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Experimental music is a compositional tradition that arose in the mid-20th century, particularly in North America, of music composed in such a way that its outcome is unforeseeable. The American composer John Cage is seen as one of the more notable composers associated with this music . In France, as early as 1953, Pierre Schaeffer had begun using the term "''musique expérimentale''" to describe compositional activities that incorporated tape music, musique concrète, and elektronische Musik. Also, in America, a quite distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller. In 1958, Hiller became the first director of the Studio for Experimental Music at University of Illinois at Urbana-Champaign. The Groupe de Recherches de Musique Concrète (GRMC), under the leadership of Pierre Schaeffer, organized the First International Decade of Experimental Music between 8 and 18 June 1953. John Cage was also using the term as early as 1955. Composer and critic Michael Nyman starts from Cage's definition and develops the term "experimental" also to describe the work of other American composers (Christian Wolff, Earle Brown, Meredith Monk, Malcolm Goldstein, Morton Feldman, Terry Riley, La Monte Young, Philip Glass, John Cale, Steve Reich, etc.), as well as composers such as Gavin Bryars, Toshi Ichiyanagi, Cornelius Cardew, John Tilbury, Frederic Rzewski, and Keith Rowe . Harry Partch as well as Ivor Darreg worked with other tuning scales based on the physical laws for harmonic music. For this music they both developed a group of experimental musical instruments. Musique concrète (French; literally, "concrete music"), is a form of electroacoustic music that utilises acousmatic sound as a compositional resource. Free improvisation or free music is improvised music without any rules beyond the taste or inclination of the musician(s) involved; in many cases the musicians make an active effort to avoid overt references to recognizable musical genres. Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. There are many ideas broadly utilized by experimental musicians which are not, however, strictly experimental music concepts, having seen significant application prior to the advent of experimental music, particularly by the avant garde. Examples include: extended techniques (Instrumental or vocal performance techniques that step outside (often far outside) conventional performance techniques) and graphic notation (music which is written in the form of diagrams or drawings. Other elements include "Prepared" instruments—ordinary instruments modified in their tuning or sound-producing characteristics; using instruments, tunings, rhythms or scales from non-Western musical traditions; using sound sources other than conventional musical instruments, such as trash cans, telephone ringers, or doors slamming; creating experimental musical instruments for enhancing the timbre of compositions and exploring new techniques or possibilities; using a tape loop to create a tape phase; and removing perceived barriers of traditional concert settings by putting performers scattered among the audience. ==Origin and definition== The Groupe de Recherches de Musique Concrète (GRMC), under the leadership of Pierre Schaeffer, organized the First International Decade of Experimental Music between 8 and 18 June 1953. This appears to have been an attempt by Schaeffer to reverse the assimilation of musique concrète into the German ''elektronische Musik'', and instead tried to subsume musique concrète, ''elektronische Musik'', tape music, and world music under the rubric "musique experimentale" . Publication of Schaeffer's manifesto was delayed by four years, by which time Schaeffer was favoring the term "recherche musicale" (music research), though he never wholly abandoned "musique expérimentale" (; ). John Cage was also using the term as early as 1955. According to Cage's definition, "an experimental action is one the outcome of which is not foreseen" , and he was specifically interested in completed works that performed an unpredictable action . In Germany, the publication of Cage's article was anticipated by several months in a lecture delivered by Wolfgang Edward Rebner at the Darmstädter Ferienkurse on 13 August 1954, titled “Amerikanische Experimentalmusik". Rebner's lecture extended the concept back in time to include Charles Ives, Edgard Varèse, and Henry Cowell, as well as Cage, due to their focus on sound as such rather than compositional method . Composer and critic Michael Nyman starts from Cage's definition (Nyman 1974, 1), and develops the term "experimental" also to describe the work of other American composers (Christian Wolff, Earle Brown, Meredith Monk, Malcolm Goldstein, Morton Feldman, Terry Riley, La Monte Young, Philip Glass, John Cale, Steve Reich, etc.), as well as composers such as Gavin Bryars, Toshi Ichiyanagi, Cornelius Cardew, John Tilbury, Frederic Rzewski, and Keith Rowe . Nyman opposes experimental music to the European avant-garde of the time (Boulez, Kagel, Xenakis, Birtwistle, Berio, Stockhausen, and Bussotti), for whom "The identity of a composition is of paramount importance" . The word "experimental" in the former cases "is apt, providing it is understood not as descriptive of an act to be later judged in terms of success or failure, but simply as of an act the outcome of which is unknown" . David Cope also distinguishes between experimental and avant garde, describing experimental music as that "which represents a refusal to accept the status quo" . David Nicholls, too, makes this distinction, saying that "...very generally, avant-garde music can be viewed as occupying an extreme position within the tradition, while experimental music lies outside it" . Warren Burt cautions that, as "a combination of leading-edge techniques and a certain exploratory attitude", experimental music requires a broad and inclusive definition, "a series of ''ands'', if you will", encompassing such areas as "Cageian influences ''and'' work with low technology ''and'' improvisation ''and'' sound poetry ''and'' linguistics ''and'' new instrument building ''and'' multimedia ''and'' music theatre ''and'' work with high technology ''and'' community music, among others, when these activities are done with the aim of finding those musics 'we don't like, yet,' (Herbert Brün ) in a 'problem-seeking environment' (Chris Mann )” . In a recent dissertation, Benjamin Piekut argues that this "consensus view of experimentalism" is based on an ''a priori'' "grouping", rather than asking the question "How have these composers been collected together in the first place, that they can now be the subject of a description?" That is, "for the most part, experimental music studies ''describes'' a category without really ''explaining'' it" . He finds laudable exceptions in the work of David Nicholls and, especially, Amy Beal , and concludes from their work that "The fundamental ontological shift that marks experimentalism as an achievement is that from representationalism to performativity", so that "an explanation of experimentalism that already assumes the category it purports to explain is an exercise in metaphysics, not ontology" . Leonard B. Meyer, on the other hand, includes under "experimental music" composers rejected by Nyman, such as Berio, Boulez and Stockhausen, as well as the techniques of "total serialism" , holding that "there is no single, or even pre-eminent, experimental music, but rather a plethora of different methods and kinds" . In the late 1950s, Lejaren Hiller and L. M. Isaacson used the term in connection with computer-controlled composition, in the scientific sense of "experiment" : making predictions for new compositions based on established musical technique . The term "experimental music" was used contemporaneously for electronic music, particularly in the early ''musique concrète'' work of Schaeffer and Henry in France . There is a considerable overlap between Downtown music and what is more generally called experimental music, especially as that term was defined at length by Nyman in his book ''Experimental Music: Cage and Beyond'' (1974, second edition 1999). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Experimental music」の詳細全文を読む スポンサード リンク
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