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Avant-garde (Music) --- Music --- History and criticism

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In Experimental Otherwise, Benjamin Piekut takes the reader into the heart of what we mean by "experimental" in avant-garde music. Focusing on one place and time-New York City, 1964-Piekut examines five disparate events: the New York Philharmonic's disastrous performance of John Cage's Atlas Eclipticalis; Henry Flynt's demonstrations against the downtown avant-garde; Charlotte Moorman's Avant Garde Festival; the founding of the Jazz Composers Guild; and the emergence of Iggy Pop. Drawing together a colorful array of personalities, Piekut argues that each of these examples points to a failure and marks a limit or boundary of canonical experimentalism. What emerges from these marginal moments is an accurate picture of the avant-garde, not as a style or genre, but as a network defined by disagreements, struggles, and exclusions.

Avant-garde (Music) - New York (State) - New York. --- Avant-garde (Music) -- New York (State) -- New York. --- Music - New York (State) - New York - 20th century - History and criticism. --- Music -- New York (State) -- New York -- 20th century -- History and criticism. --- Music --- Avant-garde (Music) --- History and criticism. --- 1960s. --- american composers. --- art. --- atlas eclipticalis. --- avant garde festival. --- avant garde. --- charlotte moorman. --- experimental music. --- experimentalism. --- henry flynt. --- iggy pop. --- jazz composers guild. --- john cage. --- music criticism. --- music history. --- music. --- musical canon. --- musical experimentation. --- new york music scene. --- new york philharmonic. --- new york. --- nonfiction.

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"In recent decades, experimental music has flourished outside of European and American concert halls. The principles of indeterminacy, improvisation, nonmusical sound, and noise, pioneered in concert and on paper by the likes of Henry Cowell, John Cage, and Ornette Coleman, can now be found in a variety of new locations: activist films, rock recordings, and public radio broadcasts, not to mention in avant-garde movements around the world. The contributors to Tomorrow Is the Question explore these previously unexamined corners of experimental music history, considering topics such as Sonic Youth, Julius Eastman, the Downtown New York pop avant-garde of the 1970s, Fluxus composer Benjamin Patterson, Tokyo's Music group (aka Group Ongaku), the Balinese avant-garde, the Leicester school of British experimentalists, Cuba's Grupo de Experimentación Sonora del ICAIC, Pauline Oliveros's score for the feminist documentary Maquilapolis, NPR's 1980s RadioVisions, and the philosophy of experimental musical aesthetics. Taken together, this menagerie of people, places, and things makes up an experimentalism that is always partial, compromised, and invented in its local and particular formations--in other words, these individual cases suggest that experimentalism has been a far more variegated set of practices and discourses than previously recognized. Asking new questions leads to researching new materials, individuals, and contexts and, eventually, to the new critical paradigms that are necessary to interpret these new materials. Tomorrow Is the Question, gathering contributions from historical musicology, enthnomusicology, history, philosophy, and cultural studies, generates future research directions in experimental music studies by way of a productive inquiry that sustains and elaborates critical conversations"--

Music --- History and criticism. --- Avant-garde (Music) --- Experimental music --- Musical avant-garde --- Avant-garde (Aesthetics) --- History and criticism

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Merce Cunningham's dynamic artistic collaborations are the subject of a major interdisciplinary survey organized by the Walker, home to the complete scenic and costume archive of the Merce Cunningham Dance Company (MCDC). Renowned as both choreographer and dancer, Cunningham (American, 1919-2009) revolutionized dance through his partnerships with leading artists who created costumes, lighting, films, music, and décor and whose independent creative instincts he held in the highest regard. Common Time offers a journey through a range of experiential installations that unfold at the Walker in seven galleries, the theater, the cinema, and public spaces throughout the museum. 

Known for embracing risk and chance, Cunningham believed in the radical notion that movement, sound, and visual art could exist independently of each other, coming together only during the common time of a performance. The exhibition presents Cunninghams work and that of his network of collaborators through rare and never-before-seen moving image presentations and installations of décor and costumes from the MCDC Collection as well as pieces by his lifelong collaborator, composer John Cage, and Trisha Brown, Tacita Dean, Jasper Johns, Morris Graves, Robert Morris, Bruce Nauman, Isamu Noguchi, Nam June Paik, Yvonne Rainer, Robert Rauschenberg, Frank Stella, David Tudor, Stan VanDerBeek, Andy Warhol, and many others.


video art --- costume design --- music [performing arts] --- flats [theater elements] --- stage lighting --- Art --- choreography --- art [fine art] --- dances [performance events] --- scenography [discipline] --- Nauman, Bruce --- Johns, Jasper --- Rauschenberg, Robert --- Kawakubo, Rei --- Cunningham, Merce --- Graves, Morris --- Paik, Nam June --- Morris, Robert --- Kosugi, Takehisa --- Atlas, Charles --- Tudor, David --- Cage, John --- choreographers --- installation artists --- installations [visual works] --- kunst --- dans --- muziek --- performances --- video --- videokunst --- setdesign --- schilderkunst --- twintigste eeuw --- Cunningham Merce --- Cgae John --- Atlas Charles --- Graves Morris --- Johns Jasper --- Kawakubo Rei --- Kosugi Takehisa --- Morris Robert --- Mumma Gordon --- Nauman Bruce --- Neto Ernesto --- Oliveros Pauline --- Paik Nam June --- VanDerBeek Stan --- Warhol Andy --- 7.071 CUNNINGHAM --- Exhibitions --- Cunningham, Merce. --- Cunningham, Mercier Philip --- art [discipline] --- music [performing arts genre]