History and masterpieces of Experimental Music
Text: mmr｜Theme: Changes in experimental music from the avant-garde to the post-digital era
“Experimental music” was born as an attempt to deviate from traditional harmonies and forms and explore the possibilities of sound itself.It began with the avant-garde movement of the early 20th century, which transcended the framework of classical music, and continues to expand to include electronic acoustics, industrial, noise, and modern digital music.Here, we will organize the historical background, famous records, and changes in equipment by decade, and trace the trajectory of experimental music.
1940s-1950s: The birth of experimental music
- Background: Post-war Europe and America seek to reconstruct music.``Music of Chance’’ by John Cage and musique concrète by Schaeffer appear.
- Equipment: Tape recorder, prepared piano, early oscillator.
Masterpiece
Recommended 10 selections
| Artist |
Track |
Year |
| Pierre Schaeffer |
Étude aux chemins de fer |
1948 |
| John Cage |
4’33’’ |
1952 |
| John Cage |
Williams Mix |
1952 |
| Pierre Henry |
Symphonie pour un homme seul |
1950 |
| Karlheinz Stockhausen |
Studie II |
1954 |
| Edgard Varèse |
Poème électronique |
1958 |
| John Cage |
Imaginary Landscape No.4 |
1951 |
| Luigi Russolo (re-recording) |
Intonarumori Demo |
1940s reproduction |
| Morton Feldman |
Projection I |
1950 |
| Earle Brown |
December 1952 |
1952 |
1960s: The flowering of the avant-garde and electronic music
- Background: Resonates with minimalism, avant-garde art movements, and psychedelic culture.The birth of the modular synth.
- Equipment: Moog Modular, Buchla, EMS VCS3, tape loop.
Masterpiece
Recommended 10 selections
| Artist |
Track |
Year |
| La Monte Young |
The Second Dream of the High-Tension Line Stepdown Transformer |
1962 |
| Terry Riley |
In C |
1968 |
| Steve Reich |
Piano Phase |
1967 |
| Pauline Oliveros |
Bye Bye Butterfly |
1965 |
| Silver Apples |
Oscillations |
1968 |
| Stockhausen |
Kontakte |
1960 |
| Alvin Lucier |
Music for Solo Performer |
1965 |
| Cornelius Cardew |
Treatise |
1967 |
| Morton Subotnick |
Silver Apples of the Moon |
1967 |
| AMM |
AMMMusic |
1966 |
1970s: Noise, the emergence of industrial
- Background: Incorporating “noise” into music while intersecting with punk and avant-garde art.The birth of industrial culture.
- Equipment: EMS Synthi A, ARP 2600, Roland System 100, homemade noise generator.
Masterpiece
Recommended 10 selections
| Artist |
Track |
Year |
| Throbbing Gristle |
Hamburger Lady |
1978 |
| Brian Eno |
Discreet Music |
1975 |
| Faust |
Krautrock |
1973 |
| Philip Glass |
Music in Twelve Parts (Part 1) |
1974 |
| Laurie Anderson |
O Superman (live original) |
1979 |
| Tangerine Dream |
Phaedra |
1974 |
| Kraftwerk |
Autobahn |
1974 |
| Suicide |
Ghost Rider |
1977 |
| Charlemagne Palestine |
Strumming Music |
1974 |
| Robert Ashley |
Automatic Writing |
1979 |
1980s: DIY spirit and cassette culture
- Background: With the spread of cassette MTR, the underground experimental music scene expanded.In Japan, a “noise” scene has been established.
- Equipment: Tascam Portastudio, Roland TR-808, Yamaha DX7, shortwave radio.
Masterpiece
Recommended 10 selections
| Artist |
Track |
Year |
| Merzbow |
Metal Acoustic Music |
1981 |
| Nurse With Wound |
Yagga Blues |
1982 |
| Glenn Branca |
Lesson No. 1 |
1980 |
| Current 93 |
Dogs Blood Rising |
1984 |
| SPK |
Metal Dance |
1983 |
| Zoviet France |
Popular Soviet Songs and Youth Music (excerpt) |
1985 |
| Whitehouse |
Wriggle Like a Fucking Eel |
1981 |
| Sonic Youth |
Lee Is Free |
1987 |
| Test Dept |
Compulsion |
1983 |
| Einstürzende Neubauten |
Yü-Gung |
1985 |
1990s: Digital Experiments and Glitches
- Background: With the spread of PCs and samplers, acoustic deconstruction and reconstruction progressed.Also connects to IDM and ambient music.
- Equipment: Akai S3000, Max/MSP, Cubase, Pro Tools.
Masterpiece
Recommended 10 selections
| Artist |
Track |
Year |
| Oval |
Do While |
1995 |
| Aphex Twin |
Rhubarb |
1994 |
| Autechre |
Eutow |
1995 |
| Fennesz |
Aus |
1997 |
| Ryoji Ikeda |
+/- [1] |
1996 |
| Pan Sonic |
Urania |
1995 |
| Scanner |
Mass Observation |
1994 |
| Matmos |
California Rhinoplasty |
1998 |
| Ikeda + Alva Noto |
Uni Acronym |
1999 |
| Merzbow |
Pulse Demon (track 1) |
1996 |
2000s: Laptops and globalization
- Background: Noise, electronica, and field recording spread internationally.``Laptop performance’’ at live performances has become commonplace.
- Equipment: Ableton Live, SuperCollider, Kontakt, laptop.
Masterpiece
Recommended 10 selections
| Artist |
Track |
Year |
| Fennesz |
Endless Summer |
2001 |
| Wolf Eyes |
Stabbed in the Face |
2004 |
| Ryoji Ikeda |
Dataplex |
2005 |
| Christian Fennesz & Ryuichi Sakamoto |
Haru |
2005 |
| Alva Noto |
Xerrox Vol.1 (Xerrox Monophaser) |
2007 |
| Tim Hecker |
Radio Spiricom |
2003 |
| Oren Ambarchi |
Grapes from the Estate |
2004 |
| Burial |
Gutted (ambient) |
2005 |
| KTL |
Forest Floor |
2007 |
| Matmos |
Supreme Balloon |
2008 |
- Background: Fused with sound art and installation.ASMR, drones, and ambient music are being reevaluated.
- Equipment: Eurorack module, Max for Live, Pure Data, DIY instruments.
Masterpiece
Recommended 10 selections
| Artist |
Track |
Year |
| Oneohtrix Point Never |
Replica |
2011 |
| Tim Hecker |
Virgins |
2013 |
| Holly Herndon |
Chorus |
2014 |
| Ben Frost |
Venter |
2014 |
| Yves Tumor |
Licking an Orchid |
2018 |
| Caterina Barbieri |
Fantas |
2019 |
| Kaitlyn Aurelia Smith |
An Intention |
2016 |
| Roly Porter |
4101 |
2016 |
| Lawrence English |
Wilderness of Mirrors |
2014 |
| Huerco S. |
For Those of You Who Have Never (And Also Those Who Have) |
2016 |
2020s: AI and post-digital era
- Background: AI composition, algorithmic music, and immersive experiences in VR/AR space are underway.Noise and experimental music once again intersect with the club scene.
- Equipment: AI generation tools (RAVE, Magenta Studio), Eurorack, modular synth + machine learning algorithm.
Masterpiece
Recommended 10 selections
| Artist |
Track |
Year |
| Holly Herndon |
Frontier |
2019 (AI chorus) |
| Kali Malone |
Living Torch I |
2022 |
| Caterina Barbieri |
Broken Melody |
2022 |
| Amnesia Scanner |
AS Tearless |
2020 |
| Autechre |
Sign |
2020 |
| Lee Gamble |
A Tergo Real |
2021 |
| Object Blue |
Ecstasy of Saint Teresa |
2021 |
| Ryoji Ikeda |
Ultra |
2020 |
| Kali Malone |
The Sacrificial Code |
2020 |
| Marina Herlop |
miu |
2022 |
The future of experimental music
Experimental music has always continued to expand the boundaries of music.Starting from prepared piano and tape experiments in the 1940s, to noise and industrial in the 70s, to digital glitch in the 90s, to AI-generated music in the 2020s, it’s constantly changing.
The essence of experimental music is unpredictability and a spirit of exploration.Even outside of commercial music, its influence pervades rock, club music, contemporary music, and pop, making it a force to be reckoned with.
In the future, even the concept of “music” may change due to the fusion of AI, brain wave interfaces, and VR/AR.
Experimental music is a mirror that predicts the future, and will continue to present “new horizons of sound” to both listeners and creators.
