Advanced Music

Disappearance of physical restrictions imposed by traditional, non-electronic means, gave musicians the possibilities for expansion of musical form. One part of fascination of electronic music is expanding musical language not only further than what we are currently accustomed with, but seemingly over the borders that seem to be the common sense natural borders of music – a pursue of “magical” forms and experiences. These “magical” features that electronic music brought are what attracted maybe even more attention than synthetic sounds themselves. For example, music would not be basically melodic and would use layers that miss each other, enigmatic sounding arpeggios, and many more features that seem to do incredible things with our mind. If classical music corresponds to Euclids elements, music of electronic age would correspond to modern science and maths; and like it, it is full of queer problems and mind-teasers, and is more about unexplored territories than about known ones; more about border-line cases than typical situations.

On this topic academic modernistic theories exist. However, they are far too detailed and complicated and more hide than reveal to an ordinary music lover. I will not pay too much attention to existing theories of music here and base my writing solely on my impressions when I came in touch with some pieces, as a listener who didn’t know any theory of music. I will try to present these musical novelties as I experienced them, and will occasionally give to my self freedom to write whatever I personally find interesting, without paying attention on full authoritativeness.