Experimentalism Otherwise: The New York Avant-Garde and Its Limits
University of California Press, 4 avr. 2011 - 296 pages
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.
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aesthetic African American American experimentalism Amiri Baraka Ann Arbor Annual Avant Garde anti-art Archie Shepp artists Ashley Atlas Eclipticalis audience Avant Garde Festival avant-garde band Beat Bernstein Black Arts Black Music black nationalism Brown Cage’s Cagean Carla Bley cello Charlotte Moorman composer’s composition concept art concert critics culture David Tudor discourse European event example Experimental Music experimentalist February Fluxus Foucault Henry Flynt Ibid Iggy’s improvisation included indeterminacy Jazz Composers Guild John Cage June Paik La Monte Young later Mac Low Maciunas Mantler Monte Young movement musicians Nam June Paik notes October Revolution orchestra organization Originale Paik’s Paul Bley performance piano piece played political popular music race racial recalled recording rehearsal Robert rock Rudd score September Sheff social sonic sound Spellman Stockhausen Stollman Stooges String Player Sun Ra Tchicai thing tion tradition University Press Village Voice Wehrer Wolfman Workers World wrote York City York Philharmonic