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Infinite Music: Imagining the Next Millennium of Human Music-Making

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Bringing the ideas of 20th-century avant-garde composers Arnold Schoenberg and John Cage to their ultimate conclusion, this text proposes a system for imagining music based on its capacity for variation, redefining musical modernism and music itself in the process.


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Bringing the ideas of 20th-century avant-garde composers Arnold Schoenberg and John Cage to their ultimate conclusion, this text proposes a system for imagining music based on its capacity for variation, redefining musical modernism and music itself in the process.

30 review for Infinite Music: Imagining the Next Millennium of Human Music-Making

  1. 4 out of 5

    Silas

    Trying to formally deconstruct something 'infinite' is a pointless endeavor... and the author admits this on every other page. There is no process and pragmatism here. It attempts a top-down view when a bottom-up view would be more useful, and ultimately realistic. Learned nothing new about the possibilities of music. Trying to formally deconstruct something 'infinite' is a pointless endeavor... and the author admits this on every other page. There is no process and pragmatism here. It attempts a top-down view when a bottom-up view would be more useful, and ultimately realistic. Learned nothing new about the possibilities of music.

  2. 4 out of 5

    Ashley

    Harper describes the potential of diversifying musical language away from stagnant traditions through the development of more intricate musical objects, styles and works which spread like tendrils into the infinite Music Space of possibilities. The ideas here reflect favourably on contemporary electronic music and provides some great food for thought on how composers might frame their own work processes - especially as the act of creating music now often depends on creating your own instruments Harper describes the potential of diversifying musical language away from stagnant traditions through the development of more intricate musical objects, styles and works which spread like tendrils into the infinite Music Space of possibilities. The ideas here reflect favourably on contemporary electronic music and provides some great food for thought on how composers might frame their own work processes - especially as the act of creating music now often depends on creating your own instruments and systems to establish more opportunities for variance, subversion and innovation. Unfortunately, as per the review below I found this maddeningly wordy given the ideas, and I became very impatient around the halfway point as it was clear the pace was not going to pick up. It feels like each idea is explained over and over, and even as the book progresses through its sections it continues to re-illustrate and re-frame previous ideas. I appreciate this commitment to ensuring the reader is following some quite abstract topics, and would prefer that than to go too far the other way, but I felt it really missed the mark for economy of words and actually became overwhelming. Throw in some good illustrations and I think it could have been a third of the length whilst clarifying its ideas more clearly.

  3. 5 out of 5

    Carson May

    excessively wordy, but incredibly thought-provoking.

  4. 5 out of 5

    Tom Dufficy

  5. 5 out of 5

    Wiliam

  6. 4 out of 5

    Josh

  7. 4 out of 5

    Metamagical

  8. 5 out of 5

    Tyler Etters

  9. 5 out of 5

    james singleton

  10. 4 out of 5

    Step

  11. 5 out of 5

    Jack Cochrane

  12. 4 out of 5

    Gabriela Korwin - Piotrowska

  13. 4 out of 5

    nnmhj

  14. 4 out of 5

    Steven

  15. 5 out of 5

    Samuel Savenberg

  16. 5 out of 5

    Antonia

  17. 5 out of 5

    Alvaro Ortiz

  18. 5 out of 5

    Rob

  19. 5 out of 5

    Jamufo

  20. 4 out of 5

    Robert Heath

  21. 4 out of 5

    James Hardy

  22. 5 out of 5

    Luka P.

  23. 4 out of 5

    Andrea Nannerini

  24. 5 out of 5

    Cha Blasco

  25. 4 out of 5

    Jonathan Patrick

  26. 5 out of 5

    Pedram Mobedi

  27. 5 out of 5

    David

  28. 4 out of 5

    Jack

  29. 4 out of 5

    Ric Leichtung

  30. 4 out of 5

    Roman Kov

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