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Experimental Music Since 1970, by Jennie Gottschalk
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What is experimental music today? This book offers an up to date survey of this field for anyone with an interest, from seasoned practitioners to curious readers. This book takes the stance that experimental music is not a limited historical event, but is a proliferation of approaches to sound that reveals much about present-day experience. An experimental work is not identifiable by its sound alone, but by the nature of the questions it poses and its openness to the sounding event.
Experimentation is a way of working. It pushes past that which is known to discover what lies beyond it, finding new knowledge, forms, and relationships, or accepting a state of uncertainty. For each of these composers and sound artists, craft is developed and transformed in response to the questions they bring to their work. Scientific, perceptual, or social phenomena become catalysts in the operation of the work.
These practices are not presented according to a chronology, a set of techniques, or social groupings. Instead, they are organized according to the content areas that are their subjects, including resonance, harmony, objects, shapes, perception, language, interaction, sites, and histories. Musical materials may be subject, among other treatments, to systemization, observation, examination, magnification, fragmentation, translation, or destabilization. These restless and exploratory modes of engagement have continued to develop over recent decades, expanding the scope of both musical practice and listening.
- Sales Rank: #192694 in Books
- Published on: 2016-08-11
- Released on: 2016-08-11
- Original language: English
- Number of items: 1
- Dimensions: 9.03" h x .71" w x 5.97" l, .0 pounds
- Binding: Paperback
- 304 pages
Review
[Full of] lucid and engaging discussion of so much music new to me, which has had me scurrying to Youtube, download sites and the library to find examples. Gottschalk's book is enthusiastic, highly readable and does not attempt to be too definitive in its explorations. International Times We have needed a reformulation of what experimental music now means, i.e., what has become since Michael Nyman took stock of it in 1974-and this book beautifully fulfills that requirement. Jennie Gottschalk takes a fresh and independent look at experimental music of the last forty years, finding both points of continuation from the previous era and many novel and heartening developments. It is also an adventure story with surprising twists and a panoramic cast of characters, like a novel in which works and ideas are the central figures, seemingly with a collective life of their own. Michael Pisaro, Composer and Faculty Member, Composition and Experimental Sound Practices, California Institute of the Arts, USA Reading Experimental Music Since 1970 it is impossible not to be dazzled first by the range and imagination of experimental music and sound art that is being made today, and second by the way in which Jennie Gottschalk has described and catalogued so much of it, so lucidly. Impeccably and authoritatively researched, by a writer who is both a practitioner and an astute observer, it deserves to be the go-to reference for years to come. Tim Rutherford-Johnson, author of 'Music After The Fall: Modern Composition and Culture Since 1989', UK This book is a unique achievement. Without catering to current fashions or well-worn academic assumptions, it transcends the limits of both journalism and traditional musicology to be both comprehensive and insightful. Reading it has helped me to ask new questions about a history that I thought I knew quite well. David Dunn, Assistant Professor of Music, University of California Santa Cruz, USA
About the Author
Jennie Gottschalk is a composer and independent scholar based in Boston. Since receiving a doctorate in composition from Northwestern University in 2008, she has traveled extensively to gather first-hand information about experimental music practices. For additional resources related to this book, please visit the author's website at soundexpanse.com.
Most helpful customer reviews
2 of 2 people found the following review helpful.
Bringing the 'Experimantal' back to contemporary music.
By Kenny Roberts
I am sitting in a room different from the one you are in now. I am recording my thoughts pertaining to the ideas Ms. Gottschalk describes in her great new book and I am going to refer to it again and again to my friends until the resonant frequencies of my enthusiasm reinforce the need to read this book. Any semblance of routine, except for the depth of scholarship, is destroyed. What you will read, then, are the natural resonant frequencies of the genre (Experimental Music) articulated by speech. This is not just a 'Contemporary Music' history, the word 'Experimental' is perfectly descriptive. 'Indeterminancy', 'Silence', 'Acts of discovery', 'Harmonic relations', 'Playing with numbers', 'Learning by making', 'Finding hidden sounds'; the section titles lead us into a world of sound not widely known outside academia. Ms. Gottschalk has also published a resource guide to accompany the book with links to the music at [...] I regard this activity not so much as a demonstration of a physical fact, but more as a way to assist the reader in any problems they may have in finding this music. Congratulations to Jennie Gottschalk and Bloomsbury Academic for bringing us this essential work.
0 of 0 people found the following review helpful.
Take The Plunge and This Book Will Keep You Afloat
By elizabeth hart
Carefully researched, approached with originality, written from experience - this book is essential reading for those who wish to expand their knowledge of developing music.
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