ABSTRACT
In this chapter issues surrounding the art of (experimental) music based on sounds – and not just notes – will be the focus. In the introduction the subject area will be delineated and a small number of remarks made concerning the slow tempo of development of compositional techniques as well as concerning the relative lack of musicological scholarship in terms of sound music analysis and aesthetics. The second part of the chapter specifically confronts two subjects the author considers particularly problematic at this point: 1) the propagation and appreciation of sound-compositions as well as 2) the creation of a solid terminology for the description thereof. (In fact this might be seen to complement the musical content issues raised in the last chapter.) The brief conclusion links the second section to the introduction by providing a few subjects of study to musicologists interested in this area as well as suggestions for frustrated fellow composers.
