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Proof Delivery Form,Date of delivery 11 04 2017,Journal and vol article ref tem TE0. Number of pages not including this page, This proof is sent to you on behalf of Cambridge University Press Please print out the file and check the. proofs carefully Please ensure you answer all queries. Please EMAIL your corrections within 2 days of receipt to. Laura Macy laurimacy gmail com, Authors are strongly advised to read these proofs thoroughly because any errors missed. may appear in the final published paper This will be your ONLY chance to correct your. proof Once published either online or in print no further changes can be made. NOTE If you have no corrections to make please also email to authorise publication. The proof is sent to you for correction of typographical errors only Revision of the substance of the. text is not permitted unless discussed with the editor of the journal Only one set of corrections are. Please answer carefully any author queries, Corrections which do NOT follow journal style will not be accepted. A new copy of a figure must be provided if correction of anything other than a typographical error. introduced by the typesetter is required,Please complete and return a copyright form.
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Please advise if address registered with card company is different from above. Author Queries,Journal TEM Tempo,Manuscript S004029821700047Xjbr. Q1 The distinction between surnames can be ambiguous therefore to ensure accurate tagging for indexing. purposes online eg for PubMed entries please check that the highlighted surnames have been. correctly identified that all names are in the correct order and spelt correctly. TEMPO 71 281 1 6 2017 Cambridge University Press 1. Darla Crispin and Bob Gilmore eds Artistic African Americans or more generally many 8. Experimentation in Music An Anthology Leuven types of iconoclastic music 3 though these endea 9. Leuven University Press 2014 vours often threaten to render an already diffuse 10. term so vague as to lose distinction 11, The category of the experimental in music has The term had earlier antecedents Christoph 12. two developed histories The first and most von Blumr der and Heinz Klaus Metzger have 13. familiar at least to English speaking musicians traced the use of the terms Experiment and experi 14. and musicologists is used to group together a mentell back to the mid nineteenth century in 15. range of composers and associated musicians writings of Schumann Wagner and Hanslick 16. predominantly from the US or UK with John then in a form of German music historiography 17. Cage and other members of the New York originated by August Rei mann in 1877 by 18. School as central figures preceded by earlier which history can be read in terms of speculative 19. composers such as Charles Ives Henry Cowell experiments with arrangements of tones and the 20. and Harry Partch Their work is said to form a derivation of systems thereof 4 then in critics 21. category of experimental music distinct from responses to new music by Schoenberg 22. an avant garde in which latter category are Schoenberg himself wrote in his Harmonielehre 23. placed the likes of Pierre Boulez Karlheinz 1911 of those purely formal investigations 24. Stockhausen Luigi Nono and many others It those experiments that would reduce beauty 25. can be dated back to when L szl Moholy Nagy to an arithmetical problem or the microtonal 26. invited Cage to form a Center for Experimental work of Juli n Carrillo Ivan Wyschnegradsky 27. Music in the School of Design in Chicago in and Alois H ba 28. 1941 which fell through due to lack of funding This conceptual tradition feeds into the first 29. In 1954 Wolfgang Redner lectured on history but arguably more profoundly into the 30. American experimental music at Darmstadt 1 second for which a key event is Pierre 31. and the following year John Cage published his Schaeffer s lecture Vers un musique 32. key essay Experimental Music Doctrine 2 exp rimentale at a conference in Paris in 33. There was then something of a hiatus in the 1953 5 Schaeffer employed the term to refer to 34. written exploration of the term until the publica music produced in a laboratory thus especially 35. tion in 1974 of Michael Nyman s book that involving electronics tape or computers 36. Experimental Music Cage and Beyond in which used in various ways that can be compared to 37. the experimental vs avant garde dichotomy scientific experiments This type of definition 38. was cemented Since then the term has been was taken up by Lejaren Hiller Moles Luigi 39. used widely in literature on new music and the Rognoni and others sometimes expanded to 40. experimental avant garde model continues to incorporate other extensions of musical means 41. inform the wider historiography of twentieth and resources and was also employed in writ 42. century art music Some have attempted to ings of Eimert Berio Nono Stockhausen and 43. expand the term experimental music to encom Pousseur from the 1950s up to the 1970s overall 44. pass variously a wider range of improvisational it was the dominant conception especially in 45. traditions radical work undertaken by 46, For example George Lewis A Power Stronger than Itself the 48. Wolfgang Edward Redner Amerikanische AACM and American Experimental Music Chicago University. Experimentalmusik 1954 in Im Zenit der Moderne of Chicago Press c 2008 James Saunders ed The Ashgate. Geschichte und Dokumentation in vier B nden Die internationa Research Companion to Experimental Music Aldershot 50. len Ferienkurse f r Neue Musik Darmstadt 1946 1966 vol 3 ed Ashgate 2009 and Jennie Gottschalk Experimental Music 51. Gianmario Borio and Hermann Danuser Freiburg Rombach since 1970 New York Bloomsbury 2016 52. 1997 pp 178 189 translated into English in Amy C Beal 4. Christoph von Blumr der Experiment experimentelle, Negotiating Cultural Allies American Music in Darmstadt Musik in Terminologie der Musik im 20 Jahrhundert ed 53. 1946 1956 Journal of the American Musicological Society 53 1 Hans Heinrich Eggebrecht Stuttgart Franz Steiner Verlag 54. Spring 2000 pp 128 35 1995 pp 118 40 55, John Cage Experimental Music Doctrine 1955 repub 5.
Pierre Schaeffer Vers une musique experimentale 1953 in. lished in Cage Silence Lectures and Writings Middletown La revue musicale no 236 Vers une musique experimentale 56. CT Wesleyan University Press 1961 pp 13 17 ed Pierre Schaeffer Paris Richard Masse 1957 pp 18 23 57. continental Europe until the appearance of the Gilmore associates especially with the work of 58. Nyman book James Tenney a tradition unified by analogies 59. If this second history has been in relative to scientific experiment as composition as 60. decline for several decades now then many of research and one which is differentiated from 61. the articles in this important new volume edited others by the fact that it can be continued over 62. by Darla Crispin and the late Bob Gilmore use different generations and so is less focused 63. the term experimentation to renew that history upon individual works p 26 iv a tradition 64. Not only renew it but also expand it for if it had brought about as much through sociological as 65. earlier been used primarily in the context of musical factors with networks of institutions 66. composition and some related use of technology promoters patrons performers critics and 67. here it is also employed to investigate perform others drawing upon the work of art sociologist 68. ance and other practical musical activities and Howard Becker 6 v the definition provided in 69. not just those employing markedly new Nyman s book by which the experimental is 70. resources or techniques In many cases these distinguished from the avant garde 71. render experimentation as a sub section of the In line with his notion of an invented trad 72. discipline of artistic research into music for ition Gilmore makes clear his preference for 73. which the Orpheus Research Centre in Music definition iii but also unpacks some of the 74. ORCiM in Ghent who produced this book is others Definition ii has different implications 75. a leading pioneer This connects with the depending upon whether the unpredictability 76. debates on composition and performance as of the outcome occurs during the composition 77. research conducted in TEMPO by John Croft or at the moment of performance If the former 78. Camden Reeves and me but the emphasis then this is also true of many types of compos 79. here is upon theorisation and documentation in ition employing systems to generate types of 80. the form of writings about practice musical material unavailable through pure intu 81. This weighty tome contains 35 articles I will ition including for example some of the work 82. concentrate primarily on those relating to new of Stockhausen Ferneyhough or Richard 83. music The editors state explicitly that the term Barrett none of who have commonly been cate 84. experimentation should not be taken to refer gorised as experimental composers As such it 85. only to the twentieth century development of might be best defined as extra intuitive process 86. experimental music but instead to an attitude composition a term which encompasses quite 87. and set of questions that can be applied to any a bit of work examined elsewhere in the volume 88. sort of music as the articles on Monteverdi Overall the volume includes roughly equal 89. Brahms and jazz make clear p 9 But despite numbers of essays with theoretical or practical 90. this disclaimer various of the authors still feel emphases respectively The attempt to provide 91. the need to re examine definitions including a solid theoretical foundation for artistic research 92. Gilmore himself in Five Maps of the does not really add up to more than the sum of 93. Experimental World He ponders why the its parts but nonetheless there is much from 94. work of Charles Ives might be considered which future artistic researchers can draw and 95. more experimental than that of Stravinsky which they can develop Inevitably the claims 96. and is sceptical about the extent of commonal to produce a comprehensive theoretical model 97. ities between many composers labelled as have to be gauged alongside consideration of 98. experimental noting the major dissimilarity admission exactly which practitioners or the 99. between the later work of John Cage and orists are allowed to participate and how repre 100. from City Research Online may be freely distributed and linked to from other web pages Versions of research The version in City Research Online may differ from the final published version Users are advised to check the Permanent City Research Online URL above for the status of the paper Enquiries If you have any enquiries about any aspect of City Research Online or if you wish to make

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