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LA MONTE YOUNG




Articles connexes / Other Articles:

  • LA MONTE YOUNG (Papers, articles)
  • LA MONTE YOUNG (Scores, writings) — Documentation
  • POEM FOR CHAIRS, TABLES, BENCHES, ETC (La Monte Young) — lire/read
  • X FOR HENRY FLINT (La Monte Young) — lire/read
  • TWO SOUNDS (La Monte Young) — lire/read
  • THE WELL-TUNED PIANO (La Monte Young) — lire/read
  • DREAM HOUSE, ETC (La Monte Young) — bientôt / soon
  • LA MONTE YOUNG — An Anthology of Chance Operations (1963) — Documentation
  • LA MONTE YOUNG — Selected Writings (1959-1969) — Documentation
  • LA MONTE YOUNG — Composition 1960 #7 (1960) — Compositions 1960 (1963) — Documentation









1967(Edit)

Concert avec La Monte Young
in Le Nouvel Observateur n°133, 31 mai 1967, p.52 (F)


......................- Description : Annonce concert avec La Monte Young à Paris
- Dates: Paru dans le n°133 de la revue Le Nouvel Observateur, 31 mai 1967, p.52
- Fac-Similés : (click to enlarge)
1967 Le Nouvel Observateur


- Télécharger / Download (jpg) : ../files/articles/lamonteyoung/1967_lmy_1_b.jpg image 1

- Abstract : Un concert permanent. Œuvres de La Monte Young, Mariétan, Feldman, Cage, Wolff, Schoenberg, Webern, etc., par l'Ensemble Instrumental de Musique Contemporaine de Paris, direction Constantin Simonovic. Une expérience insolite et passionnante qu'il ne faut pas rater. Théâtre de Poche-Montparnasse, le 5, de 14h à 2h du matin.
- Download (pdf) : http://jeromejoy.org/files/articles/lamonteyoung/1967_lmy_1.pdf.zip http://joy.nujus.net/files/img/icon_pdf_round.png
- URL(s) (pdf) : http://referentiel.nouvelobs.com/archives_pdf/OBS0133_19670531/OBS0133_19670531_052.pdf http://joy.nujus.net/files/img/icon_pdf_round.png




1970(Edit)

Nuits de la Fondation Maeght avec La Monte Young
in Le Nouvel Observateur n°294, 29 juin 1970, p.40 (F)


......................- Description : Annonce concert avec La Monte Young à la Fondation Maeght à Saint-Paul de Vence
- Dates: Paru dans le n°294 de la revue Le Nouvel Observateur, 29 juin 1970, p.40
- Fac-Similés : (click to enlarge)
1970 Le Nouvel Observateur 1970 Le Nouvel Observateur


- Télécharger / Download (jpg) : ../files/articles/lamonteyoung/1970_lmy_1_b.jpg image 1 — ../files/articles/lamonteyoung/1970_lmy_2_b.jpg image 2

- Abstract : A noter que la « pénétration dans le son » sous l'égide de La Monte Young (première apparition en France) durera une semaine, du 29 juillet au 4 août.
- Autre document : Annonce émission radio sur France-Culture, le 21 juin 1970 (in Le Nouvel Observateur n°292, 15 juin 1970, p.11).
- Download (pdf) : http://jeromejoy.org/files/articles/lamonteyoung/1970_lmy_1.pdf.zip http://joy.nujus.net/files/img/icon_pdf_round.png
http://jeromejoy.org/files/articles/lamonteyoung/1970_lmy_2.pdf.zip http://joy.nujus.net/files/img/icon_pdf_round.png
- URL(s) (pdf) : http://referentiel.nouvelobs.com/archives_pdf/OBS0294_19700629/OBS0294_19700629_040.pdf http://joy.nujus.net/files/img/icon_pdf_round.png
http://referentiel.nouvelobs.com/archives_pdf/OBS0292_19700615/OBS0292_19700615_011.pdf http://joy.nujus.net/files/img/icon_pdf_round.png




1972(Edit)

La Monte Young
D. & J. Caux
in Chroniques de l'Art Vivant n°30, mai 1972 (F)


......................- Description : Numéro spécial "La Monte Young", par Daniel Caux et Jacqueline Caux
- Dates: Paru dans le n°30 de la revue Chroniques de l'Art Vivant, mai 1972, p. 24 - 29 et p. 32
- Fac-Similés : (click to enlarge)
1972 Chroniques de l'Art Vivant 1972 Chroniques de l'Art Vivant page 24 1972 Chroniques de l'Art Vivant page 25 1972 Chroniques de l'Art Vivant page 26 1972 Chroniques de l'Art Vivant page 27 1972 Chroniques de l'Art Vivant page 28 1972 Chroniques de l'Art Vivant page 29 1972 Chroniques de l'Art Vivant page 32


- Télécharger / Download (jpg) : ../files/articles/lamonteyoung/1972_mai_lmy_1_1_b.jpg image 1 — ../files/articles/lamonteyoung/1972_mai_lmy_1_2_b.jpg image 2 — ../files/articles/lamonteyoung/1972_mai_lmy_1_3_b.jpg image 3 — ../files/articles/lamonteyoung/1972_mai_lmy_1_4_b.jpg image 4 — ../files/articles/lamonteyoung/1972_mai_lmy_1_5_b.jpg image 5 — ../files/articles/lamonteyoung/1972_mai_lmy_1_6_b.jpg image 6 — ../files/articles/lamonteyoung/1972_mai_lmy_1_7_b.jpg image 7 — ../files/articles/lamonteyoung/1972_mai_lmy_1_8_b.jpg image 8

- Abstract : Le premier son que je me souviens avoir entendu est celui du vent qui passait à travers les interstices de la cabane de bois et j'ai toujours considéré cette expérience comme une des plus importantes de ma petite enfance. C'était très imposant, beau et mystérieux ; ne parvenant pas à le voir, je me demandais ce que c'était et questionnais ma mère pendant des heures ... (La Monte Young)
- Download (pdf) : http://jeromejoy.org/files/articles/lamonteyoung/1972_lamonteyoung_1_full.pdf.zip http://joy.nujus.net/files/img/icon_pdf_round.png




1972(Edit)

Concert La Monte Young
in Le Nouvel Observateur n°394, 29 mai 1972, p.20 (F)


......................- Description : Annonce concert de La Monte Young à Paris
- Dates: Paru dans le n°394 de la revue Le Nouvel Observateur, 29 mai 1972, p.20
- Fac-Similés : (click to enlarge)
1972 Le Nouvel Observateur


- Télécharger / Download (jpg) : ../files/articles/lamonteyoung/1972_lmy_2_b.jpg image 1

- Abstract : Le plus ésotérique sans doute des sorciers de la musique contemporaine présentera ses « pièces pour bandes magnétiques » dans un environnement lumineux mis au point par Marian Zazeela. Un événement. Le Palace, 8, Faubourg-Montmartre (770-44-37), mardi 30 mai à 22 h 30.
- Download (pdf) : http://jeromejoy.org/files/articles/lamonteyoung/1972_lmy_2.pdf.zip http://joy.nujus.net/files/img/icon_pdf_round.png
- URL(s) (pdf) : http://referentiel.nouvelobs.com/archives_pdf/OBS0394_19720529/OBS0394_19720529_020.pdf http://joy.nujus.net/files/img/icon_pdf_round.png




1988(Edit)

KlangRaum
La Monte Young
in Galeries Magazine n°24, avril-mai 1988 (F)


......................- Description : Annonce exposition KlangRaum de La Monte Young à Düsseldorf
- Dates: Paru dans le n°24 de la revue Galeries Magazine, avril-mai 1988, p. ?
- Fac-Similés : (click to enlarge)
1988 Galeries Magazine


- Autres documents : (click to enlarge)
1988 Invitation Music and Light Box


- Télécharger / Download (jpg) : ../files/articles/lamonteyoung/1988_mai_lmy_1_b.jpg image 1 — ../files/articles/lamonteyoung/1988_mai_lmy_2_b.jpg image 2

- Download (pdf) : http://jeromejoy.org/files/articles/lamonteyoung/1988_mai_lmy.pdf.zip http://joy.nujus.net/files/img/icon_pdf_round.png








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INTERVIEWS Articles(Edit)

http://lamonteyoung.com/





  • La Monte Young : Créer des états psychologiques précis (1970) :
    By Jacqueline & Daniel Caux, 1970. In Chroniques de l'Art Vivant n° 30 - Mai 1972 - Special La Monte Young, pp. 27 à 29 et p.32.
    Source : http://jeromejoy.org/w/index.php?page=DOCLMY (this page)



  • La Monte Young, Morton Feldman : A conversation on composition and improvisation (1989) :
    Res 13 (Cambridge 1987), pp. 153-173.
    Source :



  • Interview with La Monte Young (1989) :
    By David B. Doty, 1989. The following interview took place on the afternoon of September 2, 1989, in the Berkeley, California residence of North-Indian vocal master Pandit Pran Nath. It was originally published in 1/1, The Journal of the Just Intonation Network, issues 5:4 and 6:1, Autumn 1989 and Winter 1990.
    Source : http://www.dbdoty.com/Words/LMYInterview_01.html





  • La Monte Young & Marian Zazeela (1995-96) :
    By Ian Nagoski, 1995-96. In Halana no. 1, Ardmore, PA, Winter 1995-96
    Source : http://www.halana.com/lymz.html











PUBLISHED INTERVIEWS (listed on lamonteyoung.com) : Smith, Geoff & Smith, Nicola Walker. New Voices: American Composers Talk about Their Music. Portland, Oregon: Amadeus Press, 1995; Duckworth, William. Talking Music. New York: Schirmer Books & Prentice Hall International, 1995; Miesgang, Thomas. "La Monte Young, ein Interview" Falter 9/95, 691/1995 (Vienna 1995): 26. Carfi, Pietro. "La Monte Young: Il ritorno del maestro," World Music IV/16 (Rome 1994): 22; Gagne, Cole. Soundpieces 2 / Interviews With American Composers. Metuchen, NJ and London: The Scarecrow Press, 1993; Johnson, Martin. "Randy Weston and La Monte Young, Kinds of Blues" Pulse! 120 (W. Sacramento, CA, November 1993); Pranzl, Alfred. "La Monte Young," Skug 9 (Vienna 1992): 13; Donguy, Jacques. "Musique pour le Reve," art press 150 (Paris 1990): 55; Doty, David B. "The La Monte Young Interview," 1/1, Part 2, 6/1 (San Francisco 1990): 8; Part 1, 5/4 (S.F. 1989): 1; Kim, Jin-hi. "Interview: La Monte Young," Eumak Dong-A 1988.2 (Seoul 1988): 87; Strickland, Edward. "The Well-Tuned Piano: An Interview with La Monte Young," Fanfare 11/1 (Tenafly, N.J., 1987): 80 (also American Composers: Dialogues on Contemporary Music. Bloomington and Indianapolis: Indiana University Press, 1991); Feldman, Morton and Young, La Monte. "A Conversation on Composition and Improvisation," Res 13 (Cambridge 1987): 153; Vidic, Ljerka. "Meet the Composer: La Monte Young and Marian Zazeela," Ear 12/3 (New York 1987): 24 (also Zvuk, Jugoslovenski Muzicki Casopis 3-4, Sarajevo 1986: 90); Reusser, Jean-Michel. "Musique: Pandit Pran Nath," L'Autre-Monde 69 (Paris 1983): 62; ..... "La Monte Young: Un Musicien Bien Accorde," L'Autre Monde 68 (Paris 1983): 60; Reinhard, Johnny. "A Conversation with La Monte Young and Marian Zazeela," Ear 7/5 (New York 1982-83): 4; Pelinski, Ramon. "Upon Hearing a Performance of The Well-Tuned Piano: An Interview with La Monte Young and Marian Zazeela," Parachute 19 (Montreal 1980): 4 (also Interval IV/4 and IV/3, San Diego 1985, 1984); Singh, Shanta Serbjeet. "Interview with La Monte Young and Marian Zazeela," East-West Music (Festival Catalogue). Rome: L'Attico, 1974; Gligo, Nicsa. "Ich Sprach mit La Monte Young und Marian Zazeela," MELOS VI November-December (1973): 338; Caux, Daniel. "La Monte Young: Creer des etats psychologiques precis," Chroniques de l'art vivant 30 (Paris 1972); Kubota, Shigeko. "Art as a New Style Life: Interview with La Monte Young," Bijutsu Techo 2 (Tokyo 1971); Kostelanetz, Richard. The Theatre of Mixed Means. New York: Dial, 1968.
Source : http://melafoundation.org/lmyresum.htm





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PUBLISHINGS(Edit)

Source : http://www.melafoundation.org/mzpublic.htm







  • Selected Writings, by La Monte Young & Marian Zazeela (1959-1969)
    Source : http://www.ubu.com/historical/young/young_selected.pdf
    • "Notes On The Continuous Periodic Composite Sound Waveform Environment Realizations Of "Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery"
    • "Dream House"
    • "Conversation With La Monte Young By Richard Kostelanetz"
    • "The Soul Of The Word"
    • "Lecture 1960"
    • "Poem To Diane"







  • Notes on the Well-Tuned Piano, by La Monte Young (1981-1987)
    Source : In "The Well-Tuned Piano" LP booklet [continue reading]



  • The Magenta Lights, by Marian Zazeela (1987)
    Source : In "The Well-Tuned Piano" LP booklet [continue reading]



  • Sound & Light Environment a time installation measured by a setting of continuous frequencies in sound and light : February 1989 - March 1990, Dia Art Foundation, New York City, by La Monte Young & Marian Zazeela (1996)
    Source : In "Light & Sound - La Monte Young & Marian Zazeela", Ed. William Duckworth & Richard Fleming



  • Time Light Simmetry - Sculptures from "Still Light", Neon : Dream House Variation I", Stairwell Environment "Magenta Day/Magenta Night", by Marian Zazeela (1996)
    Source : In "Light & Sound - La Monte Young & Marian Zazeela", Ed. William Duckworth & Richard Fleming



  • The Romantic Simmetry (over a 60 cycle base) from The Symmetries in Prime TIme from 144 to 112 with 119 (89 I 30 NYC), by La Monte Young (1996)
    Source : In "Light & Sound - La Monte Young & Marian Zazeela", Ed. William Duckworth & Richard Fleming



  • Continuous Sound and Light Environments, by La Monte Young & Marian Zazeela (1996)
    Source : In "Light & Sound - La Monte Young & Marian Zazeela", Ed. William Duckworth & Richard Fleming





PUBLISHED WRITINGS : "Sound & Light Environment: a time installation measured by a setting of continuous frequencies in sound and light, Dia Art Foundation, 548 West 22nd Street, New York City, February 1989-March 1990," "The Romantic Symmetry (over a 60 cycle base) from The Symmetries in Prime Time from 144 to 112 with 119," "Continuous Sound and Light Environments" in SOUND AND LIGHT: La Monte Young and Marian Zazeela, Bucknell Review (Spring 1996, Vol. 40:1), Ed. William Duckworth and Richard Fleming (Lewisburg 1996); "Lecture 1960," Happenings and Other Acts, Ed. Mariellen R. Sandford. London & New York: Rutledge, 1995; "Lecture 1960," Excerpts from "Sound and Light Works" (Collected Notes Spring 1990), Catalog for 44th Venice Biennale exhibition, "Ubi Fluxus ibi motus 1990-1962," (Milan 1990); "The Romantic Symmetry (over a 60-cycle base) in Prime Time from 112 to 144 with 119," 1/1 5/4 (San Francisco, 1989): 6; "Music and Light Box," Catalog for "Klangräume," Rheinisches Musikfest 1988, Düsseldorf (Köln 1988); "Notes on The Well-Tuned Piano," 1/1 3/3 (San Francisco 1987); The Well-Tuned Piano 81 X 25, Record Program Booklet, (New York 1986); Entries on Pandit Pran Nath and Terry Jennings, The New Grove Dictionary of American Music, (New York/London 1986); "Der Eröffnungs-Akkord aus The Well-Tuned Piano," Catalog for "Raum Zeit Stille," Kölnischer Kunstverein (Köln 1985); "Musique: Pandit Pran Nath et le Style Kirana," L'Autre-Monde 69 (Paris 1983): 62; "Notes on the Continuous Periodic Composite Sound Waveform Environment Realizations of Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery," "Dream Music," "Le Chant de Pran Nath: Le Son Est Dieu," VH 101 4 (Paris 1970-71); "Singing of Pran Nath: The Sound is God," The Village Voice (New York 1970); "Untitled (Notes on Dream Music)," Aspen 9 (New York 1970); Selected Writings. Munich: Friedrich, 1969; "Two Propositions in Black," S.M.S. 1, The Letter Edged in Black Press (New York 1968; "Lecture 1960," Tulane Drama Review, (New Orleans 1965); "Dream," Dream Sheet, Ed. Diane Wakoski, Hardware Poets Playhouse (New York 1965); Excerpts from "Lecture 1960," Kulchur 10 (New York 1963).
Source : http://melafoundation.org/lmyresum.htm



SELECTED BIBLIOGRAPHY : Cardew, Cornelius. "One Sound: La Monte Young," Musical Times 107/11 (1966): 959; Caux, Daniel. "John Cage, La Monte Young et la dissidence musicale d'aujourd'hui," art press 150 (1990): 48; Fricke, David. "Record Reviews: Just Stompin' / Live at The Kitchen, La Monte Young and The Forever Bad Blues Band," Rolling Stone 669 (November 11, 1993); Gann, Kyle. "La Monte Young's The Well-Tuned Piano," Perspectives of New Music 31/1 (Winter 1993): 134; Gann, Kyle. "Maximal Spirit," Village Voice (9 June 1987): 70; Gena, Peter. "Freedom in Experimental Music: The New York Revolution," Tri-Quarterly 52 (1981): 223; Griffiths, Paul. Modern Music: The Avant-garde Since 1945. New York: G. Braziller, 1981; Heisinger, Brent. "American Minimalism in the 1980s," American Music 7/4 (1989): 430; Hitchcock, H. Wiley. "Current Chronicle," Musical Quarterly 51 (1965): 538; Leedy, Douglas. "Record Reviews: La Monte Young. 90 XII 9 c. 9:35-1052 PM NYC The Melodic Version (1984) of The Second Dream of The High-Tension Line Stepdown Transformer from The Four Dreams of China (1962)," American Music 11/1 (Spring 1993) 126; Licht, Alan. "The History of La Monte Young's Theatre of Eternal Music," Forced Exposure 16 (1990): 60; McCardell, Charles. "Sound Instincts: La Monte Young & His Breakthrough Music," Washington Post (15 October 1985): E7; Mertens, Wim. American Minimal Music. London: Kahn & Averill, 1983; Morgan, Robert P. Twentieth-Century Music. New York and London: W.W. Norton, 1991; Neilson, John. "Getting Down to Fundamentals: The Essence of La Monte Young," Option (Sep/Oct 1987); Nyman, Michael. "Against Intellectual Complexity in Music," October 13 (1980): 82; .......-. Experimental Music: Cage and Beyond. New York: Schirmer, 1974; Palmer, Robert. "A Father Figure for the Avant-garde," The Atlantic 247/5 (May 1981): 48; ........ "La Monte Young: Lost in the Drone Zone," Rolling Stone, issue #180 (13 February 1975): 24; ....... "Get Ready for the Music of Harmonics," New York Times (17 July 1983): C17; Rich, Alan. "La Monte Young's Minimalist Marathon," Newsweek (27 July 1987): 58; Rockwell, John. "Boulez and Young: Enormous Gulf or Unwitting Allies?" Los Angeles Times (13 February 1972): 38; Rosenbaum, Ron. "Eternal Music in a Dreamhouse Barn," Village Voice (12 February 1970): 5; Schaefer, John. New Sounds. New York: Harper & Row, 1987; Smith, David. "Following a Straight Line: La Monte Young," Contact 18 (1977-78): 4; Strickland, Edward. Minimalism:Origins, Bloomington and Indianapolis: Indiana University Press, 1993; Terry, Ken. "La Monte Young: Avant-garde Visionary: Composer and Pianist," Contemporary Keyboard 6/8 (1980): 12; Wolf, Daniel J. "Living and Listening in Real Time," Interval (1982-83): Winter, 14; (1983): Autumn, 27.
Source : http://melafoundation.org/lmyresum.htm





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INTERVIEWS Audio Files(Edit)





double-click to start the video



Part 1



  • La Monte Young : Poem (1989) :
    France-Culture 1989. émission Atelier de Création Radiophonique, par Réné Farabet, "Petit Concert Fluxus pour un dimanche soir".
    Source : France Culture Radio France

Part 1 : w/ John Cage (à propos de la Monte Young), "Poem, etc." enregistrement Paris 1989.



  • Interview with La Monte Young by Daniel Caux (1990) :
    France-Culture 1990
    Source : Archives personnelles

Part 1 : w/ "Trio for Strings" with the Trio Basso, H. Brünig, viola, O. Liesmann, cello, W. Güttler, double-bass, Musica 90, Strasbourg.

Part 2 : w/ "The Tortoise, His Dreams and Journeys", July 31, 1969. for sine waves and voices

Part 3 : w/ "The Tortoise, His Dreams and Journeys", July 31, 1969. for sine waves and voices ; "Dream House", Espace Donguy, Paris

Part 4 : w/ "Dream House", Espace Donguy, Paris

Part 5 : w/ "The Well-Tuned Piano", version 1981 ; end of "Trio for Strings" with the Trio Basso

Part 6 : w/ end of "Trio for Strings" with the Trio Basso





  • Interview with La Monte Young and Marian Zazeela (1984) :
    Russ Jennings interviews La Monte Young and Marian Zazeela about their new collaborative work, The Well Tuned Piano. This work is the culmination of a life long interest in just intonation on the part of Young and also incorporates the light art of Zazeela. The two also discuss the influence that Pandit Pran Nath has had on their art.
    Source : http://archive.org/details/AM_1984_08_XX



  • Vous avez dit minimalisme : La Monte Young (1997) :
    par Daniel Caux. "Les chemins de la musique". France-Culture 28 octobre 1997
    Source : France Culture Radio France



  • La Monte Young on Minimalism (date ?) :
    (no reference)
    Source :



  • La Monte Young on Fluxus (date ?) :
    (no reference)
    Source :







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WORKS : AudioVideo Files(Edit)




Dream House (1973)(Edit)


13 I 73 5:35 - 6:14:03 PM NYC est une partie de "Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery" , elle-même une section d'un travail encore plus vaste appelé "The Tortoise, His Dreams and Journeys" (la tortue, ses rêves et voyages). Dans ce document, trois générateurs d'ondes sinusoïdales et les membres du Théâtre de Eternal Music jouent ensemble.

13 1 73 5:35 - 6:14:03 PM NYC — sub-section of "Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery", begun in 1966 as a section of the even longer work: "The Tortoise, His Dreams And Journeys" which was begun in 1964 with The Theatre Of Eternal Music. Performed 13 January 1973 at La Monte Young's private studio.
{small}Personnel: The Theater of Eternal Music ; La Monte Young - Voice and Sine Waves ; Marian Zazeela - Voice ; Jon Hassell - Trumpet ; Garrett List - Trombone — Source : released on the French label Shandar (1974)

13 I 73 5:35 - 6:14:03 PM NYC


Drift Study 14 VII 73 9:27:27-10:06:41 PM NYC

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Drift Study 14 VII 73 9:27:27-10:06:41 PM NYC, se joue entièrement sur des générateurs d'ondes sinusoïdales. La fréquence et la tension électrique des ondes sinusoïdales ont été déterminées et accordées par La Monte Young utilisant pour cela des oscillateurs sur mesure conçus par l'ingénieur du son Robert Adler pour générer des fréquences spécifiques et des tensions électriques de grande stabilité. Les ondes sinusoïdales produites sont telles qu'elles interfèrent les unes avec les autres, créant ainsi des changements de volume à la fois dans le temps et dans l'espace qui peuvent être expérimentés soit en marchant dans la salle ou en restant sur place. Si l'on choisit de marcher, on va changer l'expérience sonore des autres personnes dans la pièce.

On B-side on the vinyl :
Drift Study 14 VII 73 9:27:27 - 10:06:41 PM NYC — Three sine waves. Frequencies and voltages of the sine waves determined and tuned by La Monte Young using oscillators custom designed by Rober Adler to generate specific frequencies and voltages of great stability. Performed 14 July 1973 at La Monte Young's private studio.
(See Drift Study 1969 below)






31 VII 69 10:26 - 10:49 PM(Edit)


  • 31 VII 69 10:26 - 10:49 PM :
    This work was recorded at the date and time indicated in the title, at Galerie Heiner Friedrich, München 31 VII 69 10:26-10:49 PM - is a section of the longer work: "Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery". This performance is by La Monte Young and Marian Zazeela : Voice, Electronics [Sine Wave Drone] – La Monte Young ; Voice – Marian Zazeela
    Source : http://archive.org/details/AM_1972_03_16
    Officially released on 2800 copy limited edition LP “The Black Record” Edition X - Heiner Friedrich - Munich, Germany Recorded at the Galerie Heiner Friedrich in Munich, Germany.

Part 1






Oceans (1969)(Edit)


Issued from an aborted session for a 1969 CBS lp.
A recording (done by David Tudor) of Young and his collaborator/partner Marian Zazeela overlapping their voices in a series of reedy, mesmerizing drones as they sit on the edge of an ocean, over the sound of waves crashing against the shore.. In between extended passages of vocalizing, there are disarmingly mundane asides muttered by Young to Tudor about the minutiae of microphones. — Source : http://shadesofeternalnight.tumblr.com/page/2

28 XI 63 - The Overday (Excerpt)
dur. 20'

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Drift Study 31 I 69 12:17:30 - 12:49:58 PM NYC (1969)(Edit)


Drift Studies (1967- ) for two or more ultra-stable, precisely-tuned sine-wave drones. The recorded version offers a whole range of psychoacoustical effects to the armchair listener. In time, however, the pitches will 'drift' slightly, despite the accuracy of the equipment. Among other things this causes the volume of each pitch to drift as well. Between September 1966 and January 1970 Young had turned his house into a continuous sound environment. He consequently studied the effects in great detail.
— Dave Smith, "Following a Straight Line: La Monte Young", Originally published in Contact no. 18 (Winter 1977-78), pp. 4-9. — http://www.users.waitrose.com/~chobbs/smithyoung.html

"Drift Study" est basée sur une recherche attentive et contrôlée de l'incidence de la diffusion de fréquences dans un espace. L'œuvre repose sur le fait que les ondes sinus possèdent la caractéristique unique d'avoir qu'une seule frréquence (pure) alors que tous les autres sons sont composés de multiples fréquences (ou fréquences complexes). Lorsqu'une fréquence continue est diffusée dans un espace fermé, elle divise l'air dans cet espace en des zones de haute et de basse pression. Parce que l'onde sinus a une structure simple, ces zones sont aisément perçues et localisées dans l'espace par les auditeurs surtout lorsque ces derniers se déplacent. Pour La Monte Young, le principe de "Drift Study" était simple : "Ce phénomène est rarement perçu dans la plupart des situations musicales et il place la position et le mouvement de l'auditeur comme partie intégrante de la composition". Un auditeur "passif" (ou immobile) ne percevrait qu'une seule fréquence stable et constante. Un auditeur "actif" mobile dans l'espace découvre une variété de variations générées à partir de la monotonie invariante d'une fréquence.

Performed by La Monte Young : Sine-Wave Drone.
Officially released on LP Aspen Magazine Issue No. 8 - NYC 1969



Drift Study 31 1 69 12-17-33 (Excerpt)







Drift Study 4:37:40 - 5:09:50 - 4:37:40 PM — 5 VIII 68 NYC (1968)(Edit)


(25' Excerpt)

Tape realization for SMS (Super Monolograph Series) magazine nr4 (5' reel-to-reel audio tape, 1968 ; reissued on cassette, 1988). Frequency and amplitude ratios tuned by the composer on a Moog synthesizer utilizing its sine wave oscillators, mixer and lowpass filter.
Recorded in NYC for Roaring Fork Press



Drift Study 4:37:40 - 5:09:50 - 4:37:40 PM — 5 VIII 68 NYC (Excerpt)


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The Well-Tuned Piano (1964/1973/1981/Present...)(Edit)


Performed by La Monte Young in a setting of The Magenta Lights by Marian Zazeela. Recorded live at the last 6 Harrison Street Dream House concert of The Well Tuned Piano, New York City on October, 25, 1981, from 6.17.50 to 11.18.59 PM. 1981 version "The Elysian Fields".
Performed by La Monte Young : Just Intonation Boesendorfer Piano
















23 VIII 64 2:50:45-3:11AM, the volga delta (from Studies in The Bowed Disc)(Edit)


  • La Monte Young’s Eternal Music — 23 VIII 64 2:50:45-3:11AM, the volga delta :
    "23 VIII 64 2:50:45-3:11AM, the volga delta" (from Studies in The Bowed Disc). We recorded this gong duet in our studio in New York City on the date and time indicated in the title. It is a section of a larger work: Studies In The Bowed Disc begun in September 1968. To listen to the live performance, playback at 33 1/3 rpm. However, this side may be played back at any slower constant speed down to 8 1/3 rpm, i.e., 16 2/3 rpm which is available on some turntables. These performances are by La Monte Young and Marian Zazeela : Gong [Bowed] – La Monte Young , Marian Zazeela
    Source : http://archive.org/details/AM_1972_03_16
    Officially released on 2800 copy limited edition LP “The Black Record” Edition X - Heiner Friedrich - Munich, Germany. Recorded in New York City.

31 VII 69 10:26 - 10:49 PM, from Studies In The Bowed Disc






The Overday (1963)(Edit)


28 XI 63 - the overday. Performed by The Theatre of Eternal Music : La Monte Young : Sopranino Saxophone ; Marian Zazeela : Voice Drone ; Angus MacLise : Hand Percussion ; Tony Conrad : Bowed Guitar ; John Cale : Viola
This piece was aired during the October 21, 1984 WKCR (89.9 FM) 24 Hour La Monte Young Retrospective radio broadcast in celebration of La Monte Young’s 49th birthday from Columbia University.
This has been remastered, balanced and pitch-corrected to the drone note of Ab, in order for the sopranino saxophone to be playing as indicated by the following statement made by La Monte Young in his online essay “Notes on The Theatre of Eternal Music and The Tortoise, His Dreams and Journeys

"The specific rules that governed the performance of my music, including the sections of The Tortoise, His Dreams and Journeys participated in by Tony Conrad and John Cale, create a sound characterized by the predominance of musical intervals whose numerators and denominators in just intonation are factorable by the primes 7, 3, and 2, and selected higher primes, especially 31, and by the exclusion of intervals whose numerators and denominators are factorable by the prime 5. If we represent intervals with numerators and denominators factorable by the primes 7, 3, and 2 in conventional music notation and terminology, we obtain intervals that include various sized major and minor sevenths (with emphasis on the septimally derived blues minor seventh in my compositions such as Bb Dorian Blues, Early Tuesday Morning Blues, Sunday Morning Blues, and The Tortoise), perfect fifths, octaves, unisons and their inversions, various sized major and minor seconds, and perfect fourths. The blues I was playing on the sopranino saxophone, directly preceding the period of The Tortoise, emphasized a technique I invented consisting of extremely fast combination permutations of a limited set of tones to simulate a sustained chord. And the chord I increasingly emphasized consisted of the pitches Eb, Bb, Db, Eb, (the IV-chord from Bb Dorian Blues) extended over the full range of the saxophone. Translated back into just intonation, these pitches are all examples of octave transpositions of the primes 7, 3, and 2." — (La Monte Young)

28 XI 63 - The Overday (Excerpt / part of an 80-minute session)
dur. 20'






The Second Dream Of The High Tension Line Stepdown Transformer From the Four Dreams of China (1962)(Edit)


day of the unquiet grave smoke of the shore (December 10 - 11, 1962). Performed by The Theatre of Eternal Music Brass Ensemble . Live at Merkin Hall, New York City, New York April 1993. 8 Trumpets with Harmon Mutes :
Trumpet — Ben Neill (leader), Gary Trosclair, (Chuck Olsen), James Donato, James O'Connor, Pamela Fleming, Rich Clymer, Rich Kelley, Stephen Burns

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Forty-Two for Henry Flynt, for gong solo (X for Henry Flynt - 1960)(Edit)


Performed by Peter Winkler (gong) at the Third Annual Festival of the Avant Garde in San Francisco, 1965

X For Henry Flynt (1960) — Il s'agit d'une pièce dans laquelle l'interprète doit répéter toutes les une à deux secondes un son relativement puissant, un grand nombre de fois. Le X correspond au nombre d'itérations, qui n'est pas spécifié — (Le nombre 566 semble néanmoins un choix en vogue depuis la création de la pièce en mai 1961 par Toshi Ichiyanagi. Voir Henry Flynt, « La Monte Young in New York, 1960-62 ».)
Recorded and broadcast by KPFA radio.






Two Sounds (1960)(Edit)


"One further composition reached England in 1964 when the Merce Cunningham Dance Company were at Sadler's Wells and the Phoenix Theatre for a season. Cunningham had choreographed a composition called 2 Sounds. The composer had provided two sounds on separate tapes, to be started at different points during the ballet. When the first sound starts you cannot imagine that any more horrible sound exists in the whole world. Then the second sound comes in and you have to admit you were wrong." - Cornelius Cardew
2 Sounds (1960) dates from a period of close collaboration with Terry Riley. One sound is made by scraping a tin can over a pane of glass, the other by scraping a drum stick around a gong: both tin and gong were close-miked. The sounds were recorded on separate tapes which are started at different times. Merce Cunningham has been using this version for his 'Winterbranch' ballet since 1964.
— Dave Smith, "Following a Straight Line: La Monte Young", Originally published in Contact no. 18 (Winter 1977-78), pp. 4-9. — http://www.users.waitrose.com/~chobbs/smithyoung.html

Performed by : La Monte Young : Drumstick on Gong ; La Monte Young and Terry Riley : Cans on Windows.
Recorded in April 1960. Location unknown.
Used by the Merce Cunningham Dance Company for the Winterbranch ballet since 1964.






Vision (1959)(Edit)


for twelve instrumentalists playing unconventional sounds within the space of thirteen minutes, as determined by chance operations.
pour piano, 2 cuivres, flûte à bec, 4 bassons, violon, alto, violoncelle, contrebasse.






Trio for Strings (1958)(Edit)


The Trio for Strings (1958) is based entirely on different spacings and transpositions of selected pitches (usually three at any one time) from the 'dream chord'.

What is more noticeable is that the 48-minute Trio is played entirely without vibrato, mostly pretty quietly and with very slow bowing. The sculptural qualities of the sound are reinforced in performance by the statuesque appearance of the players. The timbres are devoid of colour and the notes are played not 'as individual "parts" but as contributions to a chordal unit whose components are of different durations' (Michael Nyman, Experimental Music (London: Studio Vista, 1974), p. 121.). These chordal units are separated by silences lasting up to 40 seconds.
— Dave Smith, "Following a Straight Line: La Monte Young", Originally published in Contact no. 18 (Winter 1977-78), pp. 4-9. — http://www.users.waitrose.com/~chobbs/smithyoung.html

Le Trio for Strings, qui est un jalon important dans l'histoire de la musique occidentale, est entièrement constitué de longues durées. C'est la composition sérielle la plus étrangement unique que je connaisse. Le son de la pièce, qui combine la patience de la Chine ancienne avec l'austérité du Zen japonais, est dominé par des suspensions d'intervalles qui nous entraînent sur des plans statiques que nos idéaux occidentaux, matérialistes et limités par la pesanteur, ne nous permettent généralement pas d'atteindre.
— Terry Riley, cité in Edward Strickland, "Minimalism: Origins", Bloomington & Indianapolis, Indiana University Press, 1993, p.69.

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Trio for strings






Five Small Pieces for String Quartet (On Remembering a Naiad), for string quartet (1956)(Edit)


1. A Wisp, 2. A Gnarl, 3. A Leaf, 4. A Twig, 5. A Tooth.
(Arditti Quartet) (cd : Paris : Naïve, 2001)







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WORKS : List (1985-2005)(Edit)

  • 1988, The Big Dream Symmetries, n° 1-6, environnements sonores;
  • 1989, The Symmetries en Prime Time from 144 to 112 with 119, comprenant : « The Close Position Symmetry, The Symmetry Modeled on BDS # 1» , « The Symmetry Modeled on BDS # 4 », « The Symmetry Modeled on BDS # 7 », « The Romantic Symmetry », « The Romantic Symmetry » (over la 60 cycle base), « The Great Romantic Symmetry », environnements sonores;
  • 1989-1990, The Lower Map of The Eleven's Division en The Romantic Symmetry (over e 60 cycle base) en Prime Time from 144 to 112 with 119 (1989-1990), instruments indéfinies et environnement sonore.
  • 1989-1990, The Prime Time Twins, comprenant : «The Prime Time Twins en The Ranges 144 to 112; 72 to 56 et 38 to 28 » Including « The Special Primes 1 et 2 »
  • 1990, The Prime Time Twins en The Ranges 576 to 448 ; 288 to 224 ; 144 to 112 ; 72 to 56 ; 36 to 28 ; with The Range Limits 576, 448, 288, 224, 144, 56 et 28, environnements sonores
  • 1990, Chronos Kristalla, pour quatuor à cordes
  • 1991, The Young Prime Time Twins, comprenant : « The Young Prime Time Twins en The Ranges 2304 to 1792 ; 1152 to 896 ; 576 to 448 ; 288 to 224 ; 144 to 112 ; 72 to 56 ; 36 to 28 ; Including ou Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56 et 28 »
  • 1991, The Young Prime Time Twins en The Ranges 2304 to 1792 ; 1152 to 896 ; 576 to 448 ; 288 to 224 ; 144 to 112 ; 72 to 56; 36 to 28 ; 18 to 14 ; Including ou Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56, 28 et 18 ; et Including The Special Young Prime Twins Straddling The Range Limits 1152, 72 et 18
  • 1991, The Young Prime Time Twins en The Ranges 1152 to 896 ; 576 to 448 ; 288 to 224 ; 144 to 112 ; 72 to 56 ; 36 to 28 ; Including ou Excluding The Range Limits 1152, 576, 448, 288, 224, 56 et 28 ; with One of The Inclusory Optional Bases : 7 ; 8 ; 14:8 ; 18:14:8 ; 18:16:14 ; 18:16:14:8 ; 9:7:4 ; ou The Empty Base, pour environnements sonores
  • 1991-..., The Symmetries en Prime Time from 288 to 224 with 279, 261 et 2 X 119 with One of The Inclusory Optional Bases : 7 ; 8 ; 14:8 ; 18:14:8 ; 18:16:14 ; 18:16:14:8 ; 9:7:4 ; ou The Empty Base. Comprenant : The Symmetries en Prime Time When Centered above et below The Lowest Term Primes en The Range 288 to 224 with The Addition of 279 et 261 en Which The Half of The Symmetric Division Mapped above et Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 et 36 to 32 Which Are Symmetrical to Those Primes en Lowest Terms en The Half of The Symmetric Division Mapped below et Including 224 within The Ranges 126 to 112, 63 to 56 et 31.5 to 28 with The Addition of 119 et with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; ou The Empty Base (1991), pour environnements sonores
  • 1953-1955 ; 1992, Annod, 92 X 19 Version, for Zeitgeist (pour l'esprit du temps), pour saxophone alto, vibraphone, piano, basse, batterie, comprenant : « 92 XII 22 Two-Part Harmony » et « XII Annod Backup Riffs » (1992);
  • 2002-2003, Just Charles & violoncelle en The Romantic Chord, pour violoncelle, bourdonnements de violoncelle enregitré, et jeu de lumières
  • 2002-...., Raga Sundara, vilampit khayal set en Raga Yaman Kalyan, voix, divers instruments, bourdonnement de tampura
  • 1984-2001-2005(1958), Trio pour cordes, version en intonation juste, pour 2 violoncelles, 2 violons, 2 altos



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credits : Jung Hee Choi
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