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John Cline

). V. Vale explored similar terrain in the early 1990s. Outsider music does not involve any definite stylistic qualities; criteria for inclusion are generally either negational or relational. Much outsider music exhibits idiomatic characteristics of established genres, ranging from opera (Florence Foster Jenkins) to country music (the Legendary Stardust Cowboy), although in an idiosyncratic fashion. Other examples defy precedent, leaving the critical listener understanding initially only what the music is not (as with Fischer’s a cappella compositions). The term “outsider”


Michael Birenbaum Quintero, Jason Stanyek, Melissa Gonzalez, Jorge Arévalo Mateus, Mario Rey, Sydney Hutchinson, Lois Wilcken, Roberto Avant-Mier, John Koegel and Edgardo Díaz Díaz

notation, and chance operations with a strong rhythmic drive. His music incorporates expressive color blendings, new sonorities through electronic sound generation, and virtuosic, extended manipulations of traditional instruments. His vast catalog of compositions encompasses all media except opera, and his work has been performed by leading orchestras and soloists throughout the world. Julian Orbón de Soto ( 1925–91 ), of Spanish birth, has been influenced by a wide range of musical practices, including Spanish Renaissance music, Gregorian chant, and Afro-Cuban rhythms



Mark Tucker and Travis A. Jackson

orchestration. He added strings and double-reed instruments (oboe and bassoon) to the standard brass, single-reed (saxophone and clarinet), and rhythm sections and borrowed themes from the classical repertory—such as Rimsky-Korsakov’s “Song on the Indian Guest” (Vic., 1921 ) from his opera Sadko —to produce dance music that evoked the “high art” of the concert hall ( see Sweet dance music and Concert jazz ). In Chicago, Isham Jones was another prominent white bandleader who by the late 1910s was fronting an ensemble made up of three distinct sections (brass, reeds