The term self-idiomatic music is introduced as a practical tool for discussion of current directions in music that are otherwise termed free improvisation, non-idiomatic music, meta-music and electroacoustic improvisation. The work of self-idiomatic musicians (including the author) is characterized by exploration of the sound possibilities afforded by musical instruments and sounding objects. The author discusses some characteristics of self-idiomatic music, some of its roots in the popularization of consumer audio electronics, and how the music's flexibility and widespread Internet access have facilitated the recent global growth of a self-idiomatic music culture.

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© 2010 ISAST
2010

Supplementary data

The BSC live, Open Sound, Somerville, MA (clip 1)

The members of The BSC deploy their individual sound vocabularies, using a sense of horizontal and vertical structure derived from rehearsals and discussions. As with any self-idiomatic improvising ensemble, The BSC has developed its own internal conventions of timbre and structure, which evolve with each performer’s aesthetics. (©2009 The BSC)

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The BSC live, Open Sound, Somerville, MA (clip 2)

The BSC is an improvising ensemble founded in Boston in 2000. Its members are Bhob Rainey (saxophone, leader), Howard Stelzer (tapes), Liz Tonne (voice), Vic Rawlings (cello, electronics), Greg Kelley (trumpet), James Coleman (Theremin), and Michael Bullock (contrabass). Stelzer, who is featured in the article, is highlighted in this clip. (©2009 The BSC)

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Howard Stelzer’s tapes

As described in the article, Howard Stelzer improvises on a system of cassette tape machines that he manipulates directly with his hands. Stelzer is a member of The BSC, the self-idiomatic improvising ensemble featured in the accompanying audio clips. Photo by Bill T Miller. http://www.billtmiller.com/ (©2005 Bill T Miller)

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