- Klangfarben: Webern Op. 10
- Tone-pulse continuum: Stockhausen Kontakte
- Noise-pitch continuum: Raymond Scott Lightwork
(compare to electronic version)
2nd Friday Playlist:
- Renaissance Counterpoint
- Fluxus Music and Silences - specifically listen to Alvin Lucier's "I'm sitting in a Room"
- Aclvin Lucier "Music on a Long Wire"
- Steve Reich - check out "Piano Phase", "Pendulum Music", the whole playlist is awesome.
- Contemporary Music Playlist - another excellent selection!
- Kurt Schwitters Ursonate and check out the rest of the playlist
- Polyphonic Singing of Aka Pygmies
- Gagaku and Folk Music - see the Gagaku and San'an examples
- Another Gagaku Playlist
- Heterophony Playlist by Classical Composers
- Heterophonic, Polyphonic, Monophonic
- Music Textures - Another Playlist, on Heterophony, etc.
For later: Music, Harmony and Emotion..
Evolution of Music Thought
- Tradition versus Innovation: From perfect consonance to Noise (Palestrina, Futurism, Merzbow)
- Non-European cultures: Heterophony, Polyrithm, Focus on Timbre (Gagaku), Gamelan and Debussy
- Music & Noise: Futurism, Recording Revolution (Musique Concrete), Syntehsis Revolution (Music N).
- Aestehtics of Failure: Cascone, Circuit Bending?
- Sound Ecology: Soundscape, Soundwalks, Silent disco / Flashmob?
- Ambient Revolution: Eno and generative music
- Social Music: Group Improv, Thompson's Sound Painting
- Musical Games: Wishart, Zorn's Cobra
- Machine Improvisation: Voyager, Meta-Creation (MuMe composers)
- Music and Emotions: Affective Machines, Anticipation and Huron's book.
The futurist Ray Kurzweil optimistically predicted at the end of the last millennium that by 2009 human musicians would be routinely jamming with autonomous software musicians, and by 2019 it would be normal for automated creative systems to be active participants across all of the arts. Despite the flavour of fantasy, software autonomy is in fact creeping into creative practice and become a recognised creative form, a serious platform for exploring the radical ways in which we can draw on the rich behavioural potential of computation in music.