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10. ‘Scratch & Co’, The Spectator (13 December 1969). ‘Melody Rides Again’, Music and Musicians (October 1971). Ibid. 80 While Experimental Music addresses the impact of Cage and the New York School on contemporary music during the second half of the twentieth century, Nyman’s writings also explore and situate a ‘pre-experimental’ experimental tradition by detailing parallel movements that exhibited similar tendencies. In Nyman’s book, Satie is established as the most prominent precursor to the movement, largely due to his status in Cage’s own writings.
Michael Nyman: Collected Writings 30 of the manipulation of precision-turned sound blocks, in which instrumental register and colour, attack and dynamics are all-important, and which are set in motion by rhythmic dislocation. It is, in part, the rate at which these masses succeed one another that makes Arcana sound so new. It still seemed very unfamiliar to the orchestra – I had the impression of an expert pianist at sea with material which he claimed to be unpianistic. In this context, The Rite of Spring sounded like ‘The Teddy Bears’ Picnic’.
82 ‘Last Week’s Broadcast Music’, The Listener (24 May 1973); not included in this volume. 83 ‘Peak District’, The Listener (9 October 1975). 84 Nyman was soon to embrace the musical vernacular in his own music when he established the Foster’s Social Orchestra while lecturing at Trent Polytechnic in the mid-1970s (which took the popular music of nineteenth-century American composer Stephen Foster as its starting point), followed later by the Campiello Band, set up very much in the post-Scratch Orchestra tradition.