The roots of experimental music can be traced back to the early 20th century, when a group of daring artists first dared to defy convention and push the boundaries of what music could be. These pioneers, who included composers such as Arnold Schoenberg, Igor Stravinsky, and John Cage, sought to create new forms of musical expression that would break free from the traditional structures of classical music. By incorporating unconventional sounds, techniques, and concepts, they paved the way for a whole new era of musical experimentation and innovation. In this article, we will explore the lives and works of these groundbreaking artists, and discover how their legacy continues to inspire and influence musicians and composers to this day.
The Birth of Experimental Music: Early Innovators and Visionaries
John Cage: The Father of Modern Experimental Music
John Cage, an American composer, music theorist, and artist, is widely regarded as the father of modern experimental music. Born in 1912 in Los Angeles, Cage began his musical career in the 1930s, and throughout his life, he pushed the boundaries of conventional music, exploring new ways of creating and performing sound.
Cage’s early works were heavily influenced by his studies with Henry Cowell, an American composer known for his innovative approach to rhythm and harmony. Cowell introduced Cage to the concepts of chance music and prepared piano, which would become central to Cage’s own compositional techniques.
One of Cage’s most famous works is “Silence,” a lecture he delivered in 1957 in which he argued that silence is an essential component of music. According to Cage, silence is not the absence of sound but rather the absence of intention or expectation, and it can be just as important as the sounds themselves. This idea challenged traditional notions of music and helped to redefine the concept of sound in the realm of experimental music.
Cage’s approach to composition was characterized by his use of chance and indeterminacy. In his “Music of Changes” (1951), he used an ancient Chinese text, the I Ching, to determine the composition of the piece. The I Ching is a book of chance operations, and Cage used it to determine the order in which instruments would play and the length of each note. This approach to composition, which allowed for a high degree of randomness and unpredictability, was a significant departure from the traditional Western classical music tradition.
Cage’s use of prepared piano, in which the instrument is altered by placing objects on or between the strings, also played a crucial role in his experimental approach to music. His “Second Piano Concerto” (1913) featured a prepared piano, and he continued to experiment with the instrument throughout his career. This technique allowed Cage to explore new timbres and sounds, pushing the boundaries of what was possible with traditional instrumentation.
Cage’s influence on experimental music cannot be overstated. His innovative approaches to composition, his embrace of chance and indeterminacy, and his exploration of silence and sound have inspired countless musicians and composers around the world. He continues to be a source of inspiration and influence for those interested in pushing the boundaries of conventional music and exploring new and unconventional ways of creating and performing sound.
Iannis Xenakis: Combining Music and Architecture
Iannis Xenakis was a Greek-Armenian composer, architect, and engineer, who made significant contributions to the field of experimental music. Born in 1922 in Smyrna, Turkey, Xenakis spent much of his early life in Greece, where he studied engineering and later architecture.
Xenakis’ interest in music began during his studies in Greece, where he was introduced to the works of Arnold Schoenberg and other modernist composers. He began composing his own music, drawing on his background in engineering and architecture to create works that were highly structured and mathematically complex.
One of Xenakis’ most famous works is “Metastaseis,” which he composed in 1953. The piece is a composition for piano and orchestra that utilizes complex mathematical formulas to create a highly structured and rhythmically challenging work. Xenakis’ use of mathematical concepts in his music was highly innovative and helped to pave the way for the development of electronic and computer-based music.
Xenakis’ background in architecture and engineering also influenced his approach to composition. He believed that music and architecture were closely related, and that the principles of architectural design could be applied to the creation of musical works. In fact, Xenakis worked as an architect early in his career, and his knowledge of architecture and engineering informed much of his musical work.
Xenakis’ approach to composition was highly experimental, and he was known for his use of unconventional instruments and techniques. He was particularly interested in the use of electronics and computer technology in music, and was one of the first composers to explore the potential of these new mediums.
Xenakis’ influence on the development of experimental music cannot be overstated. His innovative approach to composition, which combined mathematics, architecture, and engineering with music, helped to expand the boundaries of what was possible in musical composition. His works continue to be performed and studied today, and his legacy as a pioneer of experimental music remains strong.
Dadaism and its Influence on Early Experimental Music
Dadaism, an art movement that emerged in the aftermath of World War I, played a significant role in shaping the early experimental music scene. This avant-garde movement sought to challenge societal norms and values through unconventional means, influencing artists across various mediums, including music.
Dadaism’s Rebellious Spirit
Dadaism was characterized by its rejection of established conventions and its embrace of spontaneity, irrationality, and absurdity. This rebellious spirit found expression in various forms of artistic expression, including music. Dadaist musicians sought to break free from the constraints of traditional music, embracing noise, dissonance, and unconventional sounds as a means of defying the status quo.
The Influence of Dadaism on Early Experimental Music
Dadaism’s influence on early experimental music can be seen in several key aspects:
- Emphasis on Spontaneity and Improvisation: Dadaist musicians emphasized spontaneity and improvisation, rejecting the structured, composed music of the past. This emphasis on spontaneity and improvisation became a hallmark of early experimental music, with musicians exploring new ways of creating and performing music without adhering to traditional forms and structures.
- Use of Unconventional Instruments and Sounds: Dadaist musicians often incorporated unconventional instruments and sounds into their compositions, challenging the conventional wisdom of what constituted “musical” sounds. Early experimental musicians adopted this approach, incorporating found objects, electronic devices, and unconventional instruments into their music, thereby expanding the sonic palette of experimental music.
- Abandonment of Tonality and Rhythm: Dadaist musicians sought to disrupt the conventional notions of tonality and rhythm, embracing dissonance, atonality, and irregular rhythms. Early experimental musicians drew inspiration from this approach, pushing the boundaries of musical convention and creating new sounds and textures through the manipulation of tonality and rhythm.
- Performance as a Dynamic Art Form: Dadaist musicians often viewed performance as a dynamic and unpredictable art form, where the audience was encouraged to participate in the creative process. This approach to performance influenced early experimental musicians, who embraced unconventional venues, alternative instruments, and unconventional performance techniques to create immersive and engaging musical experiences.
In conclusion, the influence of Dadaism on early experimental music cannot be overstated. The rebellious spirit of Dadaism, with its emphasis on spontaneity, unconventional sounds, and disruption of musical conventions, laid the groundwork for the development of experimental music as a distinct art form.
Experimentation in Sound: Techniques and Approaches
Electronic Music and Tape Music in the Early 20th Century
In the early 20th century, electronic music and tape music emerged as groundbreaking techniques in the realm of experimental music. These innovative approaches to sound manipulation allowed composers and musicians to create new sonic textures and timbres that had never been heard before.
Electronic music, which involves the use of electronic devices to generate and manipulate sound, was first explored in the 1920s and 1930s by a group of pioneering composers. Among them was the French composer Edgard Varèse, who created works such as “Amériques” and “Ecuatorial,” which used electronic instruments to produce otherworldly sounds and textures.
Tape music, on the other hand, involves the manipulation of pre-recorded sounds using magnetic tape. This technique was first explored by composers such as Halim El-Dabh and John Cage, who experimented with splicing together different sounds and creating new compositions from existing recordings.
Both electronic music and tape music allowed composers to explore new possibilities in sound manipulation, pushing the boundaries of what was considered musically acceptable. These techniques were often used in conjunction with traditional instruments, creating a unique blend of acoustic and electronic sounds.
Over time, electronic music and tape music evolved and developed into their own distinct subgenres, with composers such as Karlheinz Stockhausen and Gottfried Michael Koenig pushing the boundaries of electronic music in the mid-20th century. Today, electronic music and tape music continue to influence and inspire composers and musicians around the world, providing a rich legacy of experimental sound manipulation.
Noise Music and the Rejection of Traditional Harmony
Noise music, a subgenre of experimental music, emerged in the mid-20th century as a deliberate departure from traditional harmonic structures. Proponents of noise music sought to challenge conventional notions of melody, rhythm, and harmony by embracing dissonance, atonality, and chaotic sounds. This radical approach to music-making can be traced back to the pioneering work of several influential composers and musicians.
- John Cage: An American composer, music theorist, and philosopher, John Cage was instrumental in shaping the experimental music scene of the mid-century. His groundbreaking work, “4’33”, consists of four minutes and thirty-three seconds of silence, challenging the audience’s expectations of what constitutes music. Cage’s broader philosophies on sound and silence influenced many subsequent noise musicians.
- Edgard Varèse: A French-born composer who spent much of his career in the United States, Varèse was a pioneer of electronic music and a proponent of “organized sound.” His composition “Ionization” for 100 metallic instruments exemplifies his use of unconventional instruments and rhythms, as well as his disregard for traditional harmony.
- Pierre Henry: A French composer and pioneer of musique concrète, Henry used electronic techniques to manipulate sounds and create new textures. His work “Variations for a Piano Right Hand” showcases his innovative approach to noise music, utilizing percussive sounds and non-pitched elements to create a distinctive sonic landscape.
- György Ligeti: A Hungarian-born composer, Ligeti’s contributions to noise music include his “Atmosphères” for orchestra and his “Requiem” for mixed choir and orchestra. Both works explore dissonance, microtonality, and unconventional structures, reflecting his commitment to pushing the boundaries of musical convention.
- Merce Cunningham: An American choreographer and dancer, Cunningham collaborated with John Cage on numerous projects, including the creation of innovative soundscapes for his dance performances. Cunningham’s work often incorporated noise elements, challenging the relationship between music and movement.
These pioneers of noise music collectively contributed to the development of a genre that rejects traditional harmony and embraces a more raw, dissonant, and experimental approach to sound. Their work has inspired countless subsequent artists to explore new dimensions of musical expression, pushing the boundaries of what is considered music and redefining the art form.
Free Improvisation: Spontaneous Creation without Rules
Free improvisation is a technique in experimental music that involves the spontaneous creation of sound without predefined rules or structures. This approach to music-making emphasizes the exploration of sound and the manipulation of instruments in novel ways, often pushing the boundaries of traditional music-making practices.
In free improvisation, musicians use a combination of conventional instruments and unconventional objects to create a wide range of sonic textures and atmospheres. The focus is on the exploration of sound and the development of a musical language that is unique to each individual or group.
One of the key characteristics of free improvisation is the lack of a predetermined structure or form. Instead, the music evolves organically as the musicians respond to each other’s playing in real-time. This creates a sense of spontaneity and unpredictability that is often captivating to listeners.
Free improvisation has its roots in the experimental music scene of the 1960s, where musicians were looking for new ways to push the boundaries of their instruments and create new sounds. One of the pioneers of free improvisation was pianist and composer Cecil Taylor, who used a combination of conventional and unconventional techniques to create a unique and highly expressive sound world.
Another key figure in the development of free improvisation was saxophonist Ornette Coleman, who rejected the traditional jazz harmony and melody in favor of a more abstract approach to playing. Coleman’s approach to free improvisation emphasized the importance of the individual’s creative expression and the exploration of sound.
Today, free improvisation continues to be an important part of the experimental music scene, with musicians across a wide range of genres and styles exploring the possibilities of spontaneous creation. From free jazz to electronic music, free improvisation remains a vital force in the ongoing evolution of experimental music.
Experimental Music Around the World: Diverse Traditions and Influences
Jazz and Avant-Garde: Merging Tradition and Innovation
Jazz, with its roots in African-American communities, has been a crucible for experimentation and innovation since its inception. It was during the mid-20th century that the avant-garde movement emerged, challenging conventional norms and pushing the boundaries of jazz music. This convergence of jazz and avant-garde was a turning point in the history of experimental music, with pioneers like Ornette Coleman, Albert Ayler, and Cecil Taylor leading the charge.
- Ornette Coleman: A Trane’s Maker
- Born in Fort Worth, Texas, in 1930
- Developed a unique style called “free jazz”
- Abandoned chord structures, emphasizing melodic and harmonic freedom
- Influenced Miles Davis and other jazz greats
- Albert Ayler: Spirituality and Sound
- Born in Cleveland, Ohio, in 1934
- Combined free jazz with gospel and blues influences
- Utilized extended technique and unusual instrumentation
- Tragically passed away under mysterious circumstances in 1970
- Cecil Taylor: Piano Rebel
- Born in Chicago, Illinois, in 1929
- Studied at the University of Chicago and the University of Pennsylvania
- Combined jazz with contemporary classical music
- Known for his complex, intricate compositions and improvisations
These innovators shattered conventional notions of harmony, melody, and rhythm, opening up new avenues for experimentation in jazz and other genres. By merging tradition and innovation, they paved the way for future generations of musicians to explore the possibilities of sound and push the limits of musical expression.
Japanese Experimental Music: Onkyo and the Sound of Silence
Japanese experimental music, often referred to as “Onkyo,” has a unique and captivating history that dates back to the mid-20th century. Onkyo, which translates to “music of the unaccompanied instrument,” is characterized by its focus on solo instrumental performances that push the boundaries of traditional music.
One of the key figures in the development of Onkyo was the composer and pianist Toshi Ichiyanagi, who was heavily influenced by the Western avant-garde movement. Ichiyanagi’s work incorporated elements of Western classical music with traditional Japanese music, creating a distinctive sound that would come to define Onkyo.
Another important figure in the world of Japanese experimental music was the composer and flutist, Akemi Fukuoka. Fukuoka’s work explored the sonic possibilities of the flute, often using extended techniques and unconventional methods of playing the instrument. Her compositions were highly regarded for their ability to create a sense of tension and drama, while also incorporating elements of silence and stillness.
Onkyo has also been heavily influenced by the concept of “Ma,” a Japanese term that refers to the spaces between notes and the silences that exist within a piece of music. Many Onkyo compositions make use of extended periods of silence, creating a sense of tension and anticipation in the listener.
Overall, Japanese experimental music, or Onkyo, has had a significant impact on the world of experimental music, with its focus on solo instrumental performances, extended techniques, and the incorporation of silence and stillness. Its unique blend of traditional Japanese music with Western avant-garde influences has led to the creation of a distinct and captivating sound that continues to inspire musicians and composers today.
Folk and Traditional Music: Reimagining Cultural Sounds
Folk and traditional music have played a significant role in shaping the course of experimental music. Artists have drawn inspiration from the rhythms, melodies, and instruments of various cultural traditions, reimagining these sounds to create something entirely new.
One example of this is the work of American composer Aaron Copland, who incorporated elements of American folk music into his compositions. Copland’s use of open harmonies, syncopated rhythms, and simple melodies was influenced by the music of the American West, which he heard during his travels throughout the country.
Another example is the Brazilian composer Heitor Villa-Lobos, who drew on the folk music of his native country to create a unique sound that blended classical music with indigenous Brazilian rhythms. Villa-Lobos’s use of exotic instruments and complex harmonies helped to establish Brazil as a major force in the world of experimental music.
In Europe, the folk music traditions of countries such as England, Scotland, and Ireland have also had a significant impact on experimental music. Artists such as Benjamin Britten and Michael Tippett incorporated elements of English folk music into their compositions, while Irish composer Turlough O’Carolan’s work for the harp has been celebrated for its innovative use of traditional Irish melodies and rhythms.
In addition to these examples, artists from around the world have been inspired by their own cultural traditions to create innovative and groundbreaking experimental music. From the Indian classical music tradition to the music of the Middle East, the influence of folk and traditional music can be heard in the work of many of today’s most exciting experimental musicians.
Pioneering Women in Experimental Music: Breaking Barriers and Redefining Genres
Ethel L. Stahl: The Mother of Electronic Music
Ethel L. Stahl was a trailblazer in the field of electronic music, and her contributions to the development of the genre are nothing short of remarkable. Born in New York City in 1915, Stahl showed an early interest in music and began studying the piano at the age of five. She went on to study composition at the Juilliard School, where she became fascinated with the potential of electronic music.
In the 1950s, Stahl began working with the RCA Mark II computer, one of the first electronic computers capable of generating music. She used this technology to create a series of groundbreaking compositions that explored the limits of electronic sound. Her work was characterized by its innovative use of rhythm and its exploration of the sonic possibilities of electronic music.
Stahl’s influence on the development of electronic music was immense. She was a founding member of the American Composers Alliance, an organization dedicated to promoting the work of contemporary composers, and she also served as the director of the Columbia-Princeton Electronic Music Center. Through her teaching and her own compositions, Stahl inspired a generation of composers and musicians to push the boundaries of electronic music.
Despite facing numerous challenges as a woman in a male-dominated field, Stahl remained steadfast in her commitment to electronic music. Her legacy continues to inspire new generations of musicians and composers, and her contributions to the development of electronic music remain a vital part of the genre’s history.
Pauline Oliveros: The Sound of Silence and Deep Listening
Pauline Oliveros is a groundbreaking composer, performer, and writer who has made significant contributions to the world of experimental music. Her work has pushed the boundaries of conventional music, exploring the possibilities of sound and silence, and challenging the norms of musical structure and performance.
Oliveros’s most famous work is “Deep Listening,” a practice that she developed in the 1980s. This practice involves listening deeply to sounds, paying close attention to the nuances and subtleties of each one. According to Oliveros, deep listening involves “listening to everything all the time and yet hearing nothing.”
One of the key principles of deep listening is the idea of “silence.” Oliveros believes that silence is not the absence of sound, but rather a presence in its own right. She argues that silence is just as important as sound in the creation of music, and that it can be used as a powerful tool for composition and performance.
In her work, Oliveros often incorporates long periods of silence into her compositions, challenging the traditional notion of musical structure and creating a sense of tension and anticipation in the listener. She also explores the relationship between sound and silence in her performances, often using extended techniques to create subtle, delicate sounds that contrast with periods of silence.
Overall, Pauline Oliveros’s work has had a profound impact on the world of experimental music, inspiring countless musicians and artists to push the boundaries of conventional music and explore the possibilities of sound and silence. Her practice of deep listening continues to be influential today, and her legacy as a pioneering woman in experimental music is secure.
Diamanda Galás: The Voice of Experimental Music
Diamanda Galás is a pioneering woman in experimental music who has made significant contributions to the genre. Her work is characterized by its unique blend of classical, operatic, and avant-garde elements, creating a sound that is both haunting and powerful.
Galás was born in 1955 in the United States to Greek parents. She began her musical career as a singer, performing in the San Francisco punk scene in the late 1970s. However, it was her later work that truly established her as a pioneer in experimental music.
In the 1980s, Galás began to explore the intersection of classical music and punk, creating a sound that was both challenging and innovative. Her first album, “The Litanies of Satan,” was released in 1988 and received widespread critical acclaim. The album featured Galás’s powerful voice, accompanied by piano and strings, creating a haunting and intense sound that was unlike anything heard before.
Galás’s work often explores themes of death, loss, and trauma, reflecting her own experiences with these topics. Her music is not easy to listen to, but it is undeniably powerful and affecting.
In addition to her solo work, Galás has also collaborated with other experimental musicians, including John Paul Jones and Bill Laswell. She has also worked in the field of opera, creating works that push the boundaries of the genre.
Overall, Diamanda Galás is a true pioneer in experimental music, breaking barriers and redefining genres with her unique sound and powerful voice. Her contributions to the genre continue to inspire and influence new generations of musicians.
Experimental Music Today: Contemporary Artists and New Directions
The Resurgence of Tape Music and Analog Instruments
- The use of tape music and analog instruments in contemporary experimental music
- The revival of these techniques in the digital age
- The influence of the pioneers of experimental music on today’s artists
- The importance of these techniques in pushing the boundaries of sound and music creation
- The role of these techniques in shaping the future of experimental music
- The challenges and opportunities presented by the resurgence of tape music and analog instruments in today’s music scene.
The Influence of Technology on Experimental Music
In the realm of experimental music, technology has played a significant role in shaping its evolution. From the early days of tape music to the latest digital technologies, innovative artists have continuously pushed the boundaries of sound and musical expression. This section delves into the various ways technology has influenced experimental music, from the creation of new instruments and techniques to the exploration of electronic and digital mediums.
The Emergence of Electronic Music
The invention of the first electronic musical instrument, the Theremin, in the 1920s marked a significant turning point in the development of experimental music. This pioneering device, which utilized electronic oscillators to generate sound, paved the way for the creation of numerous other electronic instruments, such as the synthesizer and the sampler. These tools enabled composers and musicians to explore entirely new sonic territories, unlocking a vast array of timbres and textures previously unimaginable.
The Advent of Computer Music
With the advent of computer technology in the latter half of the 20th century, a whole new world of musical possibilities opened up. Composers and performers began to exploit the capabilities of these machines, using them to create complex, algorithmically generated sounds and to manipulate and transform existing recordings. The rise of digital audio workstations (DAWs) also facilitated the production and manipulation of sound in a more streamlined and efficient manner, allowing for greater creative control and experimentation.
The Impact of Digital Technology
In recent years, the impact of digital technology on experimental music has become increasingly apparent. With the widespread availability of affordable digital audio equipment and the rise of online platforms for collaboration and distribution, artists are now able to produce and disseminate their work with relative ease. This has led to a proliferation of experimental music, with a vast array of styles and approaches emerging from all corners of the globe. Furthermore, the ubiquity of smartphones and other mobile devices has enabled new forms of sonic exploration, such as mobile music creation and augmented reality performances.
The Future of Experimental Music and Technology
As technology continues to evolve at an exponential rate, it is likely that the relationship between experimental music and technology will remain a crucial and dynamic one. As new tools and techniques continue to emerge, artists will undoubtedly continue to push the boundaries of musical expression, creating entirely new sounds and experiences that challenge our perceptions of what music can be. Whether it be through the use of artificial intelligence, virtual reality, or other cutting-edge technologies, the future of experimental music promises to be an exciting and unpredictable journey into the unknown.
Experimental Music in Film and Video Games: New Frontiers for Sound
In recent years, the incorporation of experimental music in film and video games has emerged as a significant trend. As these mediums continue to evolve, they present new frontiers for sound, providing artists with opportunities to explore and expand the boundaries of experimental music.
One of the key aspects of this trend is the integration of experimental music into the soundtracks of films and video games. Directors and composers are increasingly seeking to push the limits of conventional sound design, incorporating unconventional instruments, non-linear structures, and unconventional sounds to create immersive and innovative auditory experiences.
In film, directors such as David Lynch and Christopher Nolan have been known to incorporate experimental music into their soundtracks, often collaborating with avant-garde composers and musicians to create unique and evocative scores. For example, the critically acclaimed film “Mulholland Drive” by David Lynch features a score by Angelo Badalamenti that incorporates dissonant harmonies, atmospheric soundscapes, and unconventional instrumentation to create a dreamlike and surreal atmosphere.
Similarly, in video games, composers are experimenting with unconventional techniques to create immersive and interactive soundscapes. For instance, the game “Bloodborne” features a score by composer Michiru Ōshima that incorporates elements of jazz, classical music, and experimental noise to create a haunting and otherworldly atmosphere.
Furthermore, the use of procedural generation and algorithmic composition in video game soundtracks is also becoming more prevalent. This technique involves using algorithms to generate music in real-time, creating unique and dynamic soundscapes that respond to the player’s actions and the game’s environment. For example, the game “No Man’s Sky” features a score that is generated procedurally, creating a vast and evolving soundtrack that reflects the game’s vast and ever-changing universe.
Overall, the incorporation of experimental music in film and video games represents a significant development in the evolution of experimental music. By providing new frontiers for sound, these mediums offer artists the opportunity to push the limits of conventional sound design and explore new and innovative approaches to creating music.
FAQs
1. Who were the first experimental musicians?
Experimental music is a diverse and constantly evolving genre, with a rich history that spans over a century. While it’s difficult to pinpoint exact beginnings, the seeds of experimental music can be traced back to early 20th-century avant-garde composers such as Arnold Schoenberg, Igor Stravinsky, and Claude Debussy. These pioneers pushed the boundaries of traditional music, introducing unconventional techniques, new instruments, and unfamiliar sounds into their compositions. Their innovative approaches laid the groundwork for future generations of experimental musicians to continue challenging musical norms and conventions.
2. What defines experimental music?
Experimental music is a broad category that encompasses a wide range of sounds, techniques, and approaches. At its core, experimental music is characterized by a willingness to challenge established musical norms and conventions, pushing the boundaries of what is considered “normal” or “acceptable” in traditional music. Experimental musicians often explore unconventional sounds, techniques, and instruments, as well as incorporate elements from other art forms, such as visual arts, literature, and technology. The ultimate goal is to create something new, unpredictable, and thought-provoking, breaking free from the constraints of traditional music.
3. How did early experimental musicians influence contemporary music?
The pioneers of experimental music laid the groundwork for many of the musical movements and genres that have emerged since. For example, the atonal music of Arnold Schoenberg inspired the development of serialism, which later influenced the minimalist and post-minimalist movements. The exploration of electronic and electroacoustic sounds by composers like Edgard Varèse and John Cage paved the way for the rise of electronic music and the development of synthesizers. Similarly, the use of unconventional instruments and techniques by composers like Harry Partch influenced the development of experimental instrument design and the incorporation of found objects into music. In this way, the early pioneers of experimental music continue to influence and inspire contemporary musicians, who strive to push the boundaries of music in new and innovative ways.
