Early in the century, a handful of American composers began
creating a new musical culture in the United States. Abandoning the
European musical tradition, they protested the marginalization of
American-born composers and struggled to displace traditional
classical music in America. This movement, known as
experimentalism, peaked during the 1950s and 1960s, when the music
of composers like John Cage, Henry Cowell, and Charles Ives reached
a new wide audience. This ethnographic account of experimentalism
addresses the question of what social and political factors
produced this avant-garde movement. Although European avant-gardism
in music has been well documented, this is the first comprehensive
account of the avant-garde in American music. This study chronicles
the musical activities of the major figures and examines the
development of a radical discourse among composers. Addressing
experimentalism within the context of artistic and national
politics, consideration is given to the effect of federal policies
on arts support. This work will be of interest to
ethnomusicologists and music historians, as well as to sociologists
and anthropologists who study culture change.
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