Experimental Music

Genres and Categories [G&C]  ]

1. Synonymous with avant-gardism (Paul Griffiths, Robert Fink and Herbert Eimert)

2. Music made in a laboratory (Lejaren Hiller, Pierre Schaeffer)

3. The performance of music of which the outcome cannot be foreseen (John Cage, Michael Nyman, Wim Mertens and Joaquim M. Benitez)

4. Music in which the innovative component (not in the sense of newness found in any artistic work, but instead substantial innovation as clearly intended by a composer and/or performer) of any given aspect of a given piece or performance takes priority above the more general technical craftsmanship expected of any art work

(Source - Leigh Landy (1991). What’s the Matter with Today’s Experimental Music? Chur: Harwood Academic Publishers: 3-7.)



English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Bennett, Justin (1999). BMB con.: Collaborative Experiences with Sound, Image and Space
Chiarucci, Henri, Reibel, Guy (1968). Techniques et manipulations en musique électroacoustique
Chion, Michel (1982). La musique électroacoustique
CLARO, Samuel (1965). Panorama de la música experimental en Chile (Panorama of experimental music in Chile)
Clozier, Christian, Leipp, Emile (1975a). Le groupe de musique expérimental de Bourges
Clozier, Christian, Leipp, Emile (1975b). Discussion
Cross, Lowell (1999). {Reunion}: John Cage, Marcel Duchamp, Electronic Music and Chess
Davies, Hugh (2001a). Gentle Fire: An Early Approach to Live Electronic Music
Denis, Jean-François (2000). L’électroacoustique au Canada
Dreyer, Sylvain (1999). Marseille à l’heure électronique
Driscoll, John, Rogalsky, Matt (2004). David Tudor’s {Rainforest}: An Evolving Exploration of Resonance
ESTRADA, Julio (1999). Conlon Nancarrow (1912-1997)
Glanville, Ranulph (2001). Between Now and Then: The Auto-Interview of a Lapsed Musician
Gripp, Ragnar (1975). La musique expérimentale en Suède
Hamman, Michael (2002). From Technical to Technological: The Imperative of Technology in Experimental Music Composition
Hiller, Lejaren, A., Isaacson, Leonard M., (1959). Experimental Music: Composition with an Electronic Computer
Holmes, Thom (2002). Electronic and Experimental Music
Jones, Stuart (2001). Making It Up as You Go Along
Kahn, Douglas (2004). A Musical Technography of John Bischoff
Kaufman, Dieter (1972). Studio de Vienne. L’Autriche et la musique expérimentale
Kaufman, Dieter (1978). Uber die Funktion von Experimentalstudios
Kuivila, Ron (2004). Open Sources: Words, Circuits and the Notation-Realization Relation in the Music of David Tudor
Leipp, Émile (1968). La musique expérimentale au laboratoire d’acoustique
Mâche, François-Bernard (1959). Historique des recherches de musique concrète
Moles, Abraham A. (1959). Instrumentation électronique et musique expérimentales
Moles, Abraham A. (1968). L’évolution actuelle des musiques expérimentales
Nicollet, Gérard (1998). GMEM (Groupe de Musique expérimentale de Marseille)
Peignot, Jérôme (1960). De la musique concrète à l’acousmatique
Pritchett, James (2004). David Tudor as Composer/Performer in Cage’s {Variations II}
Risset, Jean-Claude (1985c). Le compositeur et ses machines. De la recherche musicale
Schaeffer, Pierre (1957). Vers une musique expérimentale
Schaeffer, Pierre (1959a). Situation actuelle de la musique expérimentale
Schaeffer, Pierre (1977, 2002). De la musique concrète à la musique même
Schaeffer, Pierre, Peignot, Jérome (1956). Bruits équivoques
Vande Gorne, Annette (1995). Une histoire de la musique électroacoustique


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