In New York during the middle part of the twentieth century, a group of experimental composers emerged upon the already turbulent Western art music scene. This group, which was spearheaded by John Cage, defied all the traditional conventions of musical composition... [more]

In New York during the middle part of the twentieth century, a group of experimental composers emerged upon the already turbulent Western art music scene. This group, which was spearheaded by John Cage, defied all the traditional conventions of musical composition -- including what effects a piece of music should have upon an audience. Arnold Schoenberg had already invented the 12-tone system, and composers in various parts of the world had begun to experiment with random tone clusters and alternative instrumentation. The New York composers implemented all the radical composition techniques of their contemporaries, plus invented some unheard of systems of their own. They ignored the definitions of acceptable phrasing, timbre, and structure, composing with an exultant freedom that knew no rules or regulations. Even John Cage, the most famous member of the New York school, had difficulties getting his music publicly accepted to any degree. He rejected all of the agreed-upon themes of music and did not believe that pitch should determine the structure of a composition; instead, he relied on percussion and rhythm. While he utilized some of the techniques of the 12-tone system, he was in total opposition to the rigid structure of the serial system and his compositions focused on chance and random circumstance. The pieces he composed were complex, fragmented soundscapes. His technique, known as indeterminacy, was a random unfolding of aural images within a predetermined time span and framework. While the other composers might not have been quite as radical as Cage, they were reassured and encouraged by his enthusiastic pursuit of creative freedom. Rather than demanding that his disciples find a musicological explanation for their compositions, he congratulated them for following instinct. Composer Morton Feldman created works that focused on a direct, unfettered aural experience, comparable to the great Abstract Expressionist paintings. Other local contemporaries of Cage were Earle Browne and David Tudor. Although each of the composers had his own favorite composition techniques and tools, there were themes that were present in all of their compositions. One of the major defining characteristics of the New York school is its utilization of 'indeterminacy' in music. Its composition system eliminated all of the elements that make music predictable: logical harmonic progression, adherence to melodic line, and use of traditional orchestras. What was left was usually an intriguing, complex, formless outpouring of sound. A pure expression of the creative instinct of the composer, the music was intended to be enjoyed or reviled, but never easily analyzed or understood. [show less]