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.
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