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3per)-ISBN 0-8264-1615-2 (pbk. :

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viiiAcknowledgments

ixSources and Permissions

xiiiIntroduction: Music and the New Audio Culture

Part One: THEORIES

I. Music and Its Others: Noise, Sound, Silence

Introduction 5

1. Jacques Attali, "Noise and Politics" 7

2. Luigi Russolo, "The Art 01 Noises: Futurist Manilesto" 10

3. Morton Feldman, "Sound, Noise, Varese, Boulez" 15

4. Edgard Varese, "The Liberation 01 Sound" 17

5. Henry Cowell, "The Joys 01 Noise" 22

6. John Cage, "The Future 01 Music: Credo" 25

7. R. Murray Schaler, "The Music of the Environment" 29

8. Mark Slouka, "Listening lor Silence: Notes on the Aural Life" 40

9. Mary Russo and Daniel Warner, "Rough Music, Futurism, and Postpunk Industrial Noise Bands" 47

10. Simon Reynolds, "Noise" 55

11. "The Beauty 01 Noise: An Interview with Masami Akita 01 Merzbow" 59

11. Modes of Listening

Introduction 65

12. Marshall McLuhan, "Visual and Acoustic Space" 67

13. Hanns Eisler & Theodor Adorno, "The Politics 01 Hearing" 73

14. Pierre Schaeffer, "Acousmatics" 76

15. Francisco L6pez, "Prolound Listening and Environmental Sound Matter" 82

16. Ola Stocklelt, "Adequate Modes 01 Listening" 88

17. Brian Eno, "Ambient Music" 94

18. lain Chambers, "The Aural Walk" 98

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19. Pauline Oliveros, "Some Sound Observations" 102

20. J.K. Randall, "Compose Yourself" 107

11I. Music in the Age of Electronic (Re)production

Introduction 113

21. Glenn Gould, "The Prospects of Recording" 115

22. Brian Eno, "The Studio as Compositional Tool" 127

23. John Oswald, "Bettered by the Borrower: The Ethics of Musical Debt" 131

24. Chris Cutler, "Plunderphonia" 138

25. Kodwo Eshun, "Operating System for the Redesign of Sonic Reality" 157

Part Two: PRACTICES

IV. The Open Work

Introduction 165

26. Umberto Eco, "The Poetics of the Open Work" 167

27. John Cage, "Composition as Process: Indeterminacy" 176

28. Christoph Cox, "Visual Sounds: On Graphie Scores" 187

29. Earle Brown, "Transformations and Developments of a Radical Aesthetic" 189

30. John Zorn, "The Game Pieces" 196

31. Anthony Braxton, "Introduction to Gata log of Works" 201

V. Experimental Musics

Introduction 207

32. Michael Nyman, "Towards (a Definition of) Experimental Music" 209

33. John Cage, "Introduction to Themes & Variations" 221

34. Brian Eno, "Generating and Organizing Variety in the Arts" 226

35. Cornelius Cardew, "A Scratch Orchestra: Draft Constitution" 234

36. David Toop, "The Generation Game: Experimental Music and Digital Culture" 239

VI. Improvised Musics

Introduction 251

37. Ornette Coleman, "Change of the Century" 253

38. Derek Bailey, "Free Improvisation" 255

39. Frederic Rzewski, "Little Bangs: A Nihilist Theory of Improvisation" 266

40. George E. Lewis, "Improvised Music After 1950: Afrological and Eurological Perspectives" 272

VII. Minimalisms

Introduction

41. Susan McClary, "Rap, Minimali Twentieth-Century Culture"

42. Kyle Gann, "Thankless Attemp

43. Steve Reich, "Music as a Grad

44. Wim Mertens, "Basic Concepts

45. Tony Conrad, "LYssophobia: 0

46. Philip Sherburne, "Digital Diseil Techno"

VIII. DJ Culture

Introduction

47. Laszl6 Moholy-Nagy, "Producti, Phonograph"

48. William S. Burroughs, "The Inv

49. Christian Marclay & Yasunao 1

50. Paul D. Miller, "Algorithms: Era

51. David Toop, "Replicant: On Du

52. Si mon Reynolds, "Post-Rock"

IX. Electronic Music and Electro

Introduction

53. Jacques Barzun, "Introductory Produced at the Columbia-Prir

54. Karlheinz Stockhausen, "Elec1

55. Karlheinz Stockhausen et al. ,

56. Ben Neill, "Breakthrough Beat Contemporary Electronic Mus,

57. Kim Cascone, "The Aesthetic~

Contemporary Computer Mus

Ghronology

Glossary

Selected Discography

Selected Bibliography

Notes for Quotations

Index

:!rvations" 102 VII. Minimalisms

107 Inlroduclion 287

production 41. Susan McClary, "Rap, Minimalism, and Slructures of Time in Late Twentieth-Century Culture" 289

113 29942. Kyle Gann, "Thankless Allempts at aDefinition of Minimalism"

Jrding" 115 30443. Steve Reich, "Music as a Gradual Process" )nal Tool" 127 30744. Wim Mertens, "Basic Concepts of Minimal Music" Ner: The Ethics of Musical

31345. Tony Conrad, "LYssophobia: On Four Violins" 131

46. Philip Sherburne, "Digital Discipline: Minimalism in House and 138 Techno" 319

the Redesign of Sonic Reality" 157 VIII. DJ Culture

~ACTICES Introduction 329

47. Laszl6 Moholy-Nagy, "Production-Reproduction: Potentialities of the Phonograph" 331

165 48. William S. Burroughs, "The Invisible Generation" 334

ln Work" 167 49. Christian Marciay & Yasunao Tone, "Record, CD, Analog, Digital" 341 : Indeterminacy" 176 50. Paul D. Miller, "Algorithms: Erasures and the Art of Memory" 348 raphic Scores" 187 51. David Toop, "Replicanl: On Dub" 355 ~velopments of a Radical

52. Simon Reynolds, "Posl-Rock" 358 189

196 IX. Electronic Music and Electronica l/og of Works" 201 Introduction 365

53. Jacques Barzun, "Introductory Remarks to a Program of Works Produced atlhe Columbia-Princeton Electronic Music Center" 367

207 54. Karlheinz Stockhausen, "Electronic and Instrumental Music" 370

1of) Experimental Music" 209 55. Karlheinz Stockhausen et al., "Stockhausen vs. the 'Technocrats'" 381 Variations" 221 56. Ben Neill, "Breakthrough Beats: Rhythm and the Aesthetics of

~ Variety in the Arts" 226 Contemporary Electronic Music" 386

ra: Drall Constitution" 234 57. Kim Cascone, "The Aesthetics of Failure: 'Post-Digital' Tendencies in xperimenlal Music and Digital Contemporary Computer Music" 392

239 Chronology 399

Glossary 409

251 Selected Discography 419

·ury" 253 Selected Bibliography 427

255 Notes for Quotations 445

ist Theory of Improvisation" 266 Index 448 ier 1950: Afrological and

272