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The last - and largest - of Cage's most important formative exchanges of letters, discussing music criticism and questions of aesthetics.
Experimentalisms in Practice explores the multiple sites in which experimentalism emerges and becomes meaningful beyond Eurocentric interpretative frameworks. Challenging the notion of experimentalism as defined in conventional narratives, contributors take a broad approach to a wide variety of Latin@ and Latin American music traditions conceived or perceived as experimental. The conversation takes as starting point the 1960s, a decade that marks a crucial political and epistemological moment for Latin America; militant and committed aesthetic practices resonated with this moment, resulting in a multiplicity of artistic and musical experimental expressions. Experimentalisms in Practice responds to recent efforts to reframe and reconceptualize the study of experimental music in terms of epistemological perspective and geographic scope, while also engaging traditional scholarship. This book contributes to the current conversations about music experimentalism while providing new points of entry to further reevaluate the field.
Lou Harrison is a well-known American composer whose many interests include world music, just intonation, gamelan construction, theory, and poetry. A precocious musician, Harrison was an innovator during the 1930s and 1940s with his compositions for dance and percussion and his study of Charles Ives's music. Instead of working with circuits and soldering tools, he and Bill Colvig used thin wall electrical conduit and aluminum furniture tubing to make their gamelan instruments. The book is written for readers of varying musical backgrounds. It includes a chronology, catalog, discography, and extensive bibliography. Those interested in studying and performing Harrison's music will find the book helpful in explaining his use of just intonation. Many examples document the musical analyses.