About me: La Monte Young (born October 14, 1935) is an American composer, commonly seen as the first minimalist composer and one of the four most celebrated leaders of the minimalist school, along with Philip Glass, Steve Reich, and Terry Riley, despite having little in common formally with Glass and Reich.
His works have been included among the most important and radical post World War II avant-garde, experimental, or drone music. Both his proto-Fluxus and "minimal" compositions question the nature and definition of music, and often stress elements of performance
Life
Born to a Mormon family in Bern, Idaho, his family moved several times in his childhood while his father searched for work before settling in Los Angeles, California. He studied at Los Angeles City College, and came out ahead of Eric Dolphy in a saxophone audition for the school's jazz band. In LA's jazz milieu, he played alongside notable musicians like Ornette Coleman, Don Cherry and Billy Higgins.
He undertook further studies at the University of California, Los Angeles (UCLA), where he received a BA in 1958, then at the University of California, Berkeley, from 1958–60. In 1959 he attended the summer courses at Darmstadt under Karlheinz Stockhausen, and in 1960 relocated to New York in order to study electronic music with Richard Maxfield. His compositions during this period were influenced by Anton Webern, Gregorian chant, Indian classical music, and Indonesian gamelan music.
A number of Young's early works use the twelve tone technique, which he studied under Leonard Stein at UCLA. (Stein had served as an assistant to Arnold Schoenberg when Schoenberg, the inventor of the twelve-tone method, had taught at UCLA.) When Young visited Darmstadt in 1959, he encountered the music and writings of John Cage. There he also met Cage's collaborator, pianist David Tudor, who subsequently gave premières of some of Young's works. At Tudor's suggestion, Young engaged in a correspondence with Cage. Within a few months Young was presenting some of Cage's music on the West Coast. In turn, Cage and Tudor included some of Young's works in performances throughout the U.S. and Europe. By this time Young had taken a turn toward the conceptual, using principles of indeterminacy in his compositions and incorporating non-traditional sounds, noises, and actions.
When Young moved to New York in 1960, he had already established a reputation as an enfant terrible of the avant garde. He initially developed an artistic relationship with Fluxus founder George Maciunas (with whom he published a text titled An Anthology) and other members of the nascent movement. Yoko Ono, for example, hosted a series of concerts curated by Young at her loft, and absorbed, it seems, his often parodistic and politically charged aesthetic. Young's works of the time, scored as short haiku-like texts, though conceptual and extreme, were not meant to be merely provocative but, rather, dream-like.
His Compositions 1960 includes a number of unusual actions. Some of them are unperformable, but each deliberatively examines a certain presupposition about the nature of music and art and carries ideas to an extreme. One instructs: "draw a straight line and follow it" (a directive which he has said has guided his life and work since). Another instructs the performer to build a fire. Another states that "this piece is a little whirlpool out in the middle of the ocean." Another says the performer should release a butterfly into the room. Yet another challenges the performer to push a piano through a wall. Composition 1960 #7 proved especially pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and the instruction: "To be held for a long time."
In 1962 Young wrote The Second Dream of the High-Tension Line Stepdown Transformer. One of The Four Dreams of China, the piece is based on four pitches, which he later gave as the frequency ratios: 36-35-32-24 (G, C, +C#, D), and limits as to which may be combined with any other. Most of his pieces after this point are based .. pitches, played continuously, and a group of long held pitches to be improvised upon. For The Four Dreams of China Young began to plan the "Dream House", a light and sound installation where musicians would live and create music twenty-four hours a day.[2] He formed The Theater of Eternal Music to realize "Dream House" and other pieces. The group initially included Marian Zazeela (who has provided the light work The Ornamental Lightyears Tracery for all performances since 1965), Angus MacLise, and Billy Name. In 1964 the ensemble contained Young and Zazeela, voices — Tony Conrad (a former mathematics major at Harvard) — John Cale strings — and sometimes Terry Riley, voice. Since 1966 the group has seen many permutations and has included, at various times, Garrett List, Jon Hassell, Alex Dea, and many others, including members of the 60s groups. Young has realized the "Theater of Eternal Music" only intermittently, due to a lack of funding for such an expensive project, requiring extensive and exceptional demands of time in rehearsal and mounting.
Most realizations of the piece have long titles, such as The Tortoise Recalling the Drone of the Holy Numbers as they were Revealed in the Dreams of the Whirlwind and the Obsidian Gong, Illuminated by the Sawmill, the Green Sawtooth Ocelot and the High-Tension Line Stepdown Transformer. His works too are often of extreme length, conceived by Young as having no beginning and no end, existing before and after any particular performance. In practical terms, too, Young and Zazeela are also on an extended sleeping-waking schedule – with "days" longer than twenty-four hours.
Beginning in 1970 interests in Asian classical music and a wish to be able to find the intervals he used by ear led to studies with Pandit Pran Nath. Fellow students included calligrapher and light artist Marian Zazeela, composers Terry Riley and Yoshi Wada, philosophers Henry Flynt and C.C. Hennix, and many others.
Young considers The Well Tuned Piano — a permutating composition of themes and improvisations for just-intuned solo piano — to be his masterpiece. Performances have exceeded six hours in length, and so far have been documented twice: first on a five-CD set issued by Gramavision, then a later performance on a DVD on Young's own Just Dreams label. One of the defining works of American musical minimalism, it is strongly influenced by mathematical composition as well as Hindustani classical music practice.
Together Young and Zazeela have realized a long series of semi-permanent "Dream Houses" — combining Young's just-intuned sine waves in elaborate, symmetrical configurations and Zazeela's quasi-calligraphic light sculptures — in long-term installations. The effect is rigorous yet sensual, utilizing aspects of the viewer/auditor's perception to create sensory overload within a barely defined physical space
hello friend to celebrate our myspace friendship and for waiting to my next album i'll give you this free comp (clik the image, download and pass to your firends..)
#1 free broadcast Beats Play Free 25 Feb 2009 first anniversary a 15 hours emission
netlabels retrospective
12 am mimi records 1 pm enough records 2 pm electro rucini 3 pm off/bruma 4 pm test tube 5 pm merzbau
dj set
6 pm braindance
live concert
7 pm la main traumatique 8 pm boiar 9 pm is kya 10 pm astronota 11 pm empathy kills 12 pm ocp 1 am total jam 1st part 2 am total jam 2nd part
GMT (0)
On February 25th, the Portuguese net audio community Beats Play Free will commemorate one year of existence. Among other events marking the date, a session of multi streaming will take place during approximately fifteen hours in the course of which will be presented a non-exhaustive review of some Portuguese net labels, including a DJ session by Braindance. During the second part of the event, projects active in the free music's domain such as La Main Traumatique, Boiar, IS KYA, Astronota, Empathy Kills and ocp are to be performed. The event will close with a two-hour jam session with all the participants playing simultaneously.
