This course will explore the work of American composer John Cage before going on to look at subsequent developments in the areas of composition, improvisation and sound art. These areas will include new notational systems, composition for magnetic tape, live electronic and interactive computer music, the emergence of free improvisation groups and repetitive and systemic music.

DELIVERY MODE

• Face-to-Face

SUGGESTED READING

• James Pritchett, The Music of John Cage (Cambridge University Press, 1993)
• John Cage, Silence (Wesleyan University Press (US) / Marion Boyars Publishers (UK), 1961)

COURSE OUTLINE

• The basic principles of John Cage's musical philosophy and compositional methodology.
• An exposition of the term "experimental" as it pertains to specific currents of contemporary music.
• An overview of the wide variety of notational systems which came about from the 1950s onwards.
• The role of technology in new forms of music (viz compositions for magnetic tape, live electronic music and interactive computer music).
• The relevance of such composers as Cornelius Cardew (England) and David Ahern (Australia) in propagating new forms of musical activity.
• The "new tonality" of composers such as La Monte Young, Terry Riley and Steve Reich.

LEARNING OUTCOMES

By the end of this course, student should be able to:

1. Have a basic understanding of the music and philosophy of John Cage.
2. Have a solid grasp of the essence of the term "experimental" within the context of contemporary music.
3. Gain an enhanced awareness of the sounds in any environment they find themselves in.
4. Gain knowledge of the diverse forms of composition and music-making which have emerged since the early 1950s.