Experimental Music Quotes

...the laws of physics, carefully constructed after thousands of years of experimentation, are nothing but the laws of harmony one can write down for strings and membranes. The laws of chemistry are the melodies that one can play on these strings. the universe is a symphony of strings. And the "Mind of God," which Einstein wrote eloquently about, is cosmic music resonating throughout hyperspace.

I do not write experimental music. My experimenting is done before I make the music. Afterwards, it is the listener who must experiment.

Gopnik has tested this hypothesis on children in her lab and has found that there are learning problems that four-year-olds are better at solving than adults. These are precisely the kinds of problems that require thinking outside the box, those times when experience hobbles rather than greases the gears of problem solving, often because the problem is so novel. In one experiment, she presented children with a toy box that lights up and plays music when a certain kind of block is placed on top of it. Normally, this “blicket detector” is set to respond to a single block of a certain color or shape, but when the experimenter reprograms the machine so that it responds only when two blocks are placed on it, four-year-olds figure it out much faster than adults do.

If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?

Genius' was a word loosely used by expatriot Americans in Paris and Rome, between the Versailles Peace treaty and the Depression, to cover all varieties of artistic, literary and musical experimentalism. A useful and readable history of the literary Thirties is Geniuses Together by Kay Boyle-Joyce, Hemingway, Scott Fitzgerald, Pound, Eliot and the rest. They all became famous figures but too many of them developed defects of character-ambition, meanness, boastfulness, cowardice or inhumanity-that defrauded their early genius. Experimentalism is a quality alien to genius. It implies doubt, hope, uncertainty, the need for group reassurance; whereas genius works alone, in confidence of a foreknown result. Experiments are useful as a demonstration of how not to write, paint or compose if one's interest lies in durable rather than fashionable results; but since far more self-styled artists are interested in frissons á la mode rather than in truth, it is foolish to protest. Experimentalism means variation on the theme of other people's uncertainties.

We have gone sick by following a path of untrammelled rationalism, male dominance, attention to the visible surface of things, practicality, bottom-line-ism. We have gone very, very sick. And the body politic, like any body, when it feels itself to be sick, it begins to produce antibodies, or strategies for overcoming the condition of dis-ease. And the 20th century is an enormous effort at self-healing. Phenomena as diverse as surrealism, body piercing, psychedelic drug use, sexual permissiveness, jazz, experimental dance, rave culture, tattooing, the list is endless. What do all these things have in common? They represent various styles of rejection of linear values. The society is trying to cure itself by an archaic revival, by a reversion to archaic values. So when I see people manifesting sexual ambiguity, or scarifying themselves, or showing a lot of flesh, or dancing to syncopated music, or getting loaded, or violating ordinary canons of sexual behaviour, I applaud all of this; because it's an impulse to return to what is felt by the body -- what is authentic, what is archaic -- and when you tease apart these archaic impulses, at the very centre of all these impulses is the desire to return to a world of magical empowerment of feeling. And at the centre of that impulse is the shaman: stoned, intoxicated on plants, speaking with the spirit helpers, dancing in the moonlight, and vivifying and invoking a world of conscious, living mystery. That's what the world is. The world is not an unsolved problem for scientists or sociologists. The world is a living mystery: our birth, our death, our being in the moment -- these are mysteries. They are doorways opening on to unimaginable vistas of self-exploration, empowerment and hope for the human enterprise. And our culture has killed that, taken it away from us, made us consumers of shoddy products and shoddier ideals. We have to get away from that; and the way to get away from it is by a return to the authentic experience of the body -- and that means sexually empowering ourselves, and it means getting loaded, exploring the mind as a tool for personal and social transformation. The hour is late; the clock is ticking; we will be judged very harshly if we fumble the ball. We are the inheritors of millions and millions of years of successfully lived lives and successful adaptations to changing conditions in the natural world. Now the challenge passes to us, the living, that the yet-to-be-born may have a place to put their feet and a sky to walk under; and that's what the psychedelic experience is about, is caring for, empowering, and building a future that honours the past, honours the planet and honours the power of the human imagination. There is nothing as powerful, as capable of transforming itself and the planet, as the human imagination. Let's not sell it straight. Let's not whore ourselves to nitwit ideologies. Let's not give our control over to the least among us. Rather, you know, claim your place in the sun and go forward into the light. The tools are there; the path is known; you simply have to turn your back on a culture that has gone sterile and dead, and get with the programme of a living world and a re-empowerment of the imagination. Thank you very, very much.

Ubiquitous listening makes music virtually imperceptible, and any music is welcome. For so long as the semblance of vital activity that a music expresses satisfies a mood, musical sounds escape the capture of genre – the habts of form – and become instead an affective residue that thurifies the affairs of the occasion.

I wrote about everything I didn’t write on The Fame. While traveling the world for two years, I’ve encountered several monsters, each represented by a different song on the new record: my ‘Fear of Sex Monster,’ my ‘Fear of Alcohol Monster,’ my ‘Fear of Love Monster,’ my ‘Fear of Death Monster,’ my ‘Fear of Loneliness Monster,’ etc. I spent a lot of nights in Eastern Europe, and this album is a pop experimentation with industrial/Goth beats, 90’s dance melodies, an obsession with the lyrical genius of 80’s melancholic pop, and the runway. I wrote while watching muted fashion shows and I am compelled to say my music was scored for them.

A broccoli-haired trust fund baby who makes experimental techno music to take your V-card.

As to the immediate purposes of my enterprise, they were clearly outlined in a technical statement of that period from which I quote, “The world system has resulted from a combination of several original discoveries made by the inventor in the course of long continued research and experimentation. It makes possible not only the instantaneous and precise wireless transmission of any kind of signals, messages or characters, to all parts of the world, but also the inter-connection of the existing telegraph, telephone, and other signal stations without any change in their present equipment. By its means, for instance, a telephone subscriber here may call up and talk to any other subscriber on the Earth. An inexpensive receiver, not bigger than a watch, will enable him to listen anywhere, on land or sea, to a speech delivered or music played in some other place, however distant.

Schools, gymnasiums, arithmetic, geometry, history, rhetoric, physics, biology, anatomy, hygiene, therapy, cosmetics, poetry, music, tragedy, comedy, philosophy, theology, agnosticism, skepticism, stoicism, epicureanism, ethics, politics, idealism, philanthropy, cynicism, tyranny, plutocracy, democracy: these are all Greek words for cultural forms seldom originated, but in many cases first matured for good or evil by the abounding energy of the Greeks. All the problems that disturb us today—the cutting down of forests and the erosion of the soil; the emancipation of woman and the limitation of the family; the conservatism of the established, and the experimentalism of the unplaced, in morals, music, and government; the corruptions of politics and the perversions of conduct; the conflict of religion and science, and the weakening of the supernatural supports of morality; the war of the classes, the nations, and the continents; the revolutions of the poor against the economically powerful rich, and of the rich against the politically powerful poor; the struggle between democracy and dictatorship, between individualism and communism, between the East and the West—all these agitated, as if for our instruction, the brilliant and turbulent life of ancient Hellas. There is nothing in Greek civilization that does not illuminate our own. We shall try to see the life of Greece both in the mutual interplay of its cultural elements, and in the immense five-act drama of its rise and fall. We shall begin with Crete and its lately resurrected civilization, because apparently from Crete, as well as from Asia, came that prehistoric culture of Mycenae

Every now and then the breeze carries a distinct hint of eau de sheep." "Really?" Annabelle sniffed experimentally. "I don't smell a thing." "That's because you don't have a nose," Lillian replied. "I beg your pardon?" Annabelle asked with a quizzical grin. "Oh, you have a regular sort of nose," Lillian explained, "but I have 'a nose.' I'm unusually sensitive to smell. Give me any perfume, and I can separate it into all its parts. Rather like listening to a musical chord and dividing all its notes. Before we left New York, I even helped to develop a formula for scented soap, for my father's factory." "Could you create a perfume, do you think?" Annabelle asked in fascination. "I daresay I could create an excellent perfume," Lillian said confidently.

In his classic textbook Science and Human Behavior, Skinner explained that while aversives may seem to promptly extinguish undesirable behavior, the behavior often returns with a vengeance after the punishment ceases, because the subject has not been taught more adaptive ways to behave. He also pointed out that punishment creates fear, guilt, and shame, resulting in less learning overall. (In other words, a child compelled to practice the piano with threats of spanking does not tend to become a virtuoso but instead learns to hate music.) Skinner also cautioned that the use of aversives has negative effects on the researcher, potentially turning the experimental situation into a sadistic power play. “In the long run,” he observed, “punishment, unlike reinforcement, works to the disadvantage of both the punished organism and the punishing agency.” But

games. A summary: Exposing children to a violent TV or film clip increases their odds of aggression soon after.41 Interestingly, the effect is stronger in girls (amid their having lower overall levels of aggression). Effects are stronger when kids are younger or when the violence is more realistic and/or is presented as heroic. Such exposure can make kids more accepting of aggression—in one study, watching violent music videos increased adolescent girls’ acceptance of dating violence. The violence is key—aggression isn’t boosted by material that’s merely exciting, arousing, or frustrating. Heavy childhood exposure to media violence predicts higher levels of aggression in young adults of both sexes (“aggression” ranging from behavior in an experimental setting to violent criminality). The effect typically remains after controlling for total media-watching time, maltreatment or neglect, socioeconomic status, levels of neighborhood violence, parental education, psychiatric illness, and IQ. This is a reliable finding of large magnitude. The

Alex Honnold, free solo climbing phenom: The Last of the Mohicans soundtrack Rolf Potts, author of Vagabonding and others: ambitones like The Zen Effect in the key of C for 30 minutes, made by Rolfe Kent, the composer of music for movies like Sideways, Wedding Crashers, and Legally Blonde Matt Mullenweg, lead developer of WordPress, CEO of Automattic: “Everyday” by A$AP Rocky and “One Dance” by Drake Amelia Boone, the world’s most successful female obstacle course racer: “Tonight Tonight” by the Smashing Pumpkins and “Keep Your Eyes Open” by NEEDTOBREATHE Chris Young, mathematician and experimental chef: Paul Oakenfold’s “Live at the Rojan in Shanghai,” Pete Tong’s Essential Mix Jason Silva, TV and YouTube philosopher: “Time” from the Inception soundtrack by Hans Zimmer Chris Sacca: “Harlem Shake” by Baauer and “Lift Off” by Jay Z and Kanye West, featuring Beyoncé. “I can bang through an amazing amount of email with the Harlem Shake going on in the background.” Tim Ferriss: Currently I’m listening to “Circulation” by Beats Antique and “Black Out the Sun” by Sevendust, depending on whether I need flow or a jumpstart.

Some arts move in time, like music; others are presented in space, like painting. In both cases the organizing principle is recurrence, which is called rhythm when it is temporal and pattern when it is spatial. Thus we speak of the rhythm of music and the pattern of painting; but later, to show off our sophistication, we may begin to speak of the rhythm of painting and the pattern of music. In other words, all arts may be conceived both temporally and spatially. The score of a musical composition may be studied all at once; a picture may be seen as the track of an intricate dance of the eye. Literature seems to be intermediate between music and painting: its words form rhythms which approach a musical sequence of sounds at one of its boundaries and form patterns which approach the hieroglyphic or pictorial image atthe other. The attempts to get as near to these boundaries as possible form the main body of what is called experimental writing. We may call the rhythm of literature the narrative, and the pattern, the simultaneous mental grasp of the verbal structure, the meaning or significance. We hear or listen to a narrative, but when we grasp a writer’s total pattern we “see” what he means.

The floor was full of crepe streamer seaweed and decomposing pirates. Or at least so it seemed. Half of the male population of Willing was out srutting its stuff in frilly shirts, head scarves, and gruesome makeup. Although, to be fair, some of the contorted faces had more to do with exertion than costume-store goop. Some boys need to concentrate really hard if they want to get their limbs to work with the music. It looked like "Thriller" meets Titanic. Of course,the other half was blinding. As predicted, sequins reigned. Also as predicted, the costume of choice was some sort of skirt(the smaller the better) paired with a bikini top (ditto). As I watched from my seat at the edge of the gym,a mousy physics teacher dressed in a rotuned foam sea-horse suit had a brief, finger-waggling argument with a mermaid over the size ofher shells. I couldn't hear what they were saying, but the hand gestures said plenty. The teacher won; Shell Girl stalked off in a huff. She stopped halfway off the floor to do an angry, hokey-pokey leg shake to disentangle a length of paper seaweed from around her ankle. A group of mathletes watched her curiously. One,wearing what looked like a real antique diving suit, even tried an experimental shake of his own leg before another elbowed him into stillness.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

The cessation of art is something that can only be accomplished when art disappears into its own excess. And that occasion, according to Baudrillard, has already happened. In fact, "art" disappeared a while back (When? Sometimes in the 70's, probably, when information technologies were electrified and became the dominant way in which Western cultures mediated its self-expressions), and its sublimations into the everyday order of simulation was overlooked. Too busy watching reruns of I dream of Jeannie or betwitched I suppose. What is called "art" now is itself a continuous rerun, a rerun of the image of its own disappearance. But said another way, which I'm sure some would rather it be said (though it makes no difference) art is everywhere one and the same with the image of the everyday, if not actually, then potentially. Under these circumstances, because art and the reality that is supposed to set off aesthetic properties have lost their operational difference, unmusic is everywhere Music is not. However, according to the logic of simulation, Music is everywhere so unmusic is nowhere. Yet being everywhere is the same as being nowhere, therefore Music is nowhere, which makes unmusic everywhere. But this is hyperreality and hyperreality trucks no difference between the real and the unreal (artifice), the musical and the unmusical. Thus unmusic eschews Adorno's dialectical impasse to the extent that it is total nonsense, a byproduct of the hyperreal that supervenes a discourse of contradictions and paradoxes where everything is coming up signs.

The mood at the table is convivial throughout the meal. A dried-sausage and prosciutto plate gives way to briny sardines, which give way to truffle-covered gnocchi topped with a plethora of herbs. Richness cut with acidity, herbaceousness and cool breezes at every turn. A simple ricotta and lemon fettuccine topped with sharp pecorino is the perfect counterpoint. I am not driving, and apparently Anjana isn't, either, so we both order a Cynar and soda. "How can we digest all the pasta without another digestif?" we exclaim to the waiter, giddily. Meat, carbs, sunshine, and lingering music coming from across the plaza have stirred us up, and soon our dessert--- some sort of chocolate cake with walnuts--- arrives. It's dense in that fudgey way a flourless concoction can be, like it has molded itself into the perfection of pure chocolate. The crunch of the walnuts is a counterweight, drawing me deeper into the flavor. I haven't been inspired by food like this in a long time, despite spending so much time thinking about food. The atmosphere at work has sucked so much of the joy out of thinking about recipes, but I find myself taking little notes on my phone for recipe experimentation when I get home. The realization jolts me. I've always felt like I have the perfect job for a creative who happens to also be left-brained. Recipes are an intriguing puzzle every single time. Today's fettuccine is the perfect example. The tartness of the lemon paired with the smooth pasta and pillowy ricotta is the no-brainer part. But the trickier puzzle piece--- the one that is necessary to connect the rest of the puzzle to the whole--- is the light grating of the pecorino on top. That tang, that edge, that cutting spice works in tangent with the lemon to give the dish its power. Lemon alone wouldn't have been enough. Pecorino alone wouldn't have been enough. The dish is so simple, but it has to fit together perfectly to work. These little moments, these exciting eurekas, are the elation I normally get in my job.

The funny thing: I’d worried, if anything, that Boris was the one who was a little too affectionate, if affectionate is the right word. The first time he’d turned in bed and draped an arm over my waist, I lay there half-asleep for a moment, not knowing what to do: staring at my old socks on the floor, empty beer bottles, my paperbacked copy of The Red Badge of Courage. At last—embarrassed—I faked a yawn and tried to roll away, but instead he sighed and pulled me closer, with a sleepy, snuggling motion. Ssh, Potter, he whispered, into the back of my neck. Is only me. It was weird. Was it weird? It was; and it wasn’t. I’d fallen back to sleep shortly after, lulled by his bitter, beery unwashed smell and his breath easy in my ear. I was aware I couldn’t explain it without making it sound like more than it was. On nights when I woke strangled with fear there he was, catching me when I started up terrified from the bed, pulling me back down in the covers beside him, muttering in nonsense Polish, his voice throaty and strange with sleep. We’d drowse off in each other’s arms, listening to music from my iPod (Thelonious Monk, the Velvet Underground, music my mother had liked) and sometimes wake clutching each other like castaways or much younger children. And yet (this was the murky part, this was what bothered me) there had also been other, way more confusing and fucked-up nights, grappling around half-dressed, weak light sliding in from the bathroom and everything haloed and unstable without my glasses: hands on each other, rough and fast, kicked-over beers foaming on the carpet—fun and not that big of a deal when it was actually happening, more than worth it for the sharp gasp when my eyes rolled back and I forgot about everything; but when we woke the next morning stomach-down and groaning on opposite sides of the bed it receded into an incoherence of backlit flickers, choppy and poorly lit like some experimental film, the unfamiliar twist of Boris’s features fading from memory already and none of it with any more bearing on our actual lives than a dream. We never spoke of it; it wasn’t quite real; getting ready for school we threw shoes, splashed water at each other, chewed aspirin for our hangovers, laughed and joked around all the way to the bus stop. I knew people would think the wrong thing if they knew, I didn’t want anyone to find out and I knew Boris didn’t either, but all the same he seemed so completely untroubled by it that I was fairly sure it was just a laugh, nothing to take too seriously or get worked up about. And yet, more than once, I had wondered if I should step up my nerve and say something: draw some kind of line, make things clear, just to make absolutely sure he didn’t have the wrong idea. But the moment had never come. Now there was no point in speaking up and being awkward about the whole thing, though I scarcely took comfort in the fact.

Nyro’s plodding craftsmanship wasn’t out of step with that of her most sophisticated male peers, including the Beatles, who were tackling projects that were long both in nature and time of execution. The Beatles set the standard for such experimentation with Sgt. Pepper’s Lonely Hearts Club Band—considered by many to be the first concept album—

Dave Stewart: In 1982, Annie and I went to Australia with the Tourists, but the band broke up and we ended up in a hotel in Wagga Wagga. I had a little black and yellow Wasp synthesizer and was making didgeridoo sounds. When Annie started singing along, we thought, ‘Maybe we could make weird and experimental electronic music?’ On the flight home, we split up as a couple but kept on with the music, carting the gear in a second-hand horsebox.

We forget that we forget.

trial and error. Other experimenters recorded the visual fields of target subjects exposed to the color red. Trainees who learned, through feedback, to approximate that same neural activity reported seeing red in their mind’s eye. Since those days, the field had shifted from visual learning to emotional conditioning. The big grant money was going to desensitizing people with PTSD. DecNef and Connectivity Feedback were being touted as treatments to all kinds of psychiatric disorders. Marty Currier worked on clinical applications. But he was also pursuing a more exotic side-hustle. “Why not?” I told my wife. And so we volunteered in her friend’s experiment. IN THE RECEPTION AREA OF CURRIER’S LAB, Aly and I chuckled over the entrance questionnaire. We would be among the second wave of target subjects, but first we had to pass the screening. The questions disguised furtive motives. HOW OFTEN DO YOU THINK ABOUT THE PAST? WOULD YOU RATHER BE ON A CROWDED BEACH OR IN AN EMPTY MUSEUM? My wife shook her head at these crude inquiries and touched a hand to her smile. I read the expression as clearly as if we were wired up together: The investigators were welcome to anything they discovered inside her, so long as it didn’t lead to jail time. I’d given up on understanding my own hidden temperament a long time ago. Lots of monsters inhabited my sunless depths, but most of them were nonlethal. I did badly want to see my wife’s answers, but a lab tech prevented us from comparing questionnaires. DO YOU USE TOBACCO? Not for years. I didn’t mention that all my pencils were covered with bite marks. HOW MUCH ALCOHOL DO YOU DRINK A WEEK? Nothing for me, but my wife confessed to her nightly Happy Hour, while plying the dog with poetry. DO YOU SUFFER FROM ANY ALLERGIES? Not unless you counted cocktail parties. HAVE YOU EVER EXPERIENCED DEPRESSION? I didn’t know how to answer that one. DO YOU PLAY A MUSICAL INSTRUMENT? Science. I said I might be able to find middle C on a piano, if they needed it. Two postdocs took us into the fMRI room. These people had way more cash to throw around than any astrobiology team anywhere. Aly was having the same thoughts

By us forming an association and promoting and taking over playing our own music," he warned, "it's going to involve a great deal of sacrifice on each and every one of us. And I personally don't want to sacrifice, make any sacrifice for any standard music.

In my adult life I have proved time and time again that I can keep more or less in mind details of some five hundred books on the topics to which I have dedicated myself. I take no notes but do list on the inside back cover of certain books page numbers to which I know I will want to refer, later followed by one word to indicate subject matter, but even without this aid I can and do go quickly to the right book and the correct page, more or less, for the data I need. When I fail, I fail completely and can think of no clue that would lead me to the page I want; this would mean I had not implanted it firmly enough in my mind. I am not talking theoretically. I have done this at least a dozen times with my long novels, keeping a hundred characters in mind, controlling a tangle of different story lines, and remembering many individualized locations. I doubt that I am remarkable in possessing such a skill. I suspect that many clergymen can do the same with the Bible and it’s obvious that some lawyers can maintain control over a huge volume of case law just as scientists can master a jungle of relevant experimentation in their fields. But I have done it in a score of different fields: astrophysics, geography, ancient religions, art, politics, contemporary revolutionary movements, and popular music.” —Chapter IX, “Intellectual Equipment”, page 301

Preamble The Klassik Era was a cultural and musical revolution that swept through Kenya and East Africa in the early 2010s. It was a time of bold experimentation, fearless expression, and unapologetic individuality that challenged the norms of mainstream music and culture. For the first time, young people from the ghettos and slums of Nairobi, Mombasa, and Kisumu could see themselves represented and celebrated in the music and arts scene, and their voices and stories were given a platform like never before. The Klassik Era was characterized by a fusion of different musical genres and styles, from hip-hop and reggae to dancehall and afro-pop, to create a sound that was uniquely Kenyan and African. It was a time when young artists and producers like Blame It On Don (DON SANTO), Kingpheezle, Jilly Beatz, Tonnie Tosh, Kenny Rush, and many others came together under Klassik Nation, a record label that would change the face of Kenyan music forever. The Klassik Era was also marked by a sense of community and camaraderie, with young people from all walks of life coming together to support each other's art and creativity. It was a time when collaborations and features were the norm, and when artists and producers worked together to create something new and exciting. But the Klassik Era was not without its challenges and controversies. It was a time when the Kenyan music industry was dominated by a few powerful players who controlled the airwaves and the mainstream narrative, and who were resistant to change and innovation. It was a time when artists and producers had to fight tooth and nail to get their music played on the radio and to gain recognition and respect from their peers. Despite these challenges, the Klassik Era left an indelible mark on the Kenyan music industry and on the cultural landscape of Africa. It was a time of creativity, passion, and rebellion that inspired a generation of young people to dream big and to believe that anything was possible. This book is a tribute to that era and to the artists and producers who made it all possible.

Theories of generational difference make sense if they are expressed as theories of environmental difference rather than of psychological difference. People, especially young people, will respond to incentives because they have much to gain and little to lose from experimentation. To understand why people are spending so much time and energy exploring new forms of connection, you have to overcome the fundamental attribution error and extend to other people the set of explanations that you use to describe your own behavior: you respond to new opportunities, and so does everybody else, and these changes feed on one another, amplifying some kinds of behavior and damping others. People in my generation and older often tut-tut about young people’s disclosing so much of their lives on social networks like Facebook, contrasting that behavior with our own relative virtue in that regard: “You exhibitionists! We didn’t behave like that when we were your age!” This comparison conveniently ignores the fact that we didn’t behave that way because no one offered us the opportunity (and from what I remember of my twenties, I think we would have happily behaved that way if we’d had the chance). The generational explanations of Napster’s success fall apart because of the fundamental attribution error. The recording industry made that error when it became convinced that young people were willing to share because their generation was morally inferior (a complaint with obvious conceptual appeal to the elders). This thesis never made sense. If young people had become generally lawless, we’d expect to see a rise not just in sharing music but also in shoplifting and other forms of theft.

The notion that a story should unfold over the course of two or three hundred pages was as antiquated as the idea that a band’s musical output should consist of four or five songs on one side of a piece of vinyl, and then four or five slightly more experimental and intelligent songs on the other side. Albums used to make sense; they used to hang together as a body of work, and this had something to do with the fact that vinyl records could only hold eight or ten songs. Digital music changed all that. A quote-unquote album could now hold two mp3s or two hundred.

Then you had the B-side, which was where the musicians could be creative, even experimental. Life had a nice symmetry, back then.

every time the brain calculates the area of a rectangle, or sight-reads a piece of music, or tests an experimental hypothesis, the neurons involved are chemically changed to make it easier to travel the same path again. Kandel’s research seems to have identified that repetition forms the chains that Polanyi called tacit knowing, and that James Watt called “the correct modes of reasoning.

Damning documentation of LSD experimentation should not have been left in the hands of CIA Director Richard Helms. On January 31, 1973, one day before retiring from the CIA, Helms destroyed files on the fates of minds shattered over the previous ten years. Helms supported the mind-altering projects—Operation Chatter, Operation Bluebird/Artichoke, Operations Mknaomi, Mkultra and Mkdelta. By 1963, four years before Monterey Pop, the combined efforts of the CIA’s Directorate of Science and Technology, Army Intelligence and U.S. Chemical Corps launched covert operations that seemed necessary. U.S. agents were able to destroy any reputation by inducing hysteria or excessive emotional response, temporary or permanent insanity, encouraging suicide, erasing memory, inventing double or triple personalities inside one mind, prolonging lapses of memory, teaching racism and hatred against specific groups, causing subjects to obey instructions on the telephone or in person, hypnotically assuring that no memory remains of their assignments. The CIA has poison dart guns to kill from a distance, tranquilizers for pets so the household or neighborhood is not alerted by entry or exit. While pure LSD is typically 160 micrograms, the CIA issued 1,600 micrograms. Some of the LSD was administered to patients at Tulane University, who already had wired electrodes in their brain. Was insanity an occupational disease in the music industry? Or does this LSD, tested and described in Army documents, explain how a cultural happening that took place place in 1967-68 could be altered radically and halted?

The day of the experimental session was spent as follows: 8:30. Arrival at session room 9:00. Psychedelic material taken (200 milligrams of mescaline), equivalent to 100 micrograms of LSDb 9:00–12:00. Music played while subjects relaxed with eyes closed 12:00–1:00. Psychological testing 1:00–5:00. Participants worked on problems 5:00–6:00. Discussion of experience; review of solutions

...an astonishing blend of cultural history, multi-arts criticism, and memoir, moving with dazzling fluency across the hybrid worlds of visual and performance art, dance and music-theater, and experimental just-about-everything... Coe celebrates the mad pioneers of America’s most surreal cultural era in a gorgeous, insightful prose that matches their marvels.”        - Todd London, This Is Not My Memoir (with Andre Gregory, FSG) “...Compiled from published and unpublished writings, this volume reflects Coe’s extraordinary ability to craft smart journalistic profiles of epochal theater and dance artists with the Olympian sweep of an academic researcher and more than a streak of gonzo memoirist.”       - Don Shewey, Critic and Writer “...a truly personal opus and one that captivates as well as inspires... brimming with imagery and rich pathos that never seem over-indulgent or forced... Coe's book is certain to delight anyone who picks it up."        - Robert Buccellato, the US Review of Books "...a bit of Norman Mailer with a splash of Joan Didion, but all in all, the book has an eclectic style all its own. It’s postmodernism with a smirk and a twinkle. If you were there, you’ll be glad to go back again. If you weren’t there, you’re going to feel as if you were."        - Des McAnuff, Playwright, Songwriter, Director

The listeners who don’t empathize with BTS’ music tend to brush it off as their disgraceful period. But strictly in terms of musical achievement, the musical aim and authenticity that the producers at BigHit and BTS members intended were undeniably progressing toward creating their distinct identity. The playful and energetic appeal as idol through “Rise of Bangtan,” the refined sensibilities in “Coffee,” and the quirky experimental character of “Paldogangsan” coexist to feature a wide spectrum of the record, keeping you guessing where they will go next with enough potential in each direction.

As he shifted from one foot to the other, he recalled the fully mechanized saloon, he, Finnerty, and Shepherd had designed when they'd been playful young engineers. To their surprise, the owner of a restaurant chain had been interested enough to give the idea a try. They'd set up the experimental unit about five doors down from where Paul now stood, with coin machines and endless belt to do the serving, with germicidal lamps cleaning the air, with uniform, healthful light, with continuous soft music from a tape recorder, with seats scientifically designed by an anthropologist to give the average man the absolute maximum in comfort. The first day had been a sensation, with a waiting line extending blocks. Within a week of the opening, curiosity had been satisfied, and it was a book day when five customers stopped in. Then this place had opened up almost next door, with a dust-and-germ trap of a Victorian bar, bad light, poor ventilation, and an unsanitary, inefficient, and probably dishonest bartender. It was an immediate and unflagging success

Missing’s success came about in part because it brought a moment of melancholy and heartbreak back to the dancefloor, a combination many people had always loved but perhaps forgotten. (…) electronic music with beats. It could be melodic and heartfelt, as well as experimental. Slow and moody. Atmospheric.

I developed a philosophy there that I wanted to play my bebop as loose as possible and I wanted to play my free music as tight as possible.

Singh then experimented on a vast number of species, such as com­ mon asters, petunias, cosmos, and white spider lilies, along with such economic plants as onions, sesame, radishes, sweet potatoes, and tapioca. Each of these species Singh entertained for several weeks just before sunrise with more than half a dozen separate ragas, one per experiment, played on the flute, violin, harmonium, and veena; the music lasted a half hour daily, scaled at a high pitch, with frequencies between one hundred and six hundred cycles per second. From all this experimenta­tion Singh was able to state, in the magazine of the Bihar Agricultural College at Sabour, that he had "proven beyond any shadow of doubt that harmonic sound waves affect the growth, flowering, fruiting, and seed-yields of plants.

This new technique became known as frequency modulation synthesis, or FM synthesis, and became embedded first in the Yamaha DX9 and DX7 line of synthesizers, which revolutionized the music industry from the moment of their introduction in 1983. FM synthesis democratized music synthesis. Before FM, synthesizers were expensive, clunky, and hard to control. Creating new sounds took a great deal of time, experimentation, and know-how.

One of the methods that he and Bowie used on Low was the “Oblique Strategies” he’d created with artist Peter Schmidt the year before. It was a deck of cards, and each card was inscribed with a command or an observation. When you got into a creative impasse, you were to turn up one of the cards and act upon it. The commands went from the sweetly banal (“Do the washing up”) to the more technical (“Feedback recordings into an acoustic situation”; “The tape is now the music”). Some cards contradict each other (“Remove specifics and convert to ambiguities”; “Remove ambiguities and convert to specifics”). Some use Wildean substitution (“Don’t be afraid of things because they’re easy to do”). And several veer towards the Freudian (“Your mistake was a hidden intention”; “Emphasise the flaws”). The stress is on capitalising on error as a way of drawing in randomness, tricking yourself into an interesting situation, and crucially leaving room for the thing that can’t be explained—an element that every work of art needs. Did the Oblique Strategy cards actually work? They were probably more important symbolically than practically. A cerebral theoretician like Eno had more need of a mental circuit-breaker than someone like Bowie, who was a natural improviser, collagiste, artistic gadfly. Anyone involved in the creative arts knows that chance events in the process play an important role, but to my mind there’s something slightly self-defeating about the idea of “planned accidents.” Oblique Strategies certainly created tensions, as Carlos Alomar explained to Bowie biographer David Buckley: “Brian Eno had come in with all these cards that he had made and they were supposed to eliminate a block. Now, you’ve got to understand something. I’m a musician. I’ve studied music theory, I’ve studied counterpoint and I’m used to working with musicians who can read music. Here comes Brian Eno and he goes to a blackboard. He says: ‘Here’s the beat, and when I point to a chord, you play the chord.’ So we get a random picking of chords. I finally had to say, ‘This is bullshit, this sucks, this sounds stupid.’ I totally, totally resisted it. David and Brian were two intellectual guys and they had a very different camaraderie, a heavier conversation, a Europeanness. It was too heavy for me. He and Brian would get off on talking about music in terms of history and I’d think, ‘Well that’s stupid—history isn’t going to give you a hook for the song!’ I’m interested in what’s commercial, what’s funky and what’s going to make people dance!” It may well have been the creative tension between that kind of traditionalist approach and Eno’s experimentalism that was more productive than the “planned accidents” themselves. As Eno himself has said: “The interesting place is not chaos, and it’s not total coherence. It’s somewhere on the cusp of those two.

Sensations were completely different. Like the night she had run free as the wolf, Savannah now had the senses of a bird of prey. Her vision was sharp and clear, her eyes enormously wide. She spread her wings experimentally, then flapped them in the light drizzle. They were much bigger than she had anticipated. It delighted her, and she flapped them harder so she could create a wind, causing waves in the water standing in the patio. Are you having fun? Gregori’s voice held a hint of laughter. This is so cool, lifemate, she answered. Her rapidly beating wings lifted her into the air. The light mist was already passing overhead. The air was warm and heavy with the promise of moisture, but she soared high, reveling in her ability to do so. Gregori’s larger, stronger body dropped over hers, close and protective, guiding her in the direction of the bayou. As high up as they were, the sharp eyes of the raptor could spot the smallest of movements below. Details were vivid and clear. Even colors were different. Infrared vision, heat sensors— Savannah wasn’t certain what it was exactly, but the way she perceived the world was a different and unique experience. She dipped beneath Gregori and soared away from him, turning sideways and circling high above him. In her mind she could hear him swearing. As always he sounded arrogant, elegant, Old World, completely in command. Laughing, she caught a thermal and rode it up over the river. The male dropped down to cover her with his huge wings, fencing her in. Spoilsport! she accused him, her touch in his mind a whisper of lightness, of invitation to join in her fun. You are in a great deal of trouble, ma femme. He knew the threat was empty when he made it; he would give her the world. But why did she have to be such a little dare-devil all the time? Anyone choosing to live with you would have to have a sense of adventure, don’t you think? Her soft laughter played over his skin like music, like the gentle breeze blowing from the mountains in their homeland. Even within the bird’s body, he stirred to life, need and hunger rising to become a part of him. Relentless. Demanding. Savage in its intensity. It was more than simple lust. More than hunger. More than need. It was all of it merged together with a tenderness he had never conceived he could feel. When she was at her most outrageous, her most defiant, that was when his heart melted.

For experimental artists, the goal is often quite different. While the process of creating still ends with a finished work of some sort, the end result is generally unknown. It’s often more about exploring a specific concept, technique, or tool, as opposed to constructing something the artist has envisioned. There are exceptions, of course; this is experimental art, after all.

Always a frail mind,to Live,I must act this inevitable play of life:'The LIving Death',the deranging and perplexing scenes are in it! Ah!let me not exit the World's STAGE, in silence, leaving the Nature's serene music, my Muse and the Beauty of MANY Imaginary dreams.

Every savage can dance,' declared Jane Austen's Mr. Darcy in Pride and Prejudice. His antagonist's riposte now seems odd—'I doubt not that you are an adept in the science yourself, Mr Darcy.' 'Science' is among the most slippery words in the English language, because although it has been in use for hundreds of years, its meanings constantly shift and are impossible to pin down. That plural (meanings) was deliberate. In the early nineteenth century, when Austen casually mentioned the science of dancing, other writers were still using 'science' for the mediaeval subjects of grammar, logic, and rhetoric. Long afterwards, 'science' could still mean any scholarly discipline, because the modern distinction between the Arts and Sciences had not yet solidified. The Victorian art critic John Ruskin listed five subjects he thought worthwhile studying at university—the Sciences of Morals, History, Grammar, Music, and Painting—none of which feature on modern scientific syllabuses. All of them, Ruskin declared, were more intellectually demanding than chemistry, electricity, or geology. However skilfully Mr Darcy performed his science of dancing, Austen could never have called him a scientist. That word, now so common, was not even invented until twenty years later, in 1833, when the British Association for the Advancement of Science (BAAS) was holding its third annual meeting. As the conference delegates joked about needing an umbrella term to cover their diverse interests, the poet Samuel Taylor Coleridge rejected 'philosopher', and William Whewell—one of Babbage's allies, a Cambridge mathematical astronomer—suggested 'scientist' instead. The new word was very slow to catch on. Many Victorians insisted on keeping older expressions, such as 'man of science', or 'naturalist', or 'experimental philosopher'. Even men now seen as the nineteenth century's most eminent scientists—Darwin, Faraday, Lord Kelvin—refused to use the new term for describing themselves. Why, they demanded, should anyone bother to invent such an ugly word when perfectly adequate expressions already existed? Mistakenly, critics accused 'scientist' of being an American import, a trans-Atlantic neologism—one eminent geologist declared it was better to die 'than bestialize our tongue by such barbarisms'. The debate was still raging sixty years after Whewell first introduced the idea, and it was only in the early twentieth century that 'scientist' was fully accepted.

Many parents wonder if we really need to worry about this stuff. Some argue that the flurry of concern over smartphones resembles the panic over previous advances in media, such as radio, music albums, TV, or even novels. That might be true, but it’s not particularly relevant. Social media and electronic device use is linked to higher rates of loneliness, unhappiness, depression, and suicide risk, in both correlational and experimental data. Novels and music are not. TV watching is also linked to depression, and sure enough, more Boomers (the first TV generation) were depressed than previous generations that had grown up without TV. Just because an argument has been made before does not mean it’s wrong; the “panic” over TV turned out to be somewhat justified. Thus an argument about whether a “panic” about media has happened before seems trivial—our kids need help now.

The more experimental GPO alumnus Humphrey Jennings expunged voice-over altogether in favour of an associative flow of images. Jennings was a prime mover in the 1930s Mass Observation project, a census of national consciousness recording the fleeting thoughts of thousands of British citizens on a huge range of subjects, including motorists’ gestures and shouts, beard-trimming styles and the ‘cult of the aspidistra’.

While this signifier can be difficult to pin down with precision, it can clearly be heard in the records of Duane Eddy and many other guitarists of the period. It usually involves a relatively nondistorted electric guitar timbre articulated with a strong attack and a melody played on the lower strings. Reverberation is ubiquitous, and almost equally common were echo, amplifier tremolo, and use of the guitar’s vibrato bar. This overall guitar sound is often called a Fender sound, but that is a bit misleading, since Gretsch guitars were equally specialized for the purpose, and many other brands were also used. What makes the twang guitar interesting in topical terms is that it not only signified the western topic but also was key to a linked set of genres that intersect one another in complex ways: western, spy, and surf. Because these were all signified by overlapping musical features and in turn resemble one another in some of their broader connotations, we could speak of a twang guitar continuum: a range of topics that coalesced only shortly before psychedelia and were cognate with it in a variety of ways. Philip Tagg and Bob Clarida point out that the twang guitar, often in a minor mode with a flat seventh, was a common factor between spaghetti western and Bond/spy scores in the late 1950s and early 1960s. I would add surf guitar to the list, with its sonic experimentation and general relationship to fun, escape, and exoticism: “[The twang guitar] probably owes some of its immediate success as a spy sound to its similarity with various pre-rock ‘Viennese intrigue’ sounds like Anton Karas’s Third Man zither licks (1949). But in the 1962–64 period that produced The Virginian (1962), Dr. No (1963) and Leone’s A Fistful of Dollars (1964), steely Fender guitar was well on its way to becoming an all-purpose excitement/adventure timbre” (Tagg and Clarida 2003, 367).

But in the years before the council, in a typical American parish, that ancient liturgy was too often approached haphazardly, celebrated carelessly, treated as an obligation to be rushed through as quickly as possible. After the council, of course, the introduction of a new streamlined liturgy gave immeasurably more scope to the casual approach. In Why Catholics Can’t Sing, Thomas Day comments: We can be reasonably sure that the Last Supper did not begin with the words, “Good evening, apostles.” Intuition tells us that John the Baptist did not cry out in the wilderness, “Repent, sin no more, and havernice day.” Common sense tells us that there is something immensely wrong and contradictory about starting off a ritual with “Good Morning.” We might even say that the laity in the pews “short circuits” when greeted this way at Mass. The church building, the music, and the celebrant in flowing robes all seem to say, “This is a ritual,” an event out of the ordinary. Then, the “Good Morning” intrudes itself and indicates that this is really a business meeting and not a liturgy, after all. Today, after more than a full generation of liturgical experimentation, the integrity of the liturgy can be compromised by two opposite dangers: caring too little about the established rubrics or caring too much.

Lennon’s behaviour became ever more unpredictable. In the first week of May, with Cynthia on holiday abroad, he spent an evening with Shotton in his music room at Kenwood. Both took LSD, smoked cannabis and made some experimental recordings. Shortly before dawn they fell into silence, which was eventually punctuated by Lennon’s solemn announcement: ‘Pete, I think I’m Jesus Christ.’ Shotton was more than familiar with his friend’s bizarre flights of fancy, but this was a revelation too far. He attempted to pour cold water on Lennon’s sudden eagerness to tell the world of his new identity, perhaps mindful of the ‘More popular than Jesus’ controversy of 1966. ‘They’ll fucking kill you,’ he told Lennon. ‘They won’t accept that, John.’ Lennon grew agitated, telling Shotton that it was his destiny, and that he would inform the other Beatles at Apple. A board meeting was hastily convened that day, attended by the Beatles, Shotton, Taylor and Aspinall. Lennon opened the meeting by solemnly telling the others that he was the second coming of Jesus. ‘Paul, George, Ringo and their closest aides stared back, stunned,’ Shotton said. ‘Even after regaining their powers of speech, nobody presumed to cross-examine John Lennon, or to make light of his announcement. On the other hand, no specific plans were made for the new Messiah, as all agreed that they would need some time to ponder John’s announcement, and to decide upon appropriate further steps.’ The meeting came to an abrupt close, and all agreed to go to a restaurant. As they waited to be seated, a fellow diner recognised Lennon and exchanged pleasantries. ‘Actually,’ Lennon told him, ‘I’m Jesus Christ.’ ‘Oh, really,’ the man replied, seemingly unfazed by the news. ‘Well, I loved your last record. Thought it was great.’328

Musicians are our real teachers. They are opening us up politically with their lyrics and creatively with experimental, psychedelic music. They share their discoveries and journeys with us. We can’t travel far, no one I know has ever been on an aeroplane. ... whatever they experience, we experience through their songs. It’s true folk music — not played on acoustic guitar by a bearded bloke — but about true-life experiences.

But of course, this infolding of attention doesn’t need to be spatialized or visual. For an auditory example, I look to Deep Listening, the legacy of the musician and composer Pauline Oliveros. Classically trained in composition, Oliveros was teaching experimental music at UC San Diego in the 1970s. She began developing participatory group techniques—such as performances where people listened to and improvised responses to each other and the ambient sound environment—as a way of working with sound that could bring some inner peace amid the violence and unrest of the Vietnam War. Deep Listening was one of those techniques. Oliveros defines the practice as “listening in every possible way to every thing possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, of one’s own thoughts as well as musical sounds.

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Venues where musicians could interact casually, listen to one another, and learn from one another, together with the benefit of audience reaction to their experimentation, helped drive their music in new directions. Small clubs that offered a hybrid environment somewhere between the highly controlled musical performance of the theater and the audience-less rehearsal hall fundamentally shaped what jazz music would become.

The influence of the mid-to-late-Sixties English counterculture is clearer in The Beatles’ music than in that of any of their rivals. This arose from a conflux of links, beginning with their introduction by Brian Epstein to the film director Richard Lester, continuing with McCartney’s friendships with Miles and John Dunbar, and culminating in the meeting of Lennon and Yoko Ono. Through Lester and his associates - who included The Beatles’ comedy heroes Spike Milligan and Peter Sellers - the group’s consciousness around the time of Sgt. Pepper was permeated by the anarchic English fringe theatre, with its penchant for Empire burlesque (e.g., The Alberts, Ivor Cutler, Milligan and Antrobus’s The Bed Sitting Room). This atmosphere mingled with contemporary strains from English Pop Art and Beat poetry; the ‘happenings’ and experimental drama of The People Show, Peter Brook’s company, and Julian Beck’s Living Theatre; the improvised performances of AMM and what later became the Scratch Orchestra; the avant-garde Euro-cinema of Fellini and Antonioni; and the satire at Peter Cook’s Establishment club and in his TV show with Dudley Moore, Not Only . . . But Also (in which Lennon twice appeared). From the cultural watershed of 1965-6 onwards, The Beatles’ American heroes of the rock-and-roll Fifties gave way to a kaleidoscopic mélange of local influences from the English fringe arts and the Anglo-European counterculture as well as from English folk music and music-hall.

In the sixth century B.C., the Greek scholar and philosopher Pythagoras decided to try and make things easier for everyone by standardizing, or at least dissecting, musical tuning. He had already discovered the relationship between pitch frequencies and lengths of string and had defined what an octave was, so he figured standardizing tuning was the next logical step. He divided a circle into 12 equal sections, like a clock. The result of his experimentation eventually became known as the Circle of Fifths, which is still used today. Each of the 12 points around the circle was assigned a pitch value, which roughly corresponds to the present system of an octave with 12 half steps. Western music theorists have since updated Pythagoras’s Circle of Fifths to what you see in Figure 8-1.

Burroughs inspired McCartney to cut in found sounds on Beatles recordings, including alarm clocks, automobile horns, and circus atmospherics. This, in turn, gave Brian Wilson—whose Beach Boys were locked in a kind of cross-continental musical arms race with the Fab Four—the gumption to add barking dogs and bicycle horns to his own masterpiece, Pet Sounds. The formal name for such experimental composition is musique concreté.

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As a matter of fact, to him, real music is all about the melody in mistakes. Expression. Experimentation. Explosion.

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【V信83113305】：Founded in 1831, Wesleyan University stands as a premier liberal arts institution in Middletown, Connecticut. Renowned for its academic rigor and vibrant intellectual culture, it champions a spirit of bold experimentation and interdisciplinary study. Unlike many peers, Wesleyan offers a unique curriculum that encourages students to design their own educational paths, blending the humanities, arts, sciences, and social sciences. This fosters a diverse community of critically engaged, creative thinkers. The university's picturesque campus is home to a rich tradition of student activism and a celebrated arts scene, particularly in film and music. With a distinguished faculty and a commitment to "practical idealism," Wesleyan empowers its graduates to become innovative leaders and thoughtful global citizens.，【V信83113305】最佳办理卫斯理大学毕业证方式,优质渠道办理卫斯理大学毕业证成绩单学历认证,原版定制卫斯理大学毕业证书案例,原版卫斯理大学毕业证办理流程和价钱,卫斯理大学毕业证书,卫斯理大学毕业证办理周期和加急方法,卫斯理大学毕业证办理流程和安全放心渠道,卫斯理大学毕业证成绩单学历认证最快多久,卫斯理大学毕业证最稳最快办理方式,网上购买假学历卫斯理大学毕业证书

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【V信83113305】：Purchase College, State University of New York (SUNY Purchase), stands out as a premier public liberal arts college, renowned for its strong emphasis on the visual and performing arts. Founded in 1967, its modern campus provides a dynamic and creative environment where rigorous academic programs in the liberal arts and sciences intersect with world-class conservatory training in music, dance, theatre, and art+design. This unique combination fosters a culture of intense intellectual exploration and artistic experimentation. The college is celebrated for its faculty of working artists and scholars, and its notable alumni who excel in diverse creative fields. With its commitment to blending specialized artistic training with a broad-based liberal arts education, SUNY Purchase offers a distinctive and transformative experience for its students.，【V信83113305】1分钟获取纽约州立大学帕切斯分校毕业证最佳办理渠道,加急纽约州立大学帕切斯分校毕业证SUONYPC毕业证书办理多少钱,网上补办SUONYPC毕业证成绩单多少钱,百分百放心原版复刻纽约州立大学帕切斯分校SUONYPC毕业证书,网上制作SUONYPC毕业证-纽约州立大学帕切斯分校毕业证书-留信学历认证放心渠道,SUONYPC毕业证书纽约州立大学帕切斯分校毕业证诚信办理,SUONYPC毕业证办理多少钱又安全,SUONYPC毕业证最简单办理流程,SUONYPC毕业证最放心办理渠道,SUONYPC成绩单纽约州立大学帕切斯分校毕业证快速办理方式

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【V信83113305】：Founded in 1831, Wesleyan University stands as a premier liberal arts institution in Middletown, Connecticut. Renowned for its academic rigor and vibrant intellectual culture, it champions a spirit of bold experimentation and interdisciplinary study. The university’s open curriculum empowers students to design their own unique educational paths, blending the humanities, arts, sciences, and social sciences. This ethos fosters creative and critical thinkers who often become leaders in diverse fields such as film, music, academia, and public service. With a beautiful campus and a deeply engaged, progressive student body, Wesleyan maintains a distinctive identity—combining the close-knit community of a small college with the resources and ambition of a larger university.，【V信83113305】卫斯理大学文凭WU毕业证学历认证方法,原版WU卫斯理大学毕业证最佳办理流程,学历文凭认证WU毕业证-卫斯理大学毕业证如何办理,100%学历WU卫斯理大学毕业证成绩单制作,硕士文凭定制WU卫斯理大学毕业证书,100%办理WU卫斯理大学毕业证书,网上办理WU卫斯理大学毕业证书流程,网络办理WU卫斯理大学毕业证官方成绩单学历认证,WU卫斯理大学毕业证最快且放心办理渠道,WU卫斯理大学毕业证本科学历办理方法

【V信83113305】：Osaka University of Arts stands as a prominent institution for creative education in Japan. Nestled in the vibrant cultural landscape of the Kansai region, it offers a comprehensive curriculum spanning fine arts, design, music, broadcasting, and literature. The university is renowned for its philosophy of "Realizing Creativity," fostering an environment where students can transform imaginative concepts into tangible expressions. Its state-of-the-art facilities, including extensive studios and performance halls, provide an ideal ground for artistic experimentation and growth. By producing numerous acclaimed artists and creators who contribute significantly to Japan's cultural industries, the university solidifies its role as a vital incubator for the next generation of artistic talent.，办理Osaka University of Arts大阪艺术大学成绩单高质量保密的个性化服务, 一比一制作-大阪芸術大学文凭证书大阪艺术大学毕业证, 高端烫金工艺大阪芸術大学毕业证成绩单制作, 原版定制大阪芸術大学大阪艺术大学毕业证, 购买大阪芸術大学毕业证和学位证认证步骤, 办大阪艺术大学毕业证Osaka University of Arts-Diploma, 定制-大阪艺术大学毕业证大阪芸術大学毕业证书, 办理大阪艺术大学毕业证文凭, 办理大阪芸術大学大阪艺术大学毕业证文凭

【V信83113305】：Tokyo University of the Arts (Geidai) stands as Japan's premier national institution for nurturing artistic talent. Renowned for its rigorous programs in fine arts, music, and film, it has shaped the country's cultural landscape for over a century. The university's ethos blends deep respect for Japanese traditional arts with a bold, experimental approach to contemporary expression. Its distinguished alumni, including many celebrated artists and composers, are a testament to its excellence. Through its intense focus on mastery and creativity, Geidai continues to be a vital crucible where the past and future of Japanese art converge, fostering the next generation of visionary creators.，购买東京芸術大学毕业证, 100%收到-東京芸術大学毕业证书东京艺术大学毕业证, 東京芸術大学东京艺术大学颁发典礼学术荣誉颁奖感受博士生的光荣时刻, 東京芸術大学毕业证成绩单办理东京艺术大学毕业证书官方正版, 办日本东京艺术大学文凭学历证书, 高质東京芸術大学东京艺术大学成绩单办理安全可靠的文凭服务, 申请学校!東京芸術大学成绩单东京艺术大学成绩单東京芸術大学改成绩, 东京艺术大学文凭東京芸術大学毕业证学历认证方法, 东京艺术大学学位定制

【V信83113305】：California Institute of the Arts, commonly known as CalArts, is a renowned beacon of creativity located in Valencia, California. Founded in 1961 through the merger of professional schools, it was revolutionized by Walt Disney's vision to create a multidisciplinary "community of the arts." CalArts is celebrated for its progressive approach to arts education, offering rigorous BFA and MFA programs across six schools: Art, Critical Studies, Dance, Film/Video, Music, and Theater. Its pedagogy emphasizes experimentalism, critical inquiry, and cross-collaboration, pushing students to transcend traditional boundaries. The institute has cultivated a remarkable legacy, producing generations of influential artists, animators, and performers who have profoundly shaped global culture. With its unique student-centered learning and iconic reputation, particularly in animation and experimental arts, CalArts remains a pivotal force in nurturing the avant-garde and redefining the future of artistic expression.，【V信83113305】100%安全办理加利福尼亚艺术学院毕业证,办理加利福尼亚艺术学院毕业证成绩单学历认证,原版定制加利福尼亚艺术学院毕业证,原版加利福尼亚艺术学院毕业证办理流程,终于找到哪里办加利福尼亚艺术学院毕业证书,加利福尼亚艺术学院毕业证书,加利福尼亚艺术学院毕业证书办理需要多久,加利福尼亚艺术学院毕业证办理流程,加利福尼亚艺术学院毕业证成绩单学历认证最安全办理方式,CIOTA毕业证最新版本推荐最快办理加利福尼亚艺术学院文凭成绩单

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【V信83113305】：Seoul Institute of the Arts stands as a premier cradle of creativity in South Korea, renowned for nurturing visionary artists across performing, media, and visual arts. Founded in 1962, it has consistently championed innovation and experimental expression, producing influential alumni in film, music, design, and theater. With state-of-the-art facilities and a curriculum blending traditional techniques and digital media, the university emphasizes hands-on experience and interdisciplinary collaboration. Its commitment to artistic freedom and cultural advancement makes it a dynamic hub where emerging talents refine their craft and shape future trends in the global arts scene, solidifying its role as a key institution in Asia’s creative landscape.，办理韩国Seoul Institute of the Arts本科学历, 原版서울예술대학교毕业证最佳办理流程, 购买서울예술대학교毕业证, 网上办理서울예술대학교毕业证书流程, 首尔艺术大学毕业证本科学历办理方法, 서울예술대학교首尔艺术大学颁发典礼学术荣誉颁奖感受博士生的光荣时刻, 网络办理首尔艺术大学毕业证官方成绩单学历认证, 서울예술대학교首尔艺术大学毕业证书, 서울예술대학교毕业证认证

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【V信83113305】：California Institute of the Arts (CalArts) is a renowned beacon of experimental art education, pioneering a unique pedagogy that champions interdisciplinary collaboration. Founded in 1961 through the merger of professional schools, it achieved its modern form under the vision of Walt Disney. Located in Valencia, California, its radical curriculum erases traditional boundaries between art forms, encouraging students to fuse visual arts, music, dance, theater, and film. Home to the famed School of Film/Video, it has cultivated legendary animators and directors. The institute’s ethos prioritizes critical inquiry and artistic innovation over conventional technique, creating an environment where creative risks are not just taken but expected. This has cemented its status as a preeminent incubator for avant-garde artists and a transformative force in global contemporary arts.，【V信83113305】加利福尼亚艺术学院文凭CCOTA毕业证学历认证方法,原版CCOTA加利福尼亚艺术学院毕业证最佳办理流程,学历文凭认证CCOTA毕业证-加利福尼亚艺术学院毕业证如何办理,100%学历CCOTA加利福尼亚艺术学院毕业证成绩单制作,硕士文凭定制CCOTA加利福尼亚艺术学院毕业证书,100%办理CCOTA加利福尼亚艺术学院毕业证书,网上办理CCOTA加利福尼亚艺术学院毕业证书流程,网络办理CCOTA加利福尼亚艺术学院毕业证官方成绩单学历认证,CCOTA加利福尼亚艺术学院毕业证最快且放心办理渠道,CCOTA加利福尼亚艺术学院毕业证本科学历办理方法

【V信83113305】：Purchase College, State University of New York (SUNY Purchase), stands out as a premier public liberal arts college renowned for its strong emphasis on the visual and performing arts. Founded in 1967, its modern campus provides a dynamic and creative environment for students. The college is particularly celebrated for its rigorous conservatory programs in dance, music, theatre, and film, alongside robust offerings in the liberal arts and sciences. This unique combination fosters both specialized artistic talent and broad critical thinking skills. With a deeply committed faculty and a culture that champions bold experimentation and interdisciplinary work, SUNY Purchase empowers students to become innovative artists and engaged intellectuals, preparing them for diverse and successful careers.，SUONYCAP毕业证书, 100%安全办理纽约州立大学帕切斯分校毕业证, 学历证书!SUONYCAP学历证书纽约州立大学帕切斯分校学历证书SUONYCAP假文凭, 办理真实毕业证成绩单留信网认证, State University of New York College at Purchase文凭制作流程学术背后的努力, 纽约州立大学帕切斯分校毕业证书-一比一制作, 一比一原版SUONYCAP纽约州立大学帕切斯分校毕业证购买, SUONYCAP毕业证书, 购买美国毕业证

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【V信83113305】：Tokyo University of the Arts (Geidai) stands as Japan's premier national institution for higher artistic education. Located primarily in Ueno, Tokyo, it has a prestigious history of cultivating leading figures in fine arts, music, film, and global arts. Renowned for its exceptionally selective admissions process and rigorous curriculum, Geidai emphasizes mastery of traditional techniques while fiercely encouraging avant-garde experimentation and innovation. Its alumni are among the most celebrated artists, animators, composers, and directors in Japan, profoundly shaping the nation's cultural landscape. More than just a school, it serves as a vital guardian of Japanese cultural heritage and a dynamic laboratory for the future of artistic expression, bridging deep tradition with the cutting edge.，東京芸術大学东京艺术大学毕业证最稳最快办理方式, 网络办理東京芸術大学毕业证官方成绩单学历认证, 做今年新版東京芸術大学东京艺术大学毕业证, 硕士文凭定制東京芸術大学毕业证书, 办理東京芸術大学大学毕业证东京艺术大学, 日本毕业证认证, 购买东京艺术大学毕业证, 原版定制東京芸術大学东京艺术大学毕业证书, 東京芸術大学毕业证最快且放心办理渠道