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Laurence Crane's music is often described as experimental or considered as a continuation of the English experimental tradition. In this first extended examination of Crane's music it is proposed that, instead of relying upon associations and aesthetic alignments, the music might be considered as experimental through a particularly experimental approach to performance. After a brief overview of Crane's output his position as a composer is considered within the context of the experimental music tradition. This tradition is then considered in relation to performance practice, both historical and contemporary. A selection of Crane's music is examined in the light of that practice, whilst aspects of the composer's approaches to tonality, instrumentation, form and notation are also highlighted.

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I wish to thank Laurence Crane for patiently giving up his time whilst I probed him for information about his life and work. Thanks also to Anton Lukoszevieze who first introduced me to Crane's music and has facilitated my knowledge of the work through performances with Apartment House.

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This list contains references from the content that can be linked to their source. For a full set of references and notes please see the PDF or HTML where available.

Benjamin Piekut , ‘Indeterminacy, Free Improvisation, and the Mixed Avant-Garde: Experimental Music in London, 1965–1975’, Journal of the American Musicological Society, 67 (2014), pp. 771825

Sarah Walker , ‘The New English Keyboard School: A Second “Golden Age”’, Leonardo Music Journal 11 (2001), p. 17

William Brooks , ‘In re: “Experimental Music”’, Contemporary Music Review 31/1 (2012), pp. 3762

John Holzaepfel , ‘Reminiscences of a Twentieth-Century Pianist: An Interview with David Tudor’, The Musical Quarterly 78/3 (1994), p. 633

Christopher Fox , ‘Sharp Practice: Gavin Bryars at 60’, The Musical Times 144/1884 (2003), pp. 1525

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  • ISSN: 0040-2982
  • EISSN: 1478-2286
  • URL: /core/journals/tempo
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