Data pubblicazione: 2017
Fascicolo: LVI - anno: 2017/1 - pp. 129-146
The paper focuses on Cage's concept of “silence”, detecting its essence also in some “experimental” music, e.g. by Pauline Oliveros, Terry Riley and others. “Experimental music” means music that cannot be (completely) determined by its score. This indeterminacy focuses the listening on the present moment.
The paper highlights the relevance of these concepts in the current – generally standardized – musical context, following the decline of the great experimental season of the Sixties and Seventies. It suggests even a certain, involuntary, collusion between the search for continuous ‘linguistic’ creativity by some avant-garde musicians and the creativity & innovation fostered and implemented by the current “knowledge-based economy” and its “cultural” and “creative industries”. These concepts of “silence” and “indeterminacy” are alternative to the aesthetics of innovation of the avant-garde. They are compatible with, or even require, a certain acknowledgement of our everyday life habits.
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