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In its open improvisations, lapidary lyrics, errant melodies, and
relentless pursuit of spontaneity, the British experimental band
Henry Cow pushed rock music to its limits. Its rotating personnel,
sprung from rock, free jazz, and orchestral worlds, synthesized a
distinct sound that troubled genre lines, and with this musical
diversity came a mixed politics, including Maoism, communism,
feminism, and Italian Marxism. In Henry Cow: The World Is a Problem
Benjamin Piekut tells the band's story-from its founding in
Cambridge in 1968 and later affiliation with Virgin Records to its
demise ten years later-and analyzes its varied efforts to link
aesthetics with politics. Drawing on ninety interviews with Henry
Cow musicians and crew, letters, notebooks, scores, journals, and
meeting notes, Piekut traces the group's pursuit of a political and
musical collectivism, offering up its history as but one example of
the vernacular avant-garde that emerged in the decades after World
War II. Henry Cow's story resonates far beyond its inimitable
music; it speaks to the avant-garde's unpredictable potential to
transform the world.
In its open improvisations, lapidary lyrics, errant melodies, and
relentless pursuit of spontaneity, the British experimental band
Henry Cow pushed rock music to its limits. Its rotating personnel,
sprung from rock, free jazz, and orchestral worlds, synthesized a
distinct sound that troubled genre lines, and with this musical
diversity came a mixed politics, including Maoism, communism,
feminism, and Italian Marxism. In Henry Cow: The World Is a Problem
Benjamin Piekut tells the band's story-from its founding in
Cambridge in 1968 and later affiliation with Virgin Records to its
demise ten years later-and analyzes its varied efforts to link
aesthetics with politics. Drawing on ninety interviews with Henry
Cow musicians and crew, letters, notebooks, scores, journals, and
meeting notes, Piekut traces the group's pursuit of a political and
musical collectivism, offering up its history as but one example of
the vernacular avant-garde that emerged in the decades after World
War II. Henry Cow's story resonates far beyond its inimitable
music; it speaks to the avant-garde's unpredictable potential to
transform the world.
In "Experimental Otherwise", Benjamin Piekut takes the reader into
the heart of what we mean by 'experimental' in avant-garde music.
Focusing on one place and time - New York City, 1964 - Piekut
examines five disparate events: the New York Philharmonic's
disastrous performance of John Cage's Atlas Eclipticalis; Henry
Flynt's demonstrations against the downtown avant-garde; Charlotte
Moorman's Avant Garde Festival; the founding of the Jazz Composers
Guild; and, the emergence of Iggy Pop. Drawing together a colorful
array of personalities, Piekut argues that each of these examples
points to a failure and marks a limit or boundary of canonical
experimentalism. What emerges from these marginal moments is an
accurate picture of the avant-garde, not as a style or genre, but
as a network defined by disagreements, struggles, and exclusions.
In "Experimental Otherwise", Benjamin Piekut takes the reader into
the heart of what we mean by 'experimental' in avant-garde music.
Focusing on one place and time - New York City, 1964 - Piekut
examines five disparate events: the New York Philharmonic's
disastrous performance of John Cage's Atlas Eclipticalis; Henry
Flynt's demonstrations against the downtown avant-garde; Charlotte
Moorman's Avant Garde Festival; the founding of the Jazz Composers
Guild; and, the emergence of Iggy Pop. Drawing together a colorful
array of personalities, Piekut argues that each of these examples
points to a failure and marks a limit or boundary of canonical
experimentalism. What emerges from these marginal moments is an
accurate picture of the avant-garde, not as a style or genre, but
as a network defined by disagreements, struggles, and exclusions.
Improvisation informs a vast array of human activity, from creative
practices in art, dance, music, and literature to everyday
conversation and the relationships to natural and built
environments that surround and sustain us. The two volumes of The
Oxford Handbook of Critical Improvisation Studies gather
scholarship on improvisation from an immense range of perspectives,
with contributions from more than sixty scholars working in
architecture, anthropology, art history, computer science,
cognitive science, cultural studies, dance, economics, education,
ethnomusicology, film, gender studies, history, linguistics,
literary theory, musicology, neuroscience, new media,
organizational science, performance studies, philosophy, popular
music studies, psychology, science and technology studies,
sociology, and sound art, among others.
Improvisation informs a vast array of human activity, from creative
practices in art, dance, music, and literature to everyday
conversation and the relationships to natural and built
environments that surround and sustain us. The two volumes of The
Oxford Handbook of Critical Improvisation Studies gather
scholarship on improvisation from an immense range of perspectives,
with contributions from more than sixty scholars working in
architecture, anthropology, art history, computer science,
cognitive science, cultural studies, dance, economics, education,
ethnomusicology, film, gender studies, history, linguistics,
literary theory, musicology, neuroscience, new media,
organizational science, performance studies, philosophy, popular
music studies, psychology, science and technology studies,
sociology, and sound art, among others.
Improvisation informs a vast array of human activity, from creative
practices in art, dance, music, and literature to everyday
conversation and the relationships to natural and built
environments that surround and sustain us. The two volumes of the
Oxford Handbook of Critical Improvisation Studies gather
scholarship on improvisation from an immense range of perspectives,
with contributions from more than sixty scholars working in
architecture, anthropology, art history, computer science,
cognitive science, cultural studies, dance, economics, education,
ethnomusicology, film, gender studies, history, linguistics,
literary theory, musicology, neuroscience, new media,
organizational science, performance studies, philosophy, popular
music studies, psychology, science and technology studies,
sociology, and sound art, among others.
Improvisation informs a vast array of human activity, from creative
practices in art, dance, music, and literature to everyday
conversation and the relationships to natural and built
environments that surround and sustain us. The two volumes of the
Oxford Handbook of Critical Improvisation Studies gather
scholarship on improvisation from an immense range of perspectives,
with contributions from more than sixty scholars working in
architecture, anthropology, art history, computer science,
cognitive science, cultural studies, dance, economics, education,
ethnomusicology, film, gender studies, history, linguistics,
literary theory, musicology, neuroscience, new media,
organizational science, performance studies, philosophy, popular
music studies, psychology, science and technology studies,
sociology, and sound art, among others.
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 Experimentacion 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.
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