This course will examine the notion of "experimental music" as initially exemplified by the work of such composers as John Cage, Christian Wolff and Cornelius Cardew 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

• Michael Nyman, Experimental Music: Cage and Beyond (Cambridge University Press: 2nd edn, 1999)
• John Cage, Silence (Wesleyan University Press (US) / Marion Boyars Publishers (UK): 1961)

COURSE OUTLINE

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

LEARNING OUTCOMES

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

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