Non-musical components have always been included in musical compositions. To go beyond the boundaries of normal or acceptable parameters in an art form is to explore, it is akin to scientific experiment, takes courage and commitment, and when most successful, the attempt can shed light into the dark corners of the soul. Whereas philosophy also often takes as its subject the intricacies of human nature, it seeks to evaluate its findings, in contrast to art, which is revelatory.
In a series of theoretical essays which I will post here on my blog, I will attempt to set down a theoretical basis for the inclusion of such components, including definitions of relevant terms, structural functions, procedures, a conceptual framework, along with some examples and quasi-philosophical method of evaluating preëxisting work.
When complete, the essays will form a larger whole, which will be a unit within a larger music theory manuscript. The sections within the unit consist of the following:
Section 1:
Linguistic: Prefix considerations - naming conventions (a-, anti-, non-)
Definitions: music, rhythm, melody, harmony; nonmusic, nonmelody, nonharmony
Purpose - why nonmusic: outside of normal or acceptable parameters, derangement
Structural Functions
Section 2:
Methodologies:
As a conceptual framework
As a set of procedures
Section 3:
Evaluating nonmusic in music criticism
Relation to common practice and examples
Aleatory music
Noise music
Field recordings