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Works by Benjamin Piekut

Books

BP and George E. Lewis, eds. The Oxford Handbook of Critical Improvisation Studies. 2 volumes. New York: Oxford University Press, 2016.


Editor, Tomorrow is the Question: New Directions in Experimental Music Studies (Ann Arbor: University of Michigan Press, 2014).


Experimentalism Otherwise: The New York Avant-Garde and its Limits. Berkeley: University of California Press, 2011.


John Cage at 100. Special issue of Contemporary Music Review, co-edited with David Nicholls. Vol. 31, no. 1 (February 2012).


Articles

“Not So Much a Program of Music as the Experience of Music,” in Merce Cunningham: CO:MM:ON TI:ME, edited by Fionn Meade and Joan Rothfuss, 113-29 (Minneapolis: Walker Art Center, 2017).


Indeterminacy, Free Improvisation, and the Mixed Avant-Garde: Experimental Music in London, 1965-75.” Journal of the American Musicological Society 67/3 (Fall 2014): 769-824.


“Introduction: New Questions for Experimental Music,” in Tomorrow Is the Question, ed. Ben Piekut, 1-14.


Actor-Networks in Music History: Clarifications and Critiques,” Twentieth-Century Music 11/2 (2014): 191-215.


There must be some relatIon beTween mushrOoms and trains: Alvin Curran’s Boletus Edulis—Musica Pendolare.” In The Oxford Handbook of Mobile Music and Sound Studies, ed. Sumanth Gopinath and Jason Stanyek. New York: Oxford University Press, 2010.


Chance and Certainty: John Cage’s Politics of Nature.” Cultural Critique 84 (Spring 2013): 134-63.


Sound’s Modest Witness: Notes on Cage and Modernism.” Contemporary Music Review, John Cage at 100 Special Issue, 31/1 (February 2012): 3-18.


Review of The Ashgate Research Companion to Experimental Music (Ashgate, 2009). Notes (December 2010): 312-17.


“Mortitude: Tecnologias do Intermundano.” Portugese translation of “Deadness,” co-authored with Jason Stanyek. In Rumos da cultura da música—negócios, estéticas, linguagens e audibilidades, ed. Simone Pereira de Sá. Rio de Janeiro: Sulina, 2010.


BP and Jason Stanyek. “Deadness: Technologies of the Intermundane.” The Drama Review 54/1 (Spring 2010): 14-38.


“New Thing? Gender and Sexuality in the Jazz Composers Guild.” American Quarterly 62/1 (March 2010): 25-48.


“‘Demolish Serious Culture!’: Henry Flynt and Workers World Party.” In Sound Commitments: Avant-garde Music and the Sixties, ed. Robert Adlington, 37-55. New York: Oxford University Press, 2009.


Race, Community, and Conflict in the Jazz Composers Guild.” Jazz Perspectives 3/3 (December 2009): 191-231.