Many composers define experimental music differently from John Cage's identification ofit as music generated by processes that preclude prediction of how it will sound. Another American composer, Herbert Brun has said: 'We're interested in the music we don't like, yet'. Chris Mann, formerly ofMelbourne and now ofNew York, takes the view that 'experimental music is not a problem-solving environment (that's commercial music) but a problemseeking one'. Experimental music-making is so diverse that it might be defined best as a combination ofadvanced techniques and a certain exploratory attitude that places high value on integrity ofexploration ofan idea as a good thing in itself. It encompasses Cage's influence, work with high and low technology, improvisation, sound poetry, linguistics, invention ofinstruments, microtonality, ideas of'competence', multimedia, music theatre, community music and other activities when they are aimed at finding music 'we don't like, yet' in a 'problem-seeking environment'.
ANZSRC / FoR Code
1904 PERFORMING ARTS AND CREATIVE WRITING