• John Cage is universally associated with the phrase experimental music. But what did that phrase mean, for Cage and for Cage’s predecessors? I begin with Cage and Lejaren Hiller, both writing important texts on ‘experimental music’ in 1959. From there, I trace the phrase backwards, eventually reaching Emile Zola, Gertrude Stein, and William James…[Read more]

  • This article begins by considering the interaction of notation and analysis by means of a comparison of scores from the 1950s. This discussion leads to the domains of error, value, and ethics. An ‘experimental’ mode of analysis is proposed, which takes taxonomy and statistics as a basis; from this one acquires an understanding that is obs…[Read more]

  • This chapter appeared in a volume that summarized the results of the three-year “Patterns of Intuition” project that Gerhard Nierhaus and others directed: the project investigated the creative act of composing by means of algorithmic composition. Central to the investigation were the compositional strategies of twelve composers, which were…[Read more]

William Brooks

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