The author analyses experiments in pop music from the listener's point of view. Voorvelt first attempts to define experimentalism in pop music and position it against (or seek overlaps with) experimental art music of the time. His choice of British Post-punk music was made partially due to his view that, unlike experimental pop music of the late 1960s, this phenomenon and most of its musicians have been under-documented, at least as far as analytical and historical treatments were concerned. After describing a parametric methodology for analysis, the author then applies it to each of his chosen six works, concluding this section of the dissertation with comparative analyses.

Table of contents:

• Defining Experimental Pop
• Explaining Experimentalism in Pop
• British Post-punk Experimentalism
• Analysing Experimental Pop Music
• Analyses (Art Bears: ‘First Things First'; This Heat: ‘Horizontal Hold'; B. C. Gilbert and G. Lewis: ‘Ampnoise'; John Greaves and Peter Blegvad: ‘Like a Baby'; Brian Eno: ‘Lantern Marsh'; The Raincoats: ‘Family Treet')
• Conclusion + Appendices (including scores)