Experimental music |
experimental music (from lat. experimentum – test, experience) – music composed in order to test new compositions. techniques, new conditions of performance, unusual sound material, etc. The concept of E. m. is indefinite; it comes into contact with such expressions as “creative search”, “innovation”, “daring experience” or (with a negative connotation) “a path that turned out to be hopeless”. The relatedness of these concepts and their intersection deprive the term “E. m.” clear and permanent boundaries. Quite often, works considered as E. m., over time, enter into performing practice and lose their original. a touch of experimentation (“atonality” in Liszt’s Bagatelle Without Key, 1885; the mobility of the sound fabric in Ives’s piece for chamber ensemble The Unanswered Question, 1908; the significantly developed dodecaphonic structure in Webern’s miniature Orchestral Piece No. 1, 1913 ; “prepared piano” in Cage’s Bacchanalia, 1938, etc.). Experiments-jokes can also be attributed to E. m., for example. music written according to the recipes of the book by Bach’s student Kirnberger “The Hourly Ready Writer of Polonaises and Minuets” (1757) or the book attributed to Mozart “A Guide to Composing Waltzes in Any Quantity Using Two Dice, Without Having the Slightest Idea of Music and Composition” ( 1793).
In the 50s. 20th century Concrete music, electronic music, was mainly called electronic music (in 1958, the initiator of concrete music, P. Schaeffer, led the First International Decade of Experimental Music in Paris). How E. m. also consider, for example, the synthesis of light and music (light music), machine music.
Music experimentation. art-ve, creating a feeling of brightness and novelty of art. reception, does not always lead to an aesthetically complete result, so musicians are often skeptical of E. m.: “An experiment means something in the sciences, but it means nothing in (musical) composition” (I. F. Stravinsky, 1971, p. 281).
References: Zaripov R. Kh., Ural melodies (on the process of composing music with the Ural electronic computer), Knowledge is Power, 1961, No 2; his own, Cybernetics and music, M., 1963, 1971; Galeev B., Scriabin and the development of the idea of visible music, in: Music and Modernity, vol. 6, M., 1969; his own, Light music: the formation and essence of new art, Kazan, 1976; Kirnberger J. Ph., Der allezeit fertige Polonoisen- und Menuettencomponist, B., 1757; Vers une musique experimentale, “RM”, 1957, Numéro spécial (236); Patkowski J., Zzagadnien muzyki eksperimentalnej, “Muzyka”, 1958, rok 3, no 4; Stravinsky I., Craft R., Conversations with Igor Stravinsky, NY, 1959 (Russian translation – Stravinsky I., Dialogues …, L., 1971); Cage J., Zur Geschichte der experimentellen Musik in den Vereinigten Staaten, “Darmstädter Beiträge zur neuen Musik”, 2, 1959; Hiller LA, Isaacson LM, Experimental music, NY, 1959; Moles A., Les musiques experimentales, P.-Z.-Bruz., 1960; Kohoutek C., Novodobé skladebné teorie západoevropské hudby, Praha, 1962, under the title: Novodobé skladebné smery v hudbe, Praha, 1965 (Russian translation – Kohoutek Ts., Technique of Composition in Music of the 1976th Century, M., 1975); Schdffer B., Maly informator muzyki XX wieku, Kr., XNUMX. See also lit. under the articles Concrete music, Electronic music.
Yu. N. Kholopov
