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In re: "Experimental Music"
Research output: Contribution to conference › Paper › peer-review
Published copy (DOI)
Author(s)
Department/unit(s)
Conference
| Conference | Nouvelle perspectives sur l'oeuvre musicale et plastique de John Cage |
|---|---|
| Country/Territory | France |
| City | Paris |
| Conference date(s) | 21/06/12 → 22/06/12 |
Publication details
| Date | Published - 21 Jun 2012 |
|---|---|
| Original language | English |
Abstract
John Cage is universally associated with the phrase “experimental music.” But what did that phrase mean, for Cage and for Cage’s predecessors? I begin with Cage and Lejaren Hiller, both writing important texts on “experimental music” in 1959. From there I trace the phrase backwards, eventually reaching Émile Zola, Gertrude Stein, and William James. A final section traces the phrase forward to Cage and Hiller’s collaboration on HPSCHD (1969).
Research outputs
In re: 'Experimental Music'
Research output: Contribution to journal › Article › peer-review
Activities
Christian Wolff at Orpheus
Activity: Participating in or organising an event › Conference participation
Nouvelle perspectives sur l'oeuvre musicale et plastique de John Cage
Activity: Participating in or organising an event › Conference participation
Christian Wolff at Orpheus
Activity: Participating in or organising an event › Symposium
Orpheus Instituut 20 Years
Activity: Participating in or organising an event › Conference participation
In re: Experimental Machines
Activity: Talk or presentation › Invited talk
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