that experimentalism has been a far more variegated set of practices and discourses than previously recognized. Asking new questions leads to researching new materials, new individuals, and new contexts and, eventually, to the new critical paradigms that are necessary to interpret these materials. Gathering contributions from historical musicology, enthnomusicology, history, philosophy, and cultural studies, Tomorrow Is the Question generates future research directions in experimental music studies by way of a productive inquiry that sustains and elaborates critical conversations.

More books from University of Michigan Press

Cover of the book Trade Threats, Trade Wars by
Cover of the book The Mirror Diary by
Cover of the book Party Competition and Responsible Party Government by
Cover of the book Liberal Democracy and the Limits of Tolerance by
Cover of the book Good Vibrations by
Cover of the book Discarded, Discovered, Collected by
Cover of the book Dynamics, Economic Growth, and International Trade by
Cover of the book The German Problem Transformed by
Cover of the book Breaking Ground by
Cover of the book Supreme Court Confirmation Hearings in the U.S. Senate by
Cover of the book The Fanfiction Reader by
Cover of the book The Politics of Community Policing by
Cover of the book Leadership in Committee by
Cover of the book The Social Benefits of Education by
Cover of the book The Challenge of Hegemony by
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy