Buy New

or
Sign in to turn on 1-Click ordering.
Buy Used
Used - Good See details
Price: 17.60

or
 
   
Trade in Yours
For a 5.25 Gift Card
Trade in
More Buying Choices
Have one to sell? Sell yours here
Sorry, this item is not available in
Image not available for
Colour:
Image not available

 
Tell the Publisher!
Id like to read this book on Kindle

Don't have a Kindle? Get your Kindle here, or download a FREE Kindle Reading App.

Experimental Music: Cage and Beyond (Music in the Twentieth Century) [Paperback]

Brian Eno , Michael Nyman
5.0 out of 5 stars  See all reviews (4 customer reviews)
RRP: 27.99
Price: 25.19 & FREE Delivery in the UK. Details
You Save: 2.80 (10%)
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
Only 3 left in stock (more on the way).
Dispatched from and sold by Amazon. Gift-wrap available.
Want it tomorrow, 30 Aug.? Choose Express delivery at checkout. Details

Formats

Amazon Price New from Used from
Hardcover --  
Paperback 25.19  
Trade In this Item for up to 5.25
Trade in Experimental Music: Cage and Beyond (Music in the Twentieth Century) for an Amazon Gift Card of up to 5.25, which you can then spend on millions of items across the site. Trade-in values may vary (terms apply). Learn more

Book Description

29 July 1999 Music in the Twentieth Century (Book 9)
Michael Nyman's book is a first-hand account of experimental music from 1950 to 1970. First published in 1974, it has remained the classic text on a significant form of music making and composing which developed alongside, and partly in opposition to, the post-war modernist tradition of composers such as Boulez, Berio, or Stockhausen. The experimentalist par excellence was John Cage whose legendary 4' 33'' consists of four minutes and thirty three seconds of silence to be performed on any instrument. Such pieces have a conceptual rather than purely musical starting point and radically challenge conventional notions of the musical work. Nyman's book traces the revolutionary attitudes that were developed towards concepts of time, space, sound, and composer/performer responsibility. It was within the experimental tradition that the seeds of musical minimalism were sown and the book contains reference to the early works of Reich, Riley, Young, and Glass.

Frequently Bought Together

Experimental Music: Cage and Beyond (Music in the Twentieth Century) + Silence: Lectures and Writings + Writings on Music,: 1965-2000
Price For All Three: 52.89

Buy the selected items together


Product details

  • Paperback: 218 pages
  • Publisher: Cambridge University Press; 2 edition (29 July 1999)
  • Language: English
  • ISBN-10: 0521653835
  • ISBN-13: 978-0521653831
  • Product Dimensions: 24.4 x 17.3 x 1.5 cm
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 126,928 in Books (See Top 100 in Books)
  • See Complete Table of Contents

More About the Author

Discover books, learn about writers, and more.

Product Description

Review

'Nyman's book remains a privileged window into that strange world, and its republication will be a boon to a new generation.' BBC Music Magazine

'… a welcome reissue of the book … Above all, Experimental Music is a useful source book for a period of radicalism in musical practice in which the rule was to break the rules.' Music Teacher

Book Description

Composer Michael Nyman's classic 1974 account of postwar experimental music. He traces the revolutionary attitudes developed by composers such as John Cage towards concepts of time, space, sound, and composer/performer responsibility within a tradition that also bore the seeds of musical minimalism. New edition includes an introduction by Brian Eno, an up-to-date discography by Robert Worby and an historical overview by Michael Nyman.

Inside This Book (Learn More)
First Sentence
In this opening chapter I shall make an attempt to isolate and identify what experimental music is, and what distinguishes it from the music of such avant-garde composers as Boulez, Kagel, Xenakis, Birtwistle, Berio, Stockhausen, Bussotti, which is conceived and executed along the well-trodden but sanctified path of the post-Renaissance tradition. Read the first page
Explore More
Concordance
Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
Search inside this book:

Sell a Digital Version of This Book in the Kindle Store

If you are a publisher or author and hold the digital rights to a book, you can sell a digital version of it in our Kindle Store. Learn more

What Other Items Do Customers Buy After Viewing This Item?


Customer Reviews

4 star
0
3 star
0
2 star
0
1 star
0
5.0 out of 5 stars
5.0 out of 5 stars
Most Helpful Customer Reviews
18 of 19 people found the following review helpful
Format:Paperback
Until this second edition (belatedly) appeared, copies of this stimulating book were variously borrowed, photocopied and stolen from each other by musicians and music students! What the rather weighty publisher's review of this book fails to convey is the sheer whimsy and enterprising spirit of much of the music of this period, well expressed in the book. Though a worthwhile and interesting read on Cage, Stockhausen, and so on, its outstanding value for many of us is based on the last chapter, which describes experimental music in Britain in the 60s and 70s under such composers as Cornelius Cardew, John White, and Howard Skempton. It is an entertaining and eye-opening read about such performing groups as the Scratch Orchestra and the Portsmouth Sinfonia, for which there was no need to be able to play an instrument... The results were often hilarious (as well as brave and socially revolutionary) and are well conveyed by Nyman *who was there at the time* and hence conveys it all with a freshness like it was yesterday (which it more-or-less was at the time of the first edition). This book remains the authority on British experimental music of the period, and new scholarly books on the subject are only now about to emerge (judging from a session at 2001's conference on twentieth-century music). Buy quickly, before you have to wait for a third edition!
Comment | 
Was this review helpful to you?
12 of 13 people found the following review helpful
5.0 out of 5 stars THE 20th CENTURY RADICAL AVANT-GARDE 8 Feb 2003
By Pieter Uys HALL OF FAME TOP 500 REVIEWER
Format:Paperback
In this work originally published in 1974, Nyman discusses the work of composers and performers who shifted the boundaries of music as regards notation, time, space, and the roles of the composer, performer and audience. The author seeks to identify and explain a whole body of musical work that existed outside the classical tradition and the avant-garde orthodoxies that flowed from it. He thus explores the Anglo-American musical tradition loosely associated with John Cage. Since 1974 this book has been considered the classical work on the radical alternative to the mainstream avant-garde as represented by Berio, Boulez and Stockhausen. Many of the current popular composers like Glass and Reich trace their root to this experimental school. The most fascinating chapter to me is "Minimal Music, Determinacy And The New Tonality" in which the Theatre Of Eternal Music (Tony Conrad, La Monte Young, Marion Zazeela and John Cale) as well as the work of Terry Riley is discussed. Photographs, illustrations and musical notations enliven the text and the book concludes with a selected source bibliography, a discography of experimental music and a bibliography of publications since 1974. Brian Eno has contributed an interesting foreword to this edition. The text can get a bit technical for the non-musician, but it remains a detailed work on a radical musical direction that has borne great fruit in the years since it was first analysed in this thorough and scholarly work.
Comment | 
Was this review helpful to you?
5.0 out of 5 stars Five Stars 1 Aug 2014
By A Tomps
Format:Paperback
A good book for anyone interested in experimental music
Comment | 
Was this review helpful to you?
0 of 1 people found the following review helpful
5.0 out of 5 stars Great 24 Oct 2013
By Wil's
Format:Paperback
The book condition was great and shipped quite fast. At first I was scared to buy it, but it turn out to be alright. Just make sure to enter the data correctly and address, so nothing bad will happend. Defenitely worth buying.
Comment | 
Was this review helpful to you?
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.1 out of 5 stars  8 reviews
14 of 15 people found the following review helpful
5.0 out of 5 stars Processes and fields of sound, not time-objects... 28 Mar 2001
By Autonomeus - Published on Amazon.com
Format:Paperback
Nyman's 1974 classic is here reprinted sans revisions. Brilliant! It captures a moment -- as Nyman concludes his preface, "Thank goodness I wrote it when I did." EM is not a survey of 20th century avant-garde music. It focuses on one trend, inaugurated by Cage, Wolff, Feldman and Brown in the 1950s, a trend which explicitly attempted to overturn the traditional avant-garde then marching under the banner of total serialism. Nyman contrasts Wolff to Stockhausen, then a leading serialist: "Stockhausen is speaking of an unwanted situation needing to be remedied by his intervention, Wolff of a situation he is quite happy to accept, leaving sounds to go their own way." (27) As Cage says in his "Silence,"

"Not an attempt to understand... Just an attention to the activity of sounds."

One of the great strengths of Nyman's short book is his careful attempt to define experimental music before he moves on to discuss the artists and their music. To summarize and paraphrase, he says experimental composers are excited by creating "a process of generating action," involving situations or fields delineated by compositional rules, but leaving them open to the performers. (4)

Experimental music is uncompromisingly radical, and represents an ongoing influence on creative music, but has certainly not become any sort of popular movement. So for instance, while the early "minimalists" Young and Riley were arguably part of the experimental tendency, as were Reich's early phase patterns, (and hence are included here by Nyman), the later works of Reich, and especially Glass, are no longer open and experimental. And while Eno and recent techno/ambient artists have been influenced, their innovations have been more technical than conceptual by comparison.

My recommendation if this sounds intriguing -- check out anything by the English free-improv group AMM, which is nowadays constituted by Eddie Prevost on percussion, Keith Rowe on guitar and electronics, and John Tilbury on piano!

(verified library loan)
9 of 11 people found the following review helpful
5.0 out of 5 stars THE 20th CENTURY RADICAL AVANT-GARDE 8 Feb 2003
By Pieter Uys - Published on Amazon.com
Format:Paperback
In this work originally published in 1974, Nyman discusses the work of composers and performers who shifted the boundaries of music as regards notation, time, space, and the roles of the composer, performer and audience. The author seeks to identify and explain a whole body of musical work that existed outside the classical tradition and the avant-garde orthodoxies that flowed from it. He thus explores the Anglo-American musical tradition loosely associated with John Cage. Since 1974 this book has been considered the classical work on the radical alternative to the mainstream avant-garde as represented by Berio, Boulez and Stockhausen. Many of the current popular composers like Glass and Reich trace their root to this experimental school. The most fascinating chapter to me is "Minimal Music, Determinacy And The New Tonality" in which the Theatre Of Eternal Music (Tony Conrad, La Monte Young, Marion Zazeela and John Cale) as well as the work of Terry Riley is discussed. Photographs, illustrations and musical notations enliven the text and the book concludes with a selected source bibliography, a discography of experimental music and a bibliography of publications since 1974. Brian Eno has contributed an interesting foreword to this edition. The text can get a bit technical for the non-musician, but it remains a detailed work on a radical musical direction that has borne great fruit in the years since it was first analysed in this thorough and scholarly work.
5 of 6 people found the following review helpful
4.0 out of 5 stars A welcome return 13 Nov 2000
By Jeff Abell - Published on Amazon.com
Format:Paperback
When Michael Nyman first published this work in the 70s, it was the only book of its kind to discuss some of the most cutting-edge stuff going around. Most musical texts avoided discussing the Fluxus group as "music," but Nyman integrates these radicals easily, and provided the first discussion of the Scratch Orchestra (Cardew et al), and related topics. The book still contains some of the clearest discussions of these topics around. It's great to have it back in print, though too bad Nyman couldn't be bothered to provide updates on some of the folks discussed, like Hugh Skempton.
6 of 8 people found the following review helpful
5.0 out of 5 stars A Classic Introduction 21 Feb 2004
By M. Hori - Published on Amazon.com
Format:Paperback
Not only is this a great introduction for someone who doesn't know his or her way around this subject, but it offers more experienced listeners and readers Nyman's own sensitive, and (to my mind) highly accurate, takes on what Cage, Feldman, Brown, Cardew, LaMonte Young and others were up to back in the pre-revolutionary 50's and the revolutionary 60's and 70's. This is a snapshot, if you will, of many of the giants fully formed, and some, like Gavin Bryars, in the larval stages of their genius, so it makes for a fascinating read. Nyman's prose is pellucid, and his explanations cogent. My dream is that Michael Nyman will someday return to update this book and offer some insights on the new, strange paths, experimental music has taken in the age of the personal computer, robotics and the Internet.
1 of 1 people found the following review helpful
2.0 out of 5 stars Somewhat superficial 18 Feb 2010
By Reader/Viewer - Published on Amazon.com
Format:Paperback
For me the most useful thing about this book is that it has a lot of score excerpts that are useful if you're teaching at a university with a poor library. In the last few years a lot of valuable primary source material and interpretive writing has become available in book form through publishers like Musiktexte, and in scholarly journals like 'Perspectives in New Music'. I think the book is a fairly superficial survey, and I know its often used in introductory courses, but I don't like to recommend it to undergraduates because it's not a model for good scholarship because of the lack of citations like footnotes or endnotes when information comes from other sources.
Were these reviews helpful?   Let us know
Search Customer Reviews
Only search this product's reviews

Customer Discussions

This product's forum
Discussion Replies Latest Post
No discussions yet

Ask questions, Share opinions, Gain insight
Start a new discussion
Topic:
First post:
Prompts for sign-in
 

Search Customer Discussions
Search all Amazon discussions
   


Look for similar items by category


Feedback