Special topics in music history: Experimental music - Historical and contemporary perspectives

Specific Foundation / Core

Through this course students are expected to: • come in contact with a broad spectrum of experimental music practices and definitions, in the context of both academic literature as well as different facets of the music industry • form / develop methodological tools and practical skills for an appreciation and study of music not only as an object, but as a process as well • develop a critical, personal approach to genres and types of music that are not necessarily represented through the models of notation, evaluation and dissemination applied to western art music • establish and develop collective practices in the context of a small learning community

Part A: What is experimental music? 1. Definitions, historiography and socio-political dimensions of experimental musical practices 2. John Cage in context (indeterminacy, extended techniques, extended notation, intentional listening, mixed media) 3. Electronic systems 4. Μinimalism and radical pop 5. Collectivity and improvisation Ιn part A you will make brief group presentations, assisted by an introductory bibliography. Each team will hand out a short (max. 1000 word) text summarising their presentation, before the start of Part B. Part Β: Contemporary approaches to musical experimentation Ιn this part of the course we will focus on current and recent case studies from a experimental currents and approaches, individually selected by each student., and critically discussed in group. Part B will also include workshops and/or guest presentations by local or international artists. The end outcome will be a longer (c2000 essay) and oral or practice-based presentation of the case study in question.

17-06-2013