Subject: Scholarly discussion of the music of John Cage.
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- From: matthieu saladin <>
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- Subject: [silence] TACET#2: Experimentation in question
- Date: Fri, 22 Feb 2013 11:23:52 +0100
| Dear all, Sorry for crossposting. Meteo Press are proud to announce the new issue of TACET, experimental music review. This issue is dedicated to the concept of experimentation in music. You can read online my introduction here and consult a few pages here. If you are interested, a paypal service is available on our website : www.tacet.eu Kind regards, Matthieu Saladin  TACET – experimental music review ANNUAL & BILINGUAL JOURNAL ISBN : 978-2-9539516-1-5 · ISSN : 2256 - 9006 · 560 pages Format : 155 x 225 mm | B&W · languages : English, French | december 2012 Tacet has been imagined and implemented by METEO | Mulhouse Music Festival This publication has been made possible by the generous support of the following: Ville de Mulhouse and DRAC Alsace Issue edited by: Matthieu SALADIN – Haute Ecole des Arts du Rhin, Institut ACTE (Université Paris 1-CNRS) According to one of the definitions of experimental music formulated by John Cage, the role of experimentation is to ask questions rather than to provide canned answers. This second issue of TACET seeks to turn that maxim onto experimentation itself, submitting this key concept of so-called “experimental” music to its own questioning with regard to its principles, its manifestations, and its stakes, both in historically and today. It explores, in turns, the multiple ways in which experimentation is thought, the aural experience of these musics, amateur experimental practices, experimenting with vinyl media, or even some recent lines of flight drawn by noise music, network experimental practices or the click aesthetic. TABLE OF CONTENTS
Matthieu SALADIN, introduction. Experimentation As Questioning [FLUX] Historical Pluralism of Experimentation Pauline NADRIGNY, Experimental Music According to Pierre Schaeffer: Phenomenology Laboratory Conditions You NAKAI, Lost Informations: Selected Perspectives on ‘Experimental Actions’ (1948-1972) Johan GIRARD, Experimenting on Tape: Terry Riley and Steve Reich Respond to the Poetics of Indeterminacy Experimenting With Experience Sébastien BISET, Experimental or Experiential? Exploratory Perspectives and Tactics for Music Conceptualized As Experience François BONNET & Gérard PELE, Experimentum, Notes on Trials, Tests and Experiments Pierre HEMPTINNE, Experimental Listening and the Shock Wave Samon TAKAHASHI, Out-siders. Experiments on the vinyl medium Unaccomplished Logics Sarah BENHAÏM, Noise experimentation: Re(the)search for Freedom James WHITEHEAD, Two Experiments Josselin MINIER, The Movement of Zero and One Made Audible: the Click and the Kinetic Simulation of Digital Music Julien OTTAVI, Sound scope and sensory ubiquity: The networked field of listening and audio experimentation Documents George BRECHT, The Origin of ‘Events’ A Water Yam's Inventory [INFLUX] Branden W. JOSEPH, From Experimental to Experiential Music: Reflections on Jacques Attali's Noise Ghédalia TAZARTES, All Music Is Mystical or Has No Precise Meaning Miguel PRADO CASANOVA, Geotraumatic Evacuation of the Voice Jim HAYNES, On the Decline Effect Taku SUGIMOTO, Logic and Notation [REFLUX] Steve GOODMAN, Sonic Warfare, by Catherine GUESDE Benjamin PIEKUT, Experimentalism Otherwise, by Ed CROOKS Larry AUSTIN & Douglas KAHN (eds.), Source: Music of the Avant-Garde, by Céline PRUNNEAUX Free Improvisation in Berlin and France, by Loïc BERTRAND |
- [silence] TACET#2: Experimentation in question, matthieu saladin, 02/22/2013
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