Brian Dennis was an English experimental music [1] composer, [2] and author [3] born in Marple, Cheshire in May 1941 and died in June 1998.
Brian studied with Stockhausen, Berio, Earle Brown and Cathy Berberian at The Cologne Course for New Music and was a lecturer in Composition and Contemporary Music at Royal Holloway College, University of London. [4]
Brian wrote two books in the 1970s: Experimental Music in Schools ( ISBN 978-0193231955) [5] and Projects in Sound ( ISBN 978-0900938450), [6] [7] which propose a new graphical form of Musical notation, showing instruments as images representing their sound, rather than traditional notation on a stave. For example, the notation of a scraping wood Güiro would be shown as zig-zag lines. Both books have been used extensively in classrooms [8] [9] and became part of the National Curriculum of England, Wales and Northern Ireland
He also featured in BBC documentary Music in Schools and has inspired Dan Mayfield's School of Noise.
His compositions include approximately 150 songs many of which are settings of Chinese poems [10] with lyrics in English prepared by the composer, as well as a number of piano pieces. He completed a trilogy of one-act operas based on Japanese Noh plays as well as an unfinished three-act opera based on The Snow Queen by Hans Christian Andersen.
In C is a musical piece composed by Terry Riley in 1964 for an indefinite number of performers. He suggests "a group of about 35 is desired if possible but smaller or larger groups will work". A series of short melodic fragments, In C is often cited as the first minimalist composition.
Cornelius Cardew was an English experimental music composer, and founder of the Scratch Orchestra, an experimental performing ensemble. He later rejected experimental music, explaining why he had "discontinued composing in an avantgarde idiom" in his own programme notes to his Piano Album 1973.
In music, tape loops are loops of magnetic tape used to create repetitive, rhythmic musical patterns or dense layers of sound when played on a tape recorder. Originating in the 1940s with the work of Pierre Schaeffer, they were used among contemporary composers of 1950s and 1960s, such as Éliane Radigue, Steve Reich, Terry Riley, and Karlheinz Stockhausen, who used them to create phase patterns, rhythms, textures, and timbres. Popular music authors of 1960s and 1970s, particularly in psychedelic, progressive and ambient genres, used tape loops to accompany their music with innovative sound effects. In the 1980s, analog audio and tape loops with it gave way to digital audio and application of computers to generate and process sound.
Treatise is a musical composition by British composer Cornelius Cardew (1936–81).
AMM is a British free improvisation group that was founded in London, England, in 1965. The group was initially composed of Keith Rowe on guitar, Lou Gare on saxophone, and Eddie Prévost on drums. The three men shared an interest in exploring music beyond the boundaries of conventional jazz, as in free jazz and free improvisation. AMM never achieved widespread popularity, but have been influential in improvised music. Most of their albums have been released by Matchless Recordings, which is run by Eddie Prévost. In a 2001 interview, Keith Rowe was asked if "AMM" was an abbreviation. He replied, "The letters AMM stand for something, but as you probably know it's a secret!"
Minimal music is a form of art music or other compositional practice that employs limited or minimal musical materials. Prominent features of minimalist music include repetitive patterns or pulses, steady drones, consonant harmony, and reiteration of musical phrases or smaller units. It may include features such as phase shifting, resulting in what is termed phase music, or process techniques that follow strict rules, usually described as process music. The approach is marked by a non-narrative, non-teleological, and non-representational approach, and calls attention to the activity of listening by focusing on the internal processes of the music.
Graphic notation is the representation of music through the use of visual symbols outside the realm of traditional music notation. Graphic notation became popular in the 1950s, and can be used either in combination with or instead of traditional music notation. Graphic notation was influenced by contemporary visual art trends in its conception, bringing stylistic components from modern art into music. Composers often rely on graphic notation in experimental music, where standard musical notation can be ineffective. Other uses include pieces where an aleatoric or undetermined effect is desired. One of the earliest pioneers of this technique was Earle Brown, who, along with John Cage, sought to liberate performers from the constraints of notation and make them active participants in the creation of the music.
Michael Edward Parsons is a British composer. Since the 1960s, when he met Cornelius Cardew and helped found the Scratch Orchestra, Parsons has been strongly associated with the English school of experimental music. He was born in Bolton and studied at St John's College, Oxford before taking up composition lessons under Peter Racine Fricker at the Royal College of Music in London in 1961. In the 1960s he met Cornelius Cardew; Parsons attended Cardew's experimental music classes at Morley College since 1968. In 1969 Cardew, Parsons and fellow composer Howard Skempton founded the Scratch Orchestra, an experimental free ensemble devoted to performing contemporary music. The Orchestra broke up in early 1970s, partly as a result of the politization led by Cardew. Parsons was among the Orchestra members who refused to be associated with the Maoist politics Cardew was propagating, and left. In 1970 Parsons started working as visiting lecturer in the Fine Art department of the Portsmouth Polytechnic and in the Slade School of Art, University College London. In 1974 he and Skempton formed a duo to perform their own works. In 1996–97 Parsons was a bi-fellow at Churchill College, Cambridge. During this time he organised concerts at Kettle's Yard, Cambridge. Since the early 1960s Parsons has also been active as a writer on music; his writings include a number of important articles on contemporary English composers.
Systems music is music with sound continua which evolve gradually, often over very long periods of time. Historically, the American minimalists Steve Reich, La Monte Young and Philip Glass are considered the principal proponents of this compositional approach. Works by this group of composers are often characterized by features such as stasis or repetitiveness.
The Scratch Orchestra was an experimental musical ensemble founded in the spring of 1969 by Cornelius Cardew, Michael Parsons and Howard Skempton.
John White is an English experimental composer and musical performer. He invented the early British form of minimalism known as systems music, with his early Machines.
Christopher Hobbs is an English experimental composer, best known as a pioneer of British systems music.
Indeterminacy is a composing approach in which some aspects of a musical work are left open to chance or to the interpreter's free choice. John Cage, a pioneer of indeterminacy, defined it as "the ability of a piece to be performed in substantially different ways".
Russian classical music is a genre of classical music related to Russia's culture, people, or character. The 19th-century romantic period saw the largest development of this genre, with the emergence in particular of The Five, a group of composers associated with Mily Balakirev, and of the more German style of Pyotr Tchaikovsky.
Experimental music is a general label for any music or music genre that pushes existing boundaries and genre definitions. Experimental compositional practice is defined broadly by exploratory sensibilities radically opposed to, and questioning of, institutionalized compositional, performing, and aesthetic conventions in music. 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. Artists may also approach a hybrid of disparate styles or incorporate unorthodox and unique elements.
Sam Richards, is an English writer, composer, improviser, jazz pianist and former folk music collector and performer. For most of his life he has lived in south Devon. His father was the writer and playwright Allen Saddler (1923–2011).
Susan Bradshaw was a British pianist, teacher, writer, and composer. She was mainly associated with contemporary music, and especially with the work of Pierre Boulez, several of whose writings she translated. As a critic and musicologist she contributed to a number of magazines and journals over several decades; the titles included Contact, Music and Musicians, Tempo and The Musical Times.
Thomas Causton or Caustun was an English composer.
In music production, the recording studio is often treated as a musical instrument when it plays a significant role in the composition of music. Sometimes called "playing the studio", the approach is typically embodied by artists or producers who favor the creative use of studio technology in record production, as opposed to simply documenting live performances in studio. Techniques include the incorporation of non-musical sounds, overdubbing, tape edits, sound synthesis, audio signal processing, and combining segmented performances (takes) into a unified whole.
Piece for Four Pianos is a musical composition for four pianos by American composer Morton Feldman. It was finished in 1957.
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