- published: 12 Jan 2008
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- author: braisinhussy
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- A Christmas Carol
- Accordion
- Alarm Will Sound
- Astronaut
- Atlas (opera)
- Bagpipe
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- Bang on a Can
- Bard College
- Bicycle wheel
- Björk
- Book of Days
- Book of Days (1990)
- Boosey & Hawkes
- Boston Conservatory
- Bowed psaltery
- Bruce Nauman
- Béla Bartók
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- Camille (singer)
- Carnegie Hall
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- Coen Brothers
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- Deborah Jowitt
- Demetrio Stratos
- DJ Spooky
- Do You Be
- Dolmen
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- ECM (record label)
- ECM Records
- Electronic organ
- Ellis Island
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- Extended techniques
- Film
- Grand Center
- Greenwich Village
- Guitar
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- Harp
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- Houston, Texas
- Jean-Luc Godard
- John Zorn
- Juice
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- Kronos Quartet
- MacArthur Fellowship
- Manfred Eicher
- Marimba
- Medieval
- Meredith Monk
- Mieke van Hoek
- Mildred Bailey
- Minimalism
- Minneapolis
- Music Hole
- New York
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- Notre musique
- Off Broadway
- Percussion
- Philip Glass
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- Possible Sky
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- San Francisco
- Scrooge (musical)
- Social cycle theory
- St. Petersburg
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Bard College
Coordinates: 42°01′16″N 73°54′27″W / 42.02108°N 73.90756°W / 42.02108; -73.90756
Bard College, founded in 1860 as "St. Stephen's College," is a small four-year liberal arts college located in Annandale-on-Hudson, New York.
Bard has a 600-acre (2.4-km²) campus in Annandale-on-Hudson, near the town of Red Hook, overlooking the Hudson River and Catskill Mountains, within the Hudson River Historic District, a National Historic Landmark. The hamlet of Annandale-on-Hudson has no downtown center and consists of the college and nine other non-associated houses. Nearby are the villages of Red Hook and Tivoli, and across the Hudson River are the small cities of Kingston and Saugerties. Shuttles run between the college and the two villages.
The college was originally founded under the name St. Stephen's, in association with the Episcopal church of New York City, and changed its name to Bard in 1934 in honor of its founder, John Bard. While the college remains affiliated with the church, it pursues a far more secular mission today. Between 1928 and 1944, Bard/St. Stephen's operated as an undergraduate school of Columbia University. Bard/St. Stephen's ties with Columbia were severed when Bard became a fully coeducational college.
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Boston Conservatory
The Boston Conservatory is a performing arts conservatory located in the Fenway-Kenmore region of Boston, Massachusetts, United States. It grants undergraduate and graduate degrees in music, dance and musical theater. The Conservatory offers Bachelor of Fine Arts, Bachelor of Music, Master of Fine Arts Master of Music degrees, as well as Graduate Performance Diplomas, Artist Diplomas and Professional Studies Certificates. The Boston Conservatory was founded in 1867.
The Boston Conservatory was founded on February 11, 1867 by Julius Eichberg, a violinist and composer. Eichberg founded the Conservatory as a professional training academy and a community music school. It was one of the first conservatories to grant admission to African Americans and women. In 1873, Eichberg’s operetta, “The Doctor of Alcontara” was performed at the Conservatory by the first African-American opera company in the U.S. In 1878, Eichberg established the Eichberg String Quartet, the first professional female quartet.
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Grand Center
Grand Center is located in Midtown St. Louis Historic District on the National Register of Historic Places north of the Saint Louis University campus.
Grand Center is site of numerous arts and entertainment venues in Midtown St. Louis including the Fox Theatre, Powell Symphony Hall (home of the St. Louis Symphony Orchestra), The Contemporary Art Museum Saint Louis, the Pulitzer Foundation for the Arts, and the Sheldon Concert Hall.
The neighborhood is an eclectic mix of restored historic structures and newer buildings with street art and neon signage centered on Strauss Park at the intersection of Grand Boulevard and Washington Ave. It includes a jazz club [1], Third Baptist Church[2] The St Louis Black Repertory Theater Company [3], and the headquarters of KETC channel 9 a PBS affiliate. It is within walking distance of the Grand MetroLink station.
Coordinates: 38°38′34″N 90°13′50″W / 38.6427°N 90.2305°W / 38.6427; -90.2305
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Houston, Texas
Houston (
/ˈhjuːstən/) (Alibamu: Yosti ) is the largest city in the state of Texas, and the fourth-largest city in the United States. According to the 2010 U.S. Census, the city had a population of 2.1 million people within an area of 656.3 square miles (1,700 km2). Houston is the seat of Harris County and the economic center of Houston–Sugar Land–Baytown, which is the fifth-largest metropolitan area in the United States, with 6.08 million people as of July 1st, 2011.
Houston was founded in 1836 on land near the banks of Buffalo Bayou. It was incorporated as a city on June 5, 1837, and named after then-President of the Republic of Texas—former General Sam Houston—who had commanded at the Battle of San Jacinto, which took place 25 miles (40 km) east of where the city was established. The burgeoning port and railroad industry, combined with oil discovery in 1901, has induced continual surges in the city's population. In the mid-twentieth century, Houston became the home of the Texas Medical Center—the world's largest concentration of healthcare and research institutions—and NASA's Johnson Space Center, where the Mission Control Center is located.
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Minneapolis
Minneapolis (pronunciation:
i/ˌmɪniːˈæpəlɪs/), nicknamed "City of Lakes" and the "Mill City", is the county seat of Hennepin County, the largest city in the state of Minnesota, and the 48th largest in the United States. Its name is attributed to the city's first schoolteacher, who combined mni, the Dakota word for water, and polis, the Greek word for city.
As of the 2010 Census, the population of the city of Minneapolis is 382,578. Minneapolis lies on both banks of the Mississippi River, just north of the river's confluence with the Minnesota River, and adjoins Saint Paul, the state's capital. Known as the Twin Cities, Minneapolis-Saint Paul is the 16th-largest metropolitan area in the U.S., with approximately 3.3 million residents. The city is abundantly rich in water, with over twenty lakes and wetlands, the Mississippi river, creeks and waterfalls, many connected by parkways in the Chain of Lakes and the Grand Rounds National Scenic Byway. Among cities of similar densities, Minneapolis has the most dedicated parkland. It was once the world's flour milling capital and a hub for timber, and today is the primary business center between Chicago and Seattle, with Minneapolis proper containing the fifth highest concentration of Fortune 500 companies. It has cultural organizations that draw creative people and audiences to the city for theater, visual art, writing, and music. The community's diverse population has a long tradition of charitable support through progressive public social programs and VOLAGs, as well as private and corporate philanthropy.
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New York
New York (/njuː ˈjɔrk/; locally IPA: [nɪu ˈjɔək] or [nuː ˈjɔɹk] (
listen)) is a state in the Northeastern region of the United States. New York is the 27th most extensive, the 3rd most populous, and the 7th most densely populated of the 50 United States. New York is bordered by New Jersey and Pennsylvania to the south, and by Connecticut, Massachusetts and Vermont to the east. The state has a maritime border with Rhode Island east of Long Island, as well as an international border with the Canadian provinces of Ontario to the west and north, and Quebec to the north. The state of New York is often referred to as New York State to distinguish it from New York City.
New York City, with a population of over 8.1 million, is the most populous city in the United States. Alone, it makes up over 40 percent of the population of New York state. It is known for its status as a center for finance and culture and for its status as the largest gateway for immigration to the United States. According to the U.S. Department of Commerce, New York City is also a destination of choice for many foreign visitors. Both the state and city were named for the 17th century Duke of York, James Stuart, future James II and VII of England and Scotland.
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San Francisco
San Francisco (/ˌsæn frənˈsɪskoʊ/), officially the City and County of San Francisco, is the financial, cultural, and transportation center of the San Francisco Bay Area, a region of 7.6 million people which includes San Jose and Oakland. The only consolidated city-county in California, it encompasses a land area of about 46.9 square miles (121 km2) on the northern end of the San Francisco Peninsula, giving it a density of about 17,179 people per square mile (6,632 people per km2). It is the most densely settled large city (population greater than 200,000) in the state of California and the second-most densely populated large city in the United States after New York City. San Francisco is the fourth most populous city in California and the 13th most populous city in the United States, with a population of 805,235 as of the 2010 Census. The San Francisco-Oakland-Fremont metropolitan area has a population of 4,335,391.
In 1776, colonists from Spain established a fort at the Golden Gate and a mission named for Francis of Assisi a few miles away. The California Gold Rush of 1849 propelled the city into a period of rapid growth, increasing the population in one year from 1,000 to 25,000, and thus transforming it into the largest city on the West Coast at the time. After three-quarters of the city was destroyed by the 1906 earthquake and fire, San Francisco was quickly rebuilt, hosting the Panama-Pacific International Exposition nine years later. During World War II, San Francisco was the port of embarkation for service members shipping out to the Pacific Theater. After the war, the confluence of returning servicemen, massive immigration, liberalizing attitudes, and other factors led to the Summer of Love and the gay rights movement, cementing San Francisco as a center of liberal activism in the United States.
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St. Petersburg
Saint Petersburg (Russian: Санкт-Петербург, tr. Sankt-Peterburg; IPA: [sankt pʲɪtʲɪrˈburk] ( listen)) is a city and a federal subject (a federal city) of Russia located on the Neva River at the head of the Gulf of Finland on the Baltic Sea. In 1914 the name of the city was changed to Petrograd (Russian: Петроград; IPA: [pʲɪtrɐˈgrat]), in 1924 to Leningrad (Russian: Ленинград; IPA: [lʲɪnʲɪnˈgrat]) and in 1991 back to Saint Petersburg.
In Russian literature, informal documents, and discourse, the "Saint" (Санкт-) is usually omitted, leaving Petersburg (Петербург, Peterburg). In common parlance Russians may drop "-burg" (-бург) as well, leaving only Peter (Питер, Russian: [ˈpʲitʲɪr]).
Saint Petersburg was founded by Tsar Peter the Great on May 27 [O.S. 16] 1703. From 1713 to 1728 and from 1732 to 1918, Saint Petersburg was the Imperial capital of Russia. In 1918 the central government bodies moved from Saint Petersburg (then named Petrograd) to Moscow. It is Russia's second largest city after Moscow with almost 5 million inhabitants. Saint Petersburg is a major European cultural center, and also an important Russian port on the Baltic Sea.
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United States
The United States of America (commonly abbreviated to the United States, the U.S., the USA, America, and the States) is a federal constitutional republic comprising fifty states and a federal district. The country is situated mostly in central North America, where its forty-eight contiguous states and Washington, D.C., the capital district, lie between the Pacific and Atlantic Oceans, bordered by Canada to the north and Mexico to the south. The state of Alaska is in the northwest of the continent, with Canada to the east and Russia to the west, across the Bering Strait. The state of Hawaii is an archipelago in the mid-Pacific. The country also possesses several territories in the Pacific and Caribbean.
At 3.79 million square miles (9.83 million km2) and with over 312 million people, the United States is the third or fourth largest country by total area, and the third largest by both land area and population. It is one of the world's most ethnically diverse and multicultural nations, the product of large-scale immigration from many countries. The U.S. economy is the world's largest national economy, with an estimated 2011 GDP of $15.1 trillion (22% of nominal global GDP and over 19% of global GDP at purchasing-power parity). Per capita income is the world's sixth-highest.
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Walker Art Center
The Walker Art Center is a contemporary art center in Minneapolis, Minnesota, United States. The Walker is considered one of the nation's "big five" museums for modern art along with the Museum of Modern Art, the San Francisco Museum of Modern Art, the Guggenheim Museum and the Hirshhorn. It was founded in 1879 by lumberman Thomas Barlow Walker and which he formally established at its current location in 1927 as the first public art gallery in the Upper Midwest. Directly across from the museum are the Minneapolis Sculpture Garden, which opened in 1988; and the Cowles Conservatory. The Walker Art Center underwent a renovation and expanded the museum in April 2005.
The Visual Arts program is a mix of contemporary, historical, group, monographic, thematic, and media-specific shows. Certain artists have had their first major museum exposure in Walker exhibitions, among them Joseph Cornell, Frank Gehry, Julie Mehretu, Mario Merz, and Kara Walker. In 1995, the museum displayed the YBA showcase Brilliant!.
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Björk
Björk Guðmundsdóttir ( /ˈbjɜrk/; [ˈpjœr̥k ˈkvʏðmʏntsˌtoʊhtɪr] (
listen); born 21 November 1965), known as Björk, is an Icelandic singer-songwriter. Her musical style is eclectic and she has achieved recognition in rock, jazz, electronic dance music, classical, and folk.
Björk's 1990s singles "It's Oh So Quiet", "Army of Me" and "Hyperballad" charted in the UK Top 10.[citation needed] Her record label, One Little Indian, reported that by 2003 she had sold more than 15 million albums worldwide. She has acquired a high level of critical acclaim. She has won four BRIT Awards, four MTV Video Music Awards, one MOJO Award, three UK Music Video Awards, and, in 2010, the Polar Music Prize from the Royal Swedish Academy of Music, in recognition for her "deeply personal music and lyrics, her precise arrangements and her unique voice".
Björk has also been nominated for twelve Grammy Awards, one Academy Award and two Golden Globe Awards. She won the Best Actress Award at the 2000 Cannes Film Festival for her performance in Dancer in the Dark. She was ranked thirty-sixth in VH1's "The 100 Greatest Women in Rock and Roll", eighth in MTV's "22 Greatest Voices in Music", and sixtieth in Rolling Stone's "100 Greatest Singers of All Time".
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Bruce Nauman
Bruce Nauman (born December 6, 1941) is a contemporary American artist. His practice spans a broad range of media including sculpture, photography, neon, video, drawing, printmaking, and performance. Nauman lives in Galisteo, New Mexico.
Nauman was born in Fort Wayne, Indiana. He studied mathematics and physics at the University of Wisconsin–Madison (1960–64), and art with William T. Wiley and Robert Arneson at the University of California, Davis (1965–6). In 1964 he gave up painting to dedicate himself to sculpture, performance and cinema collaborations with William Allan and Robert Nelson. He worked as an assistant to Wayne Thiebaud. Upon graduation (MFA, 1966), he taught at the San Francisco Art Institute from 1966 to 1968, and at the University of California at Irvine in 1970. In 1968 he met the singer and performance artist Meredith Monk and signed with the dealer Leo Castelli. Nauman moved from Northern California to Pasadena in 1969. In 1979, Nauman further moved to New Mexico where he continues to work and live along with his wife, the painter Susan Rothenberg.
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Béla Bartók
Béla Viktor János Bartók ( /ˈbɑrtɒk/; Hungarian pronunciation: [ˈbeːlɒ ˈbɒrtoːk]; March 25, 1881 – September 26, 1945) was a Hungarian composer and pianist. He is considered one of the most important composers of the 20th century and is regarded, along with Liszt, as Hungary's greatest composer (Gillies 2001). Through his collection and analytical study of folk music, he was one of the founders of ethnomusicology.
Béla Bartók was born in the small Banatian town of Nagyszentmiklós in the Kingdom of Hungary, Austria-Hungary (since 1920 Sânnicolau Mare, Romania) on March 25, 1881. Bartók's family reflected some of the ethno-cultural diversities of the country. His father, Béla Sr., considered himself thoroughly Hungarian, because on his father's side the Bartók family was a Hungarian lower noble family, originating from Borsod county (Móser 2006a, 44; Bartók 1981, 13), though his mother was from a Roman Catholic Serbian family (Bayley 2001, 16). His mother, Paula (born Paula Voit), had German as a mother tongue, but was ethnically of "mixed Hungarian" origin: Her maiden name Voit is German, probably of Saxon origin from Upper Hungary (Since 1920 in Czechoslovakia, since 1993 in Slovakia), though she spoke Hungarian fluently.[citation needed] Among her closest forefathers there were family names like Polereczky (Magyarized Polish or Slovak) and Fegyveres (Magyar). Béla displayed notable musical talent very early in life: according to his mother, he could distinguish between different dance rhythms that she played on the piano before he learned to speak in complete sentences (Gillies 1990, 6). By the age of four, he was able to play 40 pieces on the piano; his mother began formally teaching him the next year.
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Camille (singer)
Camille Dalmais, better known as Camille (born in 1978 in Paris, France), is a French singer, songwriter and occasional actress.
Camille was born and raised in Paris, France. As a teenager she studied ballet and developed an interest in bossa nova music and American stage musicals. She attended the prestigious Lycée International de Saint Germain-en-Laye where she obtained her baccalaureate in literature. Thanks to her mother being an English teacher, she grew up learning to speak English fluently. She performed her first original song "Un Homme Déserté" at the age of sixteen while attending a wedding. In the early 2000s, while performing at jazz clubs in Paris, Camille made her acting début in the film Les Morsures de l'Aube (by Antoine de Caunes; with Asia Argento and Guillaume Canet). She also contributed to the song "La Vie la Nuit" in its soundtrack.
She attended Paris Institute of Political Studies "Sciences Po" just before beginning her music career.
In early 2002, Camille signed a recording contract with Virgin Records. She released her first studio album Le Sac des Filles. In 2004, she began working with Marc Collin and his band Nouvelle Vague, which incorporates new wave and bossa nova music. She contributed vocals to the songs "Too Drunk to Fuck", "In a Manner of Speaking", "The Guns of Brixton", and "Making Plans for Nigel" on their first album.
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Charles Dickens
Charles John Huffam Dickens ( /ˈtʃɑrlz ˈdɪkɪnz/; 7 February 1812 – 9 June 1870) was an English writer and social critic who is generally regarded as the greatest novelist of the Victorian period and the creator of some of the world's most memorable fictional characters. During his lifetime Dickens' works enjoyed unprecedented popularity and fame, but it was in the twentieth century that his literary genius was fully recognized by critics and scholars. His novels and short stories continue to enjoy an enduring popularity among the general reading public.
Born in Portsmouth, England, Dickens left school to work in a factory after his father was thrown into debtors' prison. Though he had little formal education, his early impoverishment drove him to succeed. He edited a weekly journal for 20 years, wrote 15 novels and hundreds of short stories and non-fiction articles, lectured and performed extensively, was an indefatigable letter writer, and campaigned vigorously for children's rights, education, and other social reforms.
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Coen Brothers
Joel David Coen (born November 29, 1954) and Ethan Jesse Coen (born September 21, 1957) known together professionally as the Coen brothers, are American filmmakers. Their films include Blood Simple, Fargo, The Big Lebowski, O Brother, Where Art Thou?, No Country for Old Men, and True Grit.
The brothers write, direct and produce their films jointly, although until recently Joel received sole credit for directing and Ethan for producing. They often alternate top billing for their screenplays while sharing film credits for editor under the alias Roderick Jaynes.
Joel and Ethan Coen, of Jewish heritage, grew up in a Jewish community in St. Louis Park, Minnesota, a suburb of Minneapolis. Their father, Edward, was an economist at the University of Minnesota, and their mother, Rena, an art historian at St. Cloud State University.
When they were children, Joel saved money from mowing lawns to buy a Vivitar Super 8 camera. Together, the brothers remade movies they saw on television with a neighborhood kid, Mark Zimering ("Zeimers"),[citation needed] as the star. Their first attempt was a romp titled, Henry Kissinger, Man on the Go. Cornel Wilde's The Naked Prey (1966) became their Zeimers in Zambia, which also featured Ethan as a native with a spear.
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Deborah Jowitt
Deborah Jowitt is an American dance critic, author, and choreographer. Her career in dance began as a performer and choreographer. Jowitt has received several awards for her work, including a Bessie (New York Dance and Performance Award) for her work in dance criticism.
Beginning in 1967, she wrote a weekly dance column for the Village Voice, providing frequent reviews of dance performances in New York City. From some time in the 70s til 1994, the Voice had a page and a half for dance coverage: Jowitt contributed 1600 words or a full page of this, week after week, plus occasional features. Collections of her reviews from the Voice and numerous other publications have appeared as books - Dance Beat: Views and Reviews, New York: Marcel Dekker, 1977 and The Dance in Mind: Profiles and Reviews, 1976–1983, Boston: David R. Godine, 1985.
In 2007 her column in the Village Voice was increased in length to 3/4 page, having been earlier reduced to a half-page; in 2008, however, her position as dance critic was converted from full time to freelance. However, Jowitt continues to write 3/4 page reviews for the Voice and writes reviews for the Voice on-line edition. She is a faculty member at the Tisch School of the Arts at New York University (NYU).
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Demetrio Stratos
Efstratios Dimitriou (Alexandria, April 22, 1945 – New York, June 13, 1979) better known as Demetrio Stratos was a Greek lyricist, multi-instrumentalist, music researcher, and co-founder, frontman and lead singer of the Italian progressive rock, jazz fusion band Area – International POPular Group.
Born and raised in Alexandria, Egypt, of Greek parents, he studied piano and accordion at the "National Conservatoire". In 1957 he was sent to Nicosia, Cyprus, and, at the age of 17, moved to Milan, Italy, to attend the Politecnico di Milano University at the Architecture Faculty, where he formed his first musical group. In 1967, Demetrio Stratos joined the Italian beat band I Ribelli, and in 1972, founded Area.
Stratos recorded many records, and toured festivals in Italy, France, Portugal, Switzerland, Netherlands, Cuba, U.S. with Area, as well as a solo artist and in collaboration with other artists. He worked together with musicians, singers, writers, poets, directors, men of learning such as Mogol, Lucio Battisti, Gianni Sassi, Gianni Emilio Simonetti, Juan Hidalgo, Walter Marchetti, John Cage, Tran Quang Hai, Merce Cunningham, Jasper Johns, Andy Warhol, Grete Sultan, Paul Zukofsky, Nanni Balestrini, Claude Royet-Journoud, and Antonio Porta.
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Jean-Luc Godard
Jean-Luc Godard (French pronunciation: [ʒɑ̃lyk ɡɔdaʁ]; born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement La Nouvelle Vague, or "New Wave".
Like his New Wave contemporaries, Godard criticized mainstream French cinema's "Tradition of Quality", which "emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation." To challenge this tradition, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema.[citation needed] He is often considered the most radical French filmmaker of the 1960s and 1970s. Several of his films express his political views.His films express his knowledge of film history through their references to earlier films. In addition, Godard's films often cite existentialism, as he was an avid reader of existential and Marxist philosophy.[citation needed] His radical approach in film conventions, politics and philosophies made him an influential filmmaker of the French New Wave.
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John Zorn
John Zorn (born September 2, 1953 in New York City) is an American avant-garde composer, arranger, record producer, saxophonist and multi-instrumentalist. Zorn is a prolific artist: he has hundreds of album credits as performer, composer, or producer. He has had experience with a variety of genres including jazz, rock, hardcore punk, classical, extreme metal, klezmer, film, cartoon, popular, and improvised music. Zorn brings these styles to his work, which he refers to with the label avant-garde/experimental.
Zorn has stated: "All the various styles are organically connected to one another. I'm an additive person - the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can't see the connections, but they are there."
Zorn has led the punk jazz band Naked City and the klezmer-influenced quartet Masada, composed Masada Songbooks (written concert music for classical ensembles), and has produced music for film and documentary.
Zorn established himself within the New York City downtown music movement in the mid 1970s and has since composed and performed with a wide range of musicians working in diverse musical areas. By the early 1990s Zorn was working extensively in Japan, attracted by that culture's openness about borrowing and remixing ingredients from elsewhere, before returning to New York as a permanent base in the mid-1990s. Zorn has undertaken many tours of Europe, Asia, and the Middle East, often performing at festivals with varying ensembles to display his diverse output.
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Manfred Eicher
Manfred Eicher (born 9 July 1943 in Lindau, Germany) is a German record producer and the founder of ECM Records and its subsidiaries.
Eicher studied music at the Academy of Music in Berlin. He is a record producer and a double-bass player. In 1969 he founded a record label in Munich called ECM - Edition of Contemporary Music. Some of the famous artists he has recorded over the last 40 years are Keith Jarrett, Jan Garbarek, Chick Corea, Gary Burton, Jack DeJohnette, Anouar Brahem, Dave Holland, Pat Metheny, Ralph Towner, Terje Rypdal, Steve Kuhn, and the Art Ensemble of Chicago.
A notable record ECM released in its early years was The Köln Concert, a solo piano performance by Keith Jarrett. Nearly as well known is the early Pat Metheny recording American Garage.
In 1984 Eicher started up a new label, ECM New Series, for written music, or European classical music. Some of the artists whose work was released on the New Series were Steve Reich, Arvo Pärt, John Adams, Meredith Monk, and the mediaeval composer Pérotin. Perhaps the most remarkable record was the best-seller Officium (1994), a collaboration between Jan Garbarek and the Hilliard Ensemble, performing some compositions by Cristóbal de Morales, Pérotin and others.
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Meredith Monk
Meredith Jane Monk (born November 20, 1942 in New York) is an American composer, performer, director, vocalist, filmmaker, and choreographer. Since the 1960s, Monk has created multi-disciplinary works which combine music, theatre, and dance, recording extensively for ECM Records.
Meredith Monk is primarily known for her vocal innovations, including a wide range of extended techniques, which she first developed in her solo performances prior to forming her own ensemble. In December 1961, she appeared at the "Actor's Playhouse" in Greenwich Village (NYC) as a solo dancer in an Off Broadway children's musical theater adaptation of Charles Dickens' "A Christmas Carol," entitled "Scrooge" (music and lyrics by Norman Curtis; directed and choreographed by Patricia Taylor Curtis). In 1964, Monk graduated from Sarah Lawrence College after studying with Beverly Schmidt Blossom, and in 1968 she founded The House, a company dedicated to an interdisciplinary approach to performance.
Monk's performances have influenced many artists, including Bruce Nauman, whom she met in San Francisco in 1968. In 1978 Monk formed Meredith Monk and Vocal Ensemble (modelled after similar ensembles of musical colleagues, such as Steve Reich and Philip Glass), to explore new and wider vocal textures and forms, which often were contrasted with minimal instrumental textures. Monk began a long-standing relationship with the Walker Art Center of Minneapolis, which continues to showcase her work to this day. Pieces from this time include Dolmen Music (1979), which also was recorded for her first album released at Manfred Eicher's record label ECM in 1981.
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Mildred Bailey
Mildred Rinker Bailey (February 27, 1907 – December 12, 1951) was a popular and influential American jazz singer during the 1930s, known as "The Queen of Swing", "The Rockin' Chair Lady" and "Mrs. Swing". Her number one hits were "Please Be Kind", "Darn That Dream", "Rockin' Chair" and "Says My Heart".
Born Mildred Rinker in Tekoa,Washington, her mother, Josephine, was an enrolled member of the Coeur d'Alene Tribe and a devout Roman Catholic. Her father, Charles, played fiddle and called square dances. Her mother played piano every evening after supper and taught Mildred to play and sing. Her brothers were the vocalist and composer Al Rinker, and the lyricist Charles Rinker.
At the age of seventeen, Bailey moved to Seattle and worked as a sheet music demonstrator at Woolworth's. She married and divorced Ted Bailey, keeping his last name because she thought it sounded more American than Rinker. With the help of her second husband, Benny Stafford, she became an established blues and jazz singer on the West Coast. According to Gary Giddins' book Bing Crosby – A Pocketful of Dreams – The Early Years 1903-1940, in 1925 she secured work for her brother, Al Rinker, and his partner Bing Crosby. Giddins further states that Crosby first heard of Louis Armstrong and other Chicago black jazz records from Bailey's own record collection. Crosby helped Bailey in turn by introducing her to Paul Whiteman. She sang with Paul Whiteman's band from 1929 to 1933 (Whiteman had a popular radio program and when Bailey debuted with her version of "Moaning Low" in 1929, public reaction was immediate, although she did not start recording with Whiteman until late 1931).
wn.com/Mildred_Bailey -
Philip Glass
Philip Glass (born January 31, 1937) is an American composer. One of the highest profile composers writing "classical" music today, he is often said to be one of the most influential composers of the late 20th century. His music is also often controversially described as minimalist, along with the work of the other "major minimalists" La Monte Young, Terry Riley and Steve Reich.
He has lately distanced himself from the "minimalist" label, describing himself instead as a composer of "music with repetitive structures." Though his early mature music shares much with what is normally called "minimalist", he has since evolved stylistically. Currently, he describes himself as a "Classicist", pointing out that he is trained in harmony and counterpoint and studied such composers as Franz Schubert, Johann Sebastian Bach and Wolfgang Amadeus Mozart with Nadia Boulanger.
Glass is a prolific composer: he has written works for the musical group which he founded, the Philip Glass Ensemble (with which he still performs on keyboards), as well as operas, musical theatre works, ten symphonies, eleven concertos, solo works, chamber music including string quartets and instrumental sonatas, and film scores. Three of his film scores have been nominated for Academy Awards.
wn.com/Philip_Glass -
Steve Reich
Stephen Michael "Steve" Reich ( /ˈraɪʃ/; born October 3, 1936) is an American composer who is one of the pioneering composers of minimal music along with La Monte Young, Terry Riley, and Philip Glass.
His innovations include using tape loops to create phasing patterns (examples are his early compositions, "It's Gonna Rain" and "Come Out"), and the use of simple, audible processes to explore musical concepts (for instance, "Pendulum Music" and "Four Organs"). These compositions, marked by their use of repetitive figures, slow harmonic rhythm and canons, have significantly influenced contemporary music, especially in the US. Reich's work took on a darker character in the 1980s with the introduction of historical themes as well as themes from his Jewish heritage, notably the Grammy Award-winning Different Trains.
Reich's style of composition influenced many other composers and musical groups. Reich has been described, in The Guardian by music critic Andrew Clements, as one of "a handful of living composers who can legitimately claim to have altered the direction of musical history", and the critic Kyle Gann has said Reich "may...be considered, by general acclamation, America's greatest living composer."
wn.com/Steve_Reich -
Terry Riley
Terrence Mitchell Riley, (born June 24, 1935) is an American composer and performing musician intrinsically associated with the minimalist school of Western classical music and was a pioneer of the movement. His work has been deeply influenced by both jazz and Indian classical music.
Born in Colfax, California, Riley studied at Shasta College, San Francisco State University, and the San Francisco Conservatory before earning an MA in composition at the University of California, Berkeley, studying with Seymour Shifrin and Robert Erickson. He was involved in the experimental San Francisco Tape Music Center working with Morton Subotnick, Steve Reich, Pauline Oliveros, and Ramon Sender. His most influential teacher, however, was Pandit Pran Nath (1918–1996), a master of Indian classical voice, who also taught La Monte Young and Marian Zazeela. Riley made numerous trips to India over the course of their association to study and to accompany him on tabla, tambura, and voice. Throughout the 1960s he traveled frequently around Europe as well, taking in musical influences and supporting himself by playing in piano bars, until he joined the Mills College faculty in 1971 to teach Indian classical music. Riley was awarded an Honorary Doctorate Degree in Music at Chapman University in 2007.
wn.com/Terry_Riley -
Ursula Oppens
Ursula Oppens (born February 2, 1944 in New York City) is an American classical pianist.
After earning her master's degree from the Juilliard School of Music, Oppens won the Young Concert Artists International Auditions in 1968. This win led to her New York City debut at Carnegie Hall in 1969. That same year, she took first prize at the Ferruccio Busoni International Piano Competition. In 1971, Oppens co-founded the contemporary music ensemble Speculum Musicae. She was one of the first pianists to test the boundaries of traditional concert programming, by performing both classics and contemporary pieces. One of the foremost champions of new music, several modern composers praise her for her invaluable encouragement and advice in composition, and her illumination of their music.
In 2008, Oppens took up her new post as Distinguished Professor of Music at the Conservatory of Music at Brooklyn College and the CUNY Graduate Center in New York City. From 1994 through the end of the 2007/2008 academic year, she served as John Evans Distinguished Professor of Music at Northwestern University.
wn.com/Ursula_Oppens
Monk, Meredith Filmography
- Meredith Monk: Inner Voice (2009)
- Meredith Monk: Inner Voice (2009)
- Meredith Monk: Inner Voice (2009)
- A Horse Is Not a Metaphor (2009)
- Saamelainen (2007)
- Uhri - elokuva metsästä (1998)
- The Sensual Nature of Sound: 4 Composers Laurie Anderson, Tania Leon, Meredith Monk, Pauline Oliveros (1993)
- Book of Days (1989)
- Book of Days (1989)
- Uncle Meat (1987)
- Four American Composers (1983)
- Four American Composers (1983)
- Ellis Island (1982)
- Plainsong (1982)
- Ellis Island (1982)
- Ellis Island (1982)
- Making Dances: Seven Post-Modern Choreographers (1980)
- Music with Roots in the Aether: Opera for Television by Robert Ashley (1974)
Famous quotes by Meredith Monk:
"A group called Rosetta Life, that sends artists out to hospices in England, came to talk to me in February 2003. I lost my partner of 22 years in November 2002, so I was really in my grieving process - I still am - but I was thinking of nothing but impermanence then."
"I'm sure that some of the hospice participants will be in the audience. One of them has already died. And, you know, all of us have impermanence in common."
"I somehow sensed when I was a teenager that I wanted to do my own work. I was quite clear that I didn't want to be an interpretative kind of artist. I had an intuition about wanting to create my own form, in one way or another, whatever that would be."
"Yes, the more I go through life I realize that there's really no separation between practice and art at all. The two things more and more become one rather than two different aspects of my life."
"I had a number of interests that were all strands of my childhood. I come from a musical family - I'm a fourth generation singer. My mother was a commercial singer and my grandfather had been a bass baritone who came from Russia to the United States, so music was very strong in my family. I loved to sing; even before I spoke words I was singing melodies."
"I think I still have some confusion about the critical mind. But it seems that there's a difference between the critical mind, which is a kind of judgment, and has a harshness built in, cutting off impulses before they can develop, and discriminating intelligence, which can differentiate between what is authentic or genuine and what is contrived or forced."
"It's a continual excavation process, you could say. It's like being an archeologist of your own instrument as a kind of microcosm of the human voice, of human utterance, of sound itself. By digging into my own voice I'm uncovering feelings and energies for which we don't have words - it's like shades of feeling, early human utterance, and essential human nature."
"I think about that "empty" space a lot. That emptiness is what allows for something to actually evolve in a natural way. I've had to learn that over the years - because one of the traps of being an artist is to always want to be creating, always wanting to produce."
"That inner voice has both gentleness and clarity. So to get to authenticity, you really keep going down to the bone, to the honesty, and the inevitability of something."
"Sometimes in the past when I was going to perform a piece again I would listen to old recordings and try to reproduce the material. This time I realized that carrying around old information, trying to get everything in, and still be in the moment just doesn't work."
RELEASE
ALBUMS
- Clusters 1
- Strand (Gathering)
- Winter Variation
- Cloud Code
- Shift
- Mapping
- Summer Variation
- Vow
- Clusters 2
- Falling
- Burn
- Strand (Inner Psalm)
- Autumn Variation
- Ledge Dance
- Traces
- Respite
- Mapping Continued
- Clusters 3
- Spring Variation
- Fathom
- Ascent
- Last Song
- Maybe 1
- Little Breath
- Liminal
- Disequilibrium
- Particular Dance
- Between Song
- Passage
- Maybe 2
- Skeleton Lines
- Slow Dissolve
- Totentanz
- Sweep 1
- Rocking
- Sweep 2
- Mieke's Melody Nr 5
- Braid 1 and Leaping Song
- Braid 2
- Urban March (Shadow)
- Masks
- Line 1
- Doctor / Patient
- Line 2
- Woman at the Door
- Line 3 and Prisoner
- Eplogue
- Shaking
- Liquid Air
- Urban March (Light)
- Core Chant
- Walking Song
- Lost Wind
- Hips Dance
- Cry #1
- New York Requiem
- Offering
- Boat Man
- Skip Song
- Old Lava
- Cry #2
- St Petersburg Waltz
- Three Heavens and Hells
- Click Song #1
- Click Song #2
- O quam mirabilis
- O ecclesia
- O clarissima mater
- O te illustrata
- Dawn (1985)
- Quarry weave 1 (1976)
- Quarry lullaby (1976)
- Quarry weave 2 (1976)
- Farmer's song (1974)
- Astronaut anthem (1983)
- Nightfall (1995)
- Overture (Out of Body 1)
- Travel Dream Song
- Home Scene
- Future Quest (The Call)
- Rite of Passage A
- Choosing Companions
- Airport
- Night Travel
- Guides' Dance
- Agricultural Community
- Northern Lights 1
- Chinook
- Long Shadows 1
- Keeping Warm
- Northern Lights 2
- Chinook Whispers
- Arctic Bar
- Hocket
- Long Shadows 2
- Epic
- Fire Dance
- Little Epiphany / Sybil Song
- Mill
- Boat Song
- Early Morning Melody
- Travellers 1, 2, 3
- Dawn
- Travellers 4 Churchyard Entertainment
- Afternoon Melodies
- Fields/Clouds
- Dusk
- Eva's Song
- Evening
- Travellers 5
- Jewish Storyteller/Dance/Dream
- Plague
- Madwoman's Vision
- Cave Song
- Lullaby
- Mesa
- Jade (Old Woman's Song)
- Wa-lie-oh
- Insect
- Descending
- Silo
- Bird Code
- Jew's Harp
- Prarie Ghost
- Tablet
- Prologue
- Unison
- Knee
- Hey Rhythm
- Cow Song
- Sigh
- Morning
- Slide
- Waltz
- Prophecy
- Dumb
- Conversation
- Low Ring
- High Ring
- Free
- Edge
- Scale Down
- Epilogue
- Scared Song
- I Don't Know
- Window in 7's
- Double Fiesta
- Do You Be
- Panda Chant 1
- Memory Song
- Panda Chant 2
- Quarry Lullaby
- Shadow Song
- Astronaut Anthem
- Wheel
- Gotham Lullaby
- Travelling
- The Tale
- Biography
- Dolmen Music: A. Overture and Men's Conclave / B. Wa-Ohs / C. Rain / D. Pine Tree Lullaby / E. Calls / F. Conclusion
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Meredith Monk - 1/8
- Order: Reorder
- Duration: 9:10
- Updated: 04 Dec 2012
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
http://wn.com/Meredith_Monk_1_8
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
Meredith Monk - Book of Days (1988)
- Order: Reorder
- Duration: 3:12
- Updated: 04 Dec 2012
An excerpt from Meredith Monk's feature film "Book of Days". Unavailable for a long time, a DVD that also contains "Ellis Island" (1981) can now be obtained at www.meredithmonk.org
http://wn.com/Meredith_Monk_Book_of_Days_1988
An excerpt from Meredith Monk's feature film "Book of Days". Unavailable for a long time, a DVD that also contains "Ellis Island" (1981) can now be obtained at www.meredithmonk.org
- published: 07 Oct 2008
- views: 141375
- author: Simonetta Vespucci
Travelling - Meredith Monk
- Order: Reorder
- Duration: 6:14
- Updated: 04 Dec 2012
from 'Dolmen Music'
http://wn.com/Travelling_Meredith_Monk
from 'Dolmen Music'
- published: 15 Sep 2009
- views: 66783
- author: papyrusthev1rus
Meredith Monk-Gotham Lullaby live at Lensic Center
- Order: Reorder
- Duration: 4:34
- Updated: 30 Nov 2012
Meredith Monk performs "Gotham Lullaby" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
http://wn.com/Meredith_Monk-Gotham_Lullaby_live_at_Lensic_Center
Meredith Monk performs "Gotham Lullaby" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
- published: 16 Sep 2010
- views: 39835
- author: mmonkhouse
Meredith Monk scares an owl
- Order: Reorder
- Duration: 0:43
- Updated: 04 Nov 2012
Maybe the owl isn't a fan?
http://wn.com/Meredith_Monk_scares_an_owl
Maybe the owl isn't a fan?
- published: 15 Jul 2007
- views: 82942
- author: dymaxion
Meredith Monk- "Last song"
- Order: Reorder
- Duration: 7:17
- Updated: 05 Dec 2012
http://wn.com/Meredith_Monk_Last_song
- published: 09 Mar 2011
- views: 19481
- author: Tina Agnus
Meredith Monk - 2/8
- Order: Reorder
- Duration: 5:53
- Updated: 04 Dec 2012
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
http://wn.com/Meredith_Monk_2_8
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
- published: 12 Jan 2008
- views: 71500
- author: braisinhussy
Meredith Monk: Dolmen Music (Part I)
- Order: Reorder
- Duration: 11:34
- Updated: 21 Nov 2012
Dolmen Music, for 6 voices, cello and percussion (1979) Meredith Monk, Andrea Goodman, Monika Solem, Paul Langland, Robert Een, Julius Eastman:voices Robert Een: cello Julius Eastman: percussion
http://wn.com/Meredith_Monk_Dolmen_Music_Part_I
Dolmen Music, for 6 voices, cello and percussion (1979) Meredith Monk, Andrea Goodman, Monika Solem, Paul Langland, Robert Een, Julius Eastman:voices Robert Een: cello Julius Eastman: percussion
- published: 23 Jan 2011
- views: 10807
- author: minimalisminmusic
Meredith Monk - 3/8
- Order: Reorder
- Duration: 8:35
- Updated: 28 Nov 2012
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
http://wn.com/Meredith_Monk_3_8
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
- published: 12 Jan 2008
- views: 36291
- author: braisinhussy
Meredith Monk - Lost Wind
- Order: Reorder
- Duration: 3:13
- Updated: 25 Oct 2012
music by: Meredith Monk album: Volcano Songs (1997)
http://wn.com/Meredith_Monk_Lost_Wind
music by: Meredith Monk album: Volcano Songs (1997)
- published: 16 Oct 2009
- views: 31940
- author: MusicContemporary
Meredith Monk - Travel Dream Song
- Order: Reorder
- Duration: 5:04
- Updated: 05 Dec 2012
meredith monk - atlas (1993)
http://wn.com/Meredith_Monk_Travel_Dream_Song
meredith monk - atlas (1993)
- published: 26 Nov 2010
- views: 22457
- author: acabanasil
Meredith Monk-Hocket Live with Theo Bleckmann
- Order: Reorder
- Duration: 4:45
- Updated: 05 Dec 2012
Meredith Monk and Theo Bleckmann perform "Hocket" from "Facing North" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
http://wn.com/Meredith_Monk-Hocket_Live_with_Theo_Bleckmann
Meredith Monk and Theo Bleckmann perform "Hocket" from "Facing North" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
- published: 07 Jul 2010
- views: 16222
- author: mmonkhouse
Meredith Monk - Dancing Voices (Oorsmeer / Big Bang Festival 2010)
- Order: Reorder
- Duration: 1:40
- Updated: 30 Nov 2012
Meredith Monk's extraordinary performance "Dancing Voices" with Waelrant Children's Choir from Antwerp (Belgium) at Oorsmeer / Big Bang Festival 2010. A Zonzo Compagnie production. www.bigbangfestival.eu www.zonzocompagnie.be
http://wn.com/Meredith_Monk_Dancing_Voices_Oorsmeer_Big_Bang_Festival_2010
Meredith Monk's extraordinary performance "Dancing Voices" with Waelrant Children's Choir from Antwerp (Belgium) at Oorsmeer / Big Bang Festival 2010. A Zonzo Compagnie production. www.bigbangfestival.eu www.zonzocompagnie.be
- published: 28 Dec 2010
- views: 25989
- author: ZonzoCompagnie
Meredith Monk - Dolmen Music (complete)
- Order: Reorder
- Duration: 23:41
- Updated: 03 Dec 2012
i do not hold any copyright to this video. To support the artist please visit www.meredithmonk.org
http://wn.com/Meredith_Monk_Dolmen_Music_complete
i do not hold any copyright to this video. To support the artist please visit www.meredithmonk.org
- published: 26 Mar 2012
- views: 9839
- author: explorer1ful1
Meredith Monk - Memory Song
- Order: Reorder
- Duration: 6:43
- Updated: 28 Nov 2012
i do not hold any copyright to this video-to support the artist please visit www.meredithmonk.org
http://wn.com/Meredith_Monk_Memory_Song
i do not hold any copyright to this video-to support the artist please visit www.meredithmonk.org
- published: 16 Dec 2011
- views: 1625
- author: explorer1ful1
cave song
- Order: Reorder
- Duration: 4:40
- Updated: 28 Nov 2012
extract from book of days, but the dvd at: meredithmonk.org
http://wn.com/cave_song
extract from book of days, but the dvd at: meredithmonk.org
- published: 19 Jan 2008
- views: 30914
- author: cristianus29
meredith monk -Churchyard Entertainment
- Order: Reorder
- Duration: 6:25
- Updated: 03 Dec 2012
extract from "Book of days". Buy the dvd at www.meredithmonk.org
http://wn.com/meredith_monk_-Churchyard_Entertainment
extract from "Book of days". Buy the dvd at www.meredithmonk.org
- published: 19 Jan 2008
- views: 55051
- author: cristianus29
Meredith Monk - 4/8
- Order: Reorder
- Duration: 5:57
- Updated: 06 Nov 2012
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
http://wn.com/Meredith_Monk_4_8
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
- published: 12 Jan 2008
- views: 16194
- author: braisinhussy
Meredith Monk discusses her work with filmmaker Babeth VanLoo
- Order: Reorder
- Duration: 3:28
- Updated: 31 May 2012
to buy the dvd go here: firstrunfeatures.com Meredith Monk is a composer, singer, director, choreographer and creator of new opera, music theater, films and installations. She has been proclaimed as a 'magician of the voice' and 'one of America's coolest composers.' During a career that spans more than 45 years, Monk has been hailed by audiences and critics as a major creative force in the performing arts. Inner Voice celebrates Monk's life and work, and illuminates the role that Buddhism has had in her artistic practice. Using a wealth of resource material including personal archives, film clips of performances, and interviews with her collaborators, as well as conversations with the multi-talented artist herself, director Babeth M. Vanloo articulates Monk's extraordinary drive to live for, and through, artistic expression. Tracing the path of her unceasing creativity up to and including her 2008 music theater piece, Songs of Ascension, the documentary elucidates the mystical nature of artistic creation and the life-affirming energy of an authentic inner voice. A Buddhist Broadcasting Foundation production. What the Critics are Saying "Always compelling, often ravishing. Feel your own horizons grow as you watch and listen." - Alastair Macaulay, The New York Times "An admiring portrait of an individual whose calm, joyous personality makes her quite wonderful company, both at work and in conversation." - Dennis Harvey, Variety "Babeth M. VanLoo's documentary gives full ...
http://wn.com/Meredith_Monk_discusses_her_work_with_filmmaker_Babeth_VanLoo
to buy the dvd go here: firstrunfeatures.com Meredith Monk is a composer, singer, director, choreographer and creator of new opera, music theater, films and installations. She has been proclaimed as a 'magician of the voice' and 'one of America's coolest composers.' During a career that spans more than 45 years, Monk has been hailed by audiences and critics as a major creative force in the performing arts. Inner Voice celebrates Monk's life and work, and illuminates the role that Buddhism has had in her artistic practice. Using a wealth of resource material including personal archives, film clips of performances, and interviews with her collaborators, as well as conversations with the multi-talented artist herself, director Babeth M. Vanloo articulates Monk's extraordinary drive to live for, and through, artistic expression. Tracing the path of her unceasing creativity up to and including her 2008 music theater piece, Songs of Ascension, the documentary elucidates the mystical nature of artistic creation and the life-affirming energy of an authentic inner voice. A Buddhist Broadcasting Foundation production. What the Critics are Saying "Always compelling, often ravishing. Feel your own horizons grow as you watch and listen." - Alastair Macaulay, The New York Times "An admiring portrait of an individual whose calm, joyous personality makes her quite wonderful company, both at work and in conversation." - Dennis Harvey, Variety "Babeth M. VanLoo's documentary gives full ...
- published: 04 Jun 2010
- views: 1565
- author: firstrunfeaturesnyc
Gotham Lullaby Meredith Monk
- Order: Reorder
- Duration: 4:13
- Updated: 29 Nov 2012
http://wn.com/Gotham_Lullaby_Meredith_Monk
- published: 21 Oct 2010
- views: 8491
- author: Naiara Bolzan
Walking Song - Meredith Monk
- Order: Reorder
- Duration: 2:56
- Updated: 03 Dec 2012
The Big Lebowski soundtrack
http://wn.com/Walking_Song_Meredith_Monk
The Big Lebowski soundtrack
- published: 15 Nov 2010
- views: 14143
- author: gjkmcl
John Cage, Meredith Monk and Anthony de Mare - double fiesta
- Order: Reorder
- Duration: 5:49
- Updated: 29 Nov 2012
John Cage, Meredith Monk and Anthony de Mare - double fiesta (piano and voices) / kiloperiodical.blogspot.com / KILO magazine for vagrancy and philosophy / publications TELOS / OFFICE OF DEVELOPMENT OF THE GEOPNEUMATIC PROCEDURE AND THE IDIOMORPHOSIS
http://wn.com/John_Cage,_Meredith_Monk_and_Anthony_de_Mare_double_fiesta
John Cage, Meredith Monk and Anthony de Mare - double fiesta (piano and voices) / kiloperiodical.blogspot.com / KILO magazine for vagrancy and philosophy / publications TELOS / OFFICE OF DEVELOPMENT OF THE GEOPNEUMATIC PROCEDURE AND THE IDIOMORPHOSIS
- published: 14 Mar 2010
- views: 21050
- author: kataraxi
Meredith Monk
- Order: Reorder
- Duration: 0:19
- Updated: 19 Mar 2012
Meredith Monk at Bumbershoot 2005, Seattle, "Hips Dance" with Katie Geissinger
http://wn.com/Meredith_Monk
Meredith Monk at Bumbershoot 2005, Seattle, "Hips Dance" with Katie Geissinger
- published: 12 Feb 2006
- views: 17865
- author: Emmakat
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Meredith Monk - 1/8
- Order: Reorder
- Duration: 9:10
- Updated: 04 Dec 2012
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
http://wn.com/Meredith_Monk_1_8
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
- published: 12 Jan 2008
- views: 182335
- author: braisinhussy
Meredith Monk-Gotham Lullaby live at Lensic Center
- Order: Reorder
- Duration: 4:34
- Updated: 30 Nov 2012
Meredith Monk performs "Gotham Lullaby" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
http://wn.com/Meredith_Monk-Gotham_Lullaby_live_at_Lensic_Center
Meredith Monk performs "Gotham Lullaby" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
- published: 16 Sep 2010
- views: 39835
- author: mmonkhouse
Meredith Monk Vocal Ensemble, "Woman At The Door" Live on Q2 in The Greene Space
- Order: Reorder
- Duration: 5:43
- Updated: 09 Nov 2012
Q2 Music celebrates America's great iconoclastic composers when San Francisco Symphony music director Michael Tilson Thomas brings his "American Mavericks" tour to New York. In anticipation of their Carnegie Hall concerts, composer John Adams and Meredith Monk, the St. Lawrence String Quartet, pianist Jeremy Denk, and other guests joined Tilson Thomas for an evening of performance and conversation around the music of Charles Ives, John Adams and other maverick composers. WQXR's David Garland and Q2 Music's Nadia Sirota hosted. Here The Meredith Monk Ensemble performs "Woman At The Door."
http://wn.com/Meredith_Monk_Vocal_Ensemble,_Woman_At_The_Door_Live_on_Q2_in_The_Greene_Space
Q2 Music celebrates America's great iconoclastic composers when San Francisco Symphony music director Michael Tilson Thomas brings his "American Mavericks" tour to New York. In anticipation of their Carnegie Hall concerts, composer John Adams and Meredith Monk, the St. Lawrence String Quartet, pianist Jeremy Denk, and other guests joined Tilson Thomas for an evening of performance and conversation around the music of Charles Ives, John Adams and other maverick composers. WQXR's David Garland and Q2 Music's Nadia Sirota hosted. Here The Meredith Monk Ensemble performs "Woman At The Door."
- published: 27 Mar 2012
- views: 563
- author: GreeneSpaceNY
Meredith Monk-Scared Song live at Joe's Pub
- Order: Reorder
- Duration: 6:21
- Updated: 14 Nov 2012
Meredith Monk performs "Scared Song" from "Acts from Under and Above" at Joe's Pub, NYC 2005
http://wn.com/Meredith_Monk-Scared_Song_live_at_Joe's_Pub
Meredith Monk performs "Scared Song" from "Acts from Under and Above" at Joe's Pub, NYC 2005
- published: 10 Mar 2010
- views: 4236
- author: mmonkhouse
Meredith Monk-Double Fiesta live with Nurit Tilles
- Order: Reorder
- Duration: 5:12
- Updated: 03 Dec 2012
Meredith Monk and Nurit Tilles perform "Double Fiesta" from "Acts from Under and Above" live in Bonn, Germany 1989
http://wn.com/Meredith_Monk-Double_Fiesta_live_with_Nurit_Tilles
Meredith Monk and Nurit Tilles perform "Double Fiesta" from "Acts from Under and Above" live in Bonn, Germany 1989
- published: 06 Oct 2010
- views: 8899
- author: mmonkhouse
Meredith Monk-Hocket Live with Theo Bleckmann
- Order: Reorder
- Duration: 4:45
- Updated: 05 Dec 2012
Meredith Monk and Theo Bleckmann perform "Hocket" from "Facing North" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
http://wn.com/Meredith_Monk-Hocket_Live_with_Theo_Bleckmann
Meredith Monk and Theo Bleckmann perform "Hocket" from "Facing North" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
- published: 07 Jul 2010
- views: 16222
- author: mmonkhouse
Meredith Monk- last song live from Joe's Pub
- Order: Reorder
- Duration: 5:56
- Updated: 20 Nov 2012
Meredith Monk performs "last song" from "impermanence" live at Joe's Pub, NYC 2005. Words by James Hillman.
http://wn.com/Meredith_Monk_last_song_live_from_Joe's_Pub
Meredith Monk performs "last song" from "impermanence" live at Joe's Pub, NYC 2005. Words by James Hillman.
- published: 29 Sep 2010
- views: 7503
- author: mmonkhouse
Meredith Monk & Vocal Ensemble: Vessel Suite (Live, 1993)
- Order: Reorder
- Duration: 26:53
- Updated: 05 Nov 2012
Meredith Monk, Dina Emerson, and Allison Easter performing Vessel Suite, originally composed in 1971 as part of "Vessel - An Opera Epic". Performed here in December 1993 at Merkin Hall. Songs include Epic, Fire Dance, Little Epiphany - Sybil Song, and Mill. A recording of the suite appears on 'Facing North', available on Amazon: www.amazon.com
http://wn.com/Meredith_Monk_Vocal_Ensemble_Vessel_Suite_Live,_1993
Meredith Monk, Dina Emerson, and Allison Easter performing Vessel Suite, originally composed in 1971 as part of "Vessel - An Opera Epic". Performed here in December 1993 at Merkin Hall. Songs include Epic, Fire Dance, Little Epiphany - Sybil Song, and Mill. A recording of the suite appears on 'Facing North', available on Amazon: www.amazon.com
- published: 14 Aug 2012
- views: 837
- author: mmonkhouse
Meredith Monk & Vocal Ensemble- Tokyo Cha-Cha live at Joe's Pub
- Order: Reorder
- Duration: 9:03
- Updated: 30 Oct 2012
Meredith Monk, Theo Bleckmann, Katie Geissinger and Allison Sniffin perform "Tokyo Cha-Cha" from "Turtle Dreams (Cabaret)" live at Joe's Pub, NYC 2005
http://wn.com/Meredith_Monk_Vocal_Ensemble_Tokyo_Cha-Cha_live_at_Joe's_Pub
Meredith Monk, Theo Bleckmann, Katie Geissinger and Allison Sniffin perform "Tokyo Cha-Cha" from "Turtle Dreams (Cabaret)" live at Joe's Pub, NYC 2005
- published: 24 Sep 2010
- views: 3421
- author: mmonkhouse
Meredith Monk- Do You Be live at Merkin Hall
- Order: Reorder
- Duration: 5:01
- Updated: 05 Nov 2012
Meredith Monk performs "Do You Be" from "Vessel", live at Merkin Hall, NYC 1993
http://wn.com/Meredith_Monk_Do_You_Be_live_at_Merkin_Hall
Meredith Monk performs "Do You Be" from "Vessel", live at Merkin Hall, NYC 1993
- published: 21 Apr 2010
- views: 5430
- author: mmonkhouse
Meredith Monk: Quarry: Introduction (Live, 1977)
- Order: Reorder
- Duration: 3:32
- Updated: 22 Nov 2012
This is the opening scene to Quarry, a piece by Meredith Monk, performed here at La Mama Annex, NYC. For 40 Performers. OBIE Award for Outstanding Achievement 1976, performances at La Mama Annex, NYC; Brooklyn Academy of Music, New York; International Music Theater Festival, Florence, Italy; The Venice Biennale, Italy; The Kennedy Center, Washington, DC; and The Spoleto Festival, Charleston, SC, 1977. See also: www.youtube.com Note: The original film needs professional processing; we are looking to restore this footage in the years to come. Please excuse its lo-fi quality.
http://wn.com/Meredith_Monk_Quarry_Introduction_Live,_1977
This is the opening scene to Quarry, a piece by Meredith Monk, performed here at La Mama Annex, NYC. For 40 Performers. OBIE Award for Outstanding Achievement 1976, performances at La Mama Annex, NYC; Brooklyn Academy of Music, New York; International Music Theater Festival, Florence, Italy; The Venice Biennale, Italy; The Kennedy Center, Washington, DC; and The Spoleto Festival, Charleston, SC, 1977. See also: www.youtube.com Note: The original film needs professional processing; we are looking to restore this footage in the years to come. Please excuse its lo-fi quality.
- published: 05 Nov 2012
- views: 237
- author: mmonkhouse
Meredith Monk: Quarry: The Rally (Live, 1977)
- Order: Reorder
- Duration: 5:40
- Updated: 29 Nov 2012
This is the 'Rally' scene from Quarry, a piece by Meredith Monk, performed here at La Mama Annex, NYC. For 40 Performers. OBIE Award for Outstanding Achievement 1976, performances at La Mama Annex, NYC; Brooklyn Academy of Music, New York; International Music Theater Festival, Florence, Italy; The Venice Biennale, Italy; The Kennedy Center, Washington, DC; and The Spoleto Festival, Charleston, SC, 1977. See also: www.youtube.com Note: The original film needs professional processing; we are looking to restore this footage in the years to come. Please excuse its lo-fi quality.
http://wn.com/Meredith_Monk_Quarry_The_Rally_Live,_1977
This is the 'Rally' scene from Quarry, a piece by Meredith Monk, performed here at La Mama Annex, NYC. For 40 Performers. OBIE Award for Outstanding Achievement 1976, performances at La Mama Annex, NYC; Brooklyn Academy of Music, New York; International Music Theater Festival, Florence, Italy; The Venice Biennale, Italy; The Kennedy Center, Washington, DC; and The Spoleto Festival, Charleston, SC, 1977. See also: www.youtube.com Note: The original film needs professional processing; we are looking to restore this footage in the years to come. Please excuse its lo-fi quality.
- published: 05 Nov 2012
- views: 235
- author: mmonkhouse
Meredith Monk - 2/8
- Order: Reorder
- Duration: 5:53
- Updated: 04 Dec 2012
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
http://wn.com/Meredith_Monk_2_8
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
- published: 12 Jan 2008
- views: 71500
- author: braisinhussy
Meredith Monk discusses her work with filmmaker Babeth VanLoo
- Order: Reorder
- Duration: 3:28
- Updated: 31 May 2012
to buy the dvd go here: firstrunfeatures.com Meredith Monk is a composer, singer, director, choreographer and creator of new opera, music theater, films and installations. She has been proclaimed as a 'magician of the voice' and 'one of America's coolest composers.' During a career that spans more than 45 years, Monk has been hailed by audiences and critics as a major creative force in the performing arts. Inner Voice celebrates Monk's life and work, and illuminates the role that Buddhism has had in her artistic practice. Using a wealth of resource material including personal archives, film clips of performances, and interviews with her collaborators, as well as conversations with the multi-talented artist herself, director Babeth M. Vanloo articulates Monk's extraordinary drive to live for, and through, artistic expression. Tracing the path of her unceasing creativity up to and including her 2008 music theater piece, Songs of Ascension, the documentary elucidates the mystical nature of artistic creation and the life-affirming energy of an authentic inner voice. A Buddhist Broadcasting Foundation production. What the Critics are Saying "Always compelling, often ravishing. Feel your own horizons grow as you watch and listen." - Alastair Macaulay, The New York Times "An admiring portrait of an individual whose calm, joyous personality makes her quite wonderful company, both at work and in conversation." - Dennis Harvey, Variety "Babeth M. VanLoo's documentary gives full ...
http://wn.com/Meredith_Monk_discusses_her_work_with_filmmaker_Babeth_VanLoo
to buy the dvd go here: firstrunfeatures.com Meredith Monk is a composer, singer, director, choreographer and creator of new opera, music theater, films and installations. She has been proclaimed as a 'magician of the voice' and 'one of America's coolest composers.' During a career that spans more than 45 years, Monk has been hailed by audiences and critics as a major creative force in the performing arts. Inner Voice celebrates Monk's life and work, and illuminates the role that Buddhism has had in her artistic practice. Using a wealth of resource material including personal archives, film clips of performances, and interviews with her collaborators, as well as conversations with the multi-talented artist herself, director Babeth M. Vanloo articulates Monk's extraordinary drive to live for, and through, artistic expression. Tracing the path of her unceasing creativity up to and including her 2008 music theater piece, Songs of Ascension, the documentary elucidates the mystical nature of artistic creation and the life-affirming energy of an authentic inner voice. A Buddhist Broadcasting Foundation production. What the Critics are Saying "Always compelling, often ravishing. Feel your own horizons grow as you watch and listen." - Alastair Macaulay, The New York Times "An admiring portrait of an individual whose calm, joyous personality makes her quite wonderful company, both at work and in conversation." - Dennis Harvey, Variety "Babeth M. VanLoo's documentary gives full ...
- published: 04 Jun 2010
- views: 1565
- author: firstrunfeaturesnyc
Meredith Monk-Long Shadows Live with Theo Bleckmann
- Order: Reorder
- Duration: 5:13
- Updated: 28 Nov 2012
Meredith Monk and Theo Bleckmann perform "Long Shadows" from "Facing North" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
http://wn.com/Meredith_Monk-Long_Shadows_Live_with_Theo_Bleckmann
Meredith Monk and Theo Bleckmann perform "Long Shadows" from "Facing North" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
- published: 22 Mar 2012
- views: 567
- author: mmonkhouse
Meredith Monk: Excerpt of Solo from Education of the Gilrchild (Live, 1972)
- Order: Reorder
- Duration: 6:41
- Updated: 13 Nov 2012
Excerpt from solo of Education of the Girlchild, performed by Meredith Monk. Shot at Common Ground in 1972 by Ping Chong.
http://wn.com/Meredith_Monk_Excerpt_of_Solo_from_Education_of_the_Gilrchild_Live,_1972
Excerpt from solo of Education of the Girlchild, performed by Meredith Monk. Shot at Common Ground in 1972 by Ping Chong.
- published: 24 Oct 2012
- views: 303
- author: mmonkhouse
Meredith Monk: Plateau Series II excerpt (Live, 1978)
- Order: Reorder
- Duration: 3:34
- Updated: 13 Nov 2012
Meredith Monk performs an excerpt from Plateau Series II, a hybrid music / dance piece that was shown here at St. Mark's Church, NYC. Includes 'Wa-li-Oh', a song that appears on her record, 'Songs from the Hill / Tablet'.
http://wn.com/Meredith_Monk_Plateau_Series_II_excerpt_Live,_1978
Meredith Monk performs an excerpt from Plateau Series II, a hybrid music / dance piece that was shown here at St. Mark's Church, NYC. Includes 'Wa-li-Oh', a song that appears on her record, 'Songs from the Hill / Tablet'.
- published: 07 Nov 2012
- views: 388
- author: mmonkhouse
Meredith Monk: Strand (Gathering) from Songs of Ascension
- Order: Reorder
- Duration: 1:41
- Updated: 26 Nov 2012
New Sounds Live®: Meredith Monk & Vocal Ensemble with the Todd Reynolds Quartet from The Greene Space on May 18, 2011.
http://wn.com/Meredith_Monk_Strand_Gathering_from_Songs_of_Ascension
New Sounds Live®: Meredith Monk & Vocal Ensemble with the Todd Reynolds Quartet from The Greene Space on May 18, 2011.
- published: 26 May 2011
- views: 1864
- author: q2music
Meredith Monk - 6/8
- Order: Reorder
- Duration: 6:00
- Updated: 26 Nov 2012
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
http://wn.com/Meredith_Monk_6_8
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
- published: 12 Jan 2008
- views: 82162
- author: braisinhussy
Meredith Monk scares an owl
- Order: Reorder
- Duration: 0:43
- Updated: 04 Nov 2012
Maybe the owl isn't a fan?
http://wn.com/Meredith_Monk_scares_an_owl
Maybe the owl isn't a fan?
- published: 15 Jul 2007
- views: 82942
- author: dymaxion
John Cage, Meredith Monk and Anthony de Mare - double fiesta
- Order: Reorder
- Duration: 5:49
- Updated: 29 Nov 2012
John Cage, Meredith Monk and Anthony de Mare - double fiesta (piano and voices) / kiloperiodical.blogspot.com / KILO magazine for vagrancy and philosophy / publications TELOS / OFFICE OF DEVELOPMENT OF THE GEOPNEUMATIC PROCEDURE AND THE IDIOMORPHOSIS
http://wn.com/John_Cage,_Meredith_Monk_and_Anthony_de_Mare_double_fiesta
John Cage, Meredith Monk and Anthony de Mare - double fiesta (piano and voices) / kiloperiodical.blogspot.com / KILO magazine for vagrancy and philosophy / publications TELOS / OFFICE OF DEVELOPMENT OF THE GEOPNEUMATIC PROCEDURE AND THE IDIOMORPHOSIS
- published: 14 Mar 2010
- views: 21050
- author: kataraxi
Meredith Monk - CHOOSING COMPANIONS
- Order: Reorder
- Duration: 7:10
- Updated: 21 May 2012
Live at WFC (2006) www.meredithmonk.org ⚡❤⚡ illustration: Norn Cutson ⚡❤⚡ www.facebook.com
http://wn.com/Meredith_Monk_CHOOSING_COMPANIONS
Live at WFC (2006) www.meredithmonk.org ⚡❤⚡ illustration: Norn Cutson ⚡❤⚡ www.facebook.com
- published: 06 Sep 2010
- views: 2226
- author: Norn Cutson
Meredith Monk: Spring Variation from Songs of Ascension
- Order: Reorder
- Duration: 4:20
- Updated: 26 Aug 2012
New Sounds Live®: Meredith Monk & Vocal Ensemble with the Todd Reynolds Quartet from The Greene Space on May 18, 2011.
http://wn.com/Meredith_Monk_Spring_Variation_from_Songs_of_Ascension
New Sounds Live®: Meredith Monk & Vocal Ensemble with the Todd Reynolds Quartet from The Greene Space on May 18, 2011.
- published: 26 May 2011
- views: 2202
- author: q2music
9:10
Meredith Monk - 1/8
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter...
published: 12 Jan 2008
author: braisinhussy
Meredith Monk - 1/8
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
- published: 12 Jan 2008
- views: 182335
- author: braisinhussy
4:34
Meredith Monk-Gotham Lullaby live at Lensic Center
Meredith Monk performs "Gotham Lullaby" live at the Lensic Center for the Performing Arts,...
published: 16 Sep 2010
author: mmonkhouse
Meredith Monk-Gotham Lullaby live at Lensic Center
Meredith Monk performs "Gotham Lullaby" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
- published: 16 Sep 2010
- views: 39835
- author: mmonkhouse
5:43
Meredith Monk Vocal Ensemble, "Woman At The Door" Live on Q2 in The Greene Space
Q2 Music celebrates America's great iconoclastic composers when San Francisco Symphony mus...
published: 27 Mar 2012
author: GreeneSpaceNY
Meredith Monk Vocal Ensemble, "Woman At The Door" Live on Q2 in The Greene Space
Q2 Music celebrates America's great iconoclastic composers when San Francisco Symphony music director Michael Tilson Thomas brings his "American Mavericks" tour to New York. In anticipation of their Carnegie Hall concerts, composer John Adams and Meredith Monk, the St. Lawrence String Quartet, pianist Jeremy Denk, and other guests joined Tilson Thomas for an evening of performance and conversation around the music of Charles Ives, John Adams and other maverick composers. WQXR's David Garland and Q2 Music's Nadia Sirota hosted. Here The Meredith Monk Ensemble performs "Woman At The Door."
- published: 27 Mar 2012
- views: 563
- author: GreeneSpaceNY
6:21
Meredith Monk-Scared Song live at Joe's Pub
Meredith Monk performs "Scared Song" from "Acts from Under and Above" at Joe's Pub, NYC 20...
published: 10 Mar 2010
author: mmonkhouse
Meredith Monk-Scared Song live at Joe's Pub
Meredith Monk performs "Scared Song" from "Acts from Under and Above" at Joe's Pub, NYC 2005
- published: 10 Mar 2010
- views: 4236
- author: mmonkhouse
5:12
Meredith Monk-Double Fiesta live with Nurit Tilles
Meredith Monk and Nurit Tilles perform "Double Fiesta" from "Acts from Under and Above" li...
published: 06 Oct 2010
author: mmonkhouse
Meredith Monk-Double Fiesta live with Nurit Tilles
Meredith Monk and Nurit Tilles perform "Double Fiesta" from "Acts from Under and Above" live in Bonn, Germany 1989
- published: 06 Oct 2010
- views: 8899
- author: mmonkhouse
4:45
Meredith Monk-Hocket Live with Theo Bleckmann
Meredith Monk and Theo Bleckmann perform "Hocket" from "Facing North" live at the Lensic C...
published: 07 Jul 2010
author: mmonkhouse
Meredith Monk-Hocket Live with Theo Bleckmann
Meredith Monk and Theo Bleckmann perform "Hocket" from "Facing North" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
- published: 07 Jul 2010
- views: 16222
- author: mmonkhouse
5:56
Meredith Monk- last song live from Joe's Pub
Meredith Monk performs "last song" from "impermanence" live at Joe's Pub, NYC 2005. Words ...
published: 29 Sep 2010
author: mmonkhouse
Meredith Monk- last song live from Joe's Pub
Meredith Monk performs "last song" from "impermanence" live at Joe's Pub, NYC 2005. Words by James Hillman.
- published: 29 Sep 2010
- views: 7503
- author: mmonkhouse
26:53
Meredith Monk & Vocal Ensemble: Vessel Suite (Live, 1993)
Meredith Monk, Dina Emerson, and Allison Easter performing Vessel Suite, originally compos...
published: 14 Aug 2012
author: mmonkhouse
Meredith Monk & Vocal Ensemble: Vessel Suite (Live, 1993)
Meredith Monk, Dina Emerson, and Allison Easter performing Vessel Suite, originally composed in 1971 as part of "Vessel - An Opera Epic". Performed here in December 1993 at Merkin Hall. Songs include Epic, Fire Dance, Little Epiphany - Sybil Song, and Mill. A recording of the suite appears on 'Facing North', available on Amazon: www.amazon.com
- published: 14 Aug 2012
- views: 837
- author: mmonkhouse
9:03
Meredith Monk & Vocal Ensemble- Tokyo Cha-Cha live at Joe's Pub
Meredith Monk, Theo Bleckmann, Katie Geissinger and Allison Sniffin perform "Tokyo Cha-Cha...
published: 24 Sep 2010
author: mmonkhouse
Meredith Monk & Vocal Ensemble- Tokyo Cha-Cha live at Joe's Pub
Meredith Monk, Theo Bleckmann, Katie Geissinger and Allison Sniffin perform "Tokyo Cha-Cha" from "Turtle Dreams (Cabaret)" live at Joe's Pub, NYC 2005
- published: 24 Sep 2010
- views: 3421
- author: mmonkhouse
5:01
Meredith Monk- Do You Be live at Merkin Hall
Meredith Monk performs "Do You Be" from "Vessel", live at Merkin Hall, NYC 1993...
published: 21 Apr 2010
author: mmonkhouse
Meredith Monk- Do You Be live at Merkin Hall
Meredith Monk performs "Do You Be" from "Vessel", live at Merkin Hall, NYC 1993
- published: 21 Apr 2010
- views: 5430
- author: mmonkhouse
3:32
Meredith Monk: Quarry: Introduction (Live, 1977)
This is the opening scene to Quarry, a piece by Meredith Monk, performed here at La Mama A...
published: 05 Nov 2012
author: mmonkhouse
Meredith Monk: Quarry: Introduction (Live, 1977)
This is the opening scene to Quarry, a piece by Meredith Monk, performed here at La Mama Annex, NYC. For 40 Performers. OBIE Award for Outstanding Achievement 1976, performances at La Mama Annex, NYC; Brooklyn Academy of Music, New York; International Music Theater Festival, Florence, Italy; The Venice Biennale, Italy; The Kennedy Center, Washington, DC; and The Spoleto Festival, Charleston, SC, 1977. See also: www.youtube.com Note: The original film needs professional processing; we are looking to restore this footage in the years to come. Please excuse its lo-fi quality.
- published: 05 Nov 2012
- views: 237
- author: mmonkhouse
5:40
Meredith Monk: Quarry: The Rally (Live, 1977)
This is the 'Rally' scene from Quarry, a piece by Meredith Monk, performed here at La Mama...
published: 05 Nov 2012
author: mmonkhouse
Meredith Monk: Quarry: The Rally (Live, 1977)
This is the 'Rally' scene from Quarry, a piece by Meredith Monk, performed here at La Mama Annex, NYC. For 40 Performers. OBIE Award for Outstanding Achievement 1976, performances at La Mama Annex, NYC; Brooklyn Academy of Music, New York; International Music Theater Festival, Florence, Italy; The Venice Biennale, Italy; The Kennedy Center, Washington, DC; and The Spoleto Festival, Charleston, SC, 1977. See also: www.youtube.com Note: The original film needs professional processing; we are looking to restore this footage in the years to come. Please excuse its lo-fi quality.
- published: 05 Nov 2012
- views: 235
- author: mmonkhouse
5:53
Meredith Monk - 2/8
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter...
published: 12 Jan 2008
author: braisinhussy
Meredith Monk - 2/8
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
- published: 12 Jan 2008
- views: 71500
- author: braisinhussy
3:28
Meredith Monk discusses her work with filmmaker Babeth VanLoo
to buy the dvd go here: firstrunfeatures.com Meredith Monk is a composer, singer, director...
published: 04 Jun 2010
author: firstrunfeaturesnyc
Meredith Monk discusses her work with filmmaker Babeth VanLoo
to buy the dvd go here: firstrunfeatures.com Meredith Monk is a composer, singer, director, choreographer and creator of new opera, music theater, films and installations. She has been proclaimed as a 'magician of the voice' and 'one of America's coolest composers.' During a career that spans more than 45 years, Monk has been hailed by audiences and critics as a major creative force in the performing arts. Inner Voice celebrates Monk's life and work, and illuminates the role that Buddhism has had in her artistic practice. Using a wealth of resource material including personal archives, film clips of performances, and interviews with her collaborators, as well as conversations with the multi-talented artist herself, director Babeth M. Vanloo articulates Monk's extraordinary drive to live for, and through, artistic expression. Tracing the path of her unceasing creativity up to and including her 2008 music theater piece, Songs of Ascension, the documentary elucidates the mystical nature of artistic creation and the life-affirming energy of an authentic inner voice. A Buddhist Broadcasting Foundation production. What the Critics are Saying "Always compelling, often ravishing. Feel your own horizons grow as you watch and listen." - Alastair Macaulay, The New York Times "An admiring portrait of an individual whose calm, joyous personality makes her quite wonderful company, both at work and in conversation." - Dennis Harvey, Variety "Babeth M. VanLoo's documentary gives full ...
- published: 04 Jun 2010
- views: 1565
- author: firstrunfeaturesnyc
Vimeo results:
3:56
Hocket (Meredith Monk)
An interpretation of Meredith Monk's "Hokcet" from "Facing North". Alex Samaras and Robert...
published: 06 Jul 2011
author: alex samaras
Hocket (Meredith Monk)
An interpretation of Meredith Monk's "Hokcet" from "Facing North". Alex Samaras and Robert Lawson Fowler at SomewhereThere. Toronto, 2011.
6:09
meredith monk - scared song
from "do you be"...
published: 21 Mar 2011
author: jean&jeano;
meredith monk - scared song
from "do you be"
Youtube results:
5:13
Meredith Monk-Long Shadows Live with Theo Bleckmann
Meredith Monk and Theo Bleckmann perform "Long Shadows" from "Facing North" live at the Le...
published: 22 Mar 2012
author: mmonkhouse
Meredith Monk-Long Shadows Live with Theo Bleckmann
Meredith Monk and Theo Bleckmann perform "Long Shadows" from "Facing North" live at the Lensic Center for the Performing Arts, Santa Fe, NM 2004
- published: 22 Mar 2012
- views: 567
- author: mmonkhouse
6:41
Meredith Monk: Excerpt of Solo from Education of the Gilrchild (Live, 1972)
Excerpt from solo of Education of the Girlchild, performed by Meredith Monk. Shot at Commo...
published: 24 Oct 2012
author: mmonkhouse
Meredith Monk: Excerpt of Solo from Education of the Gilrchild (Live, 1972)
Excerpt from solo of Education of the Girlchild, performed by Meredith Monk. Shot at Common Ground in 1972 by Ping Chong.
- published: 24 Oct 2012
- views: 303
- author: mmonkhouse
3:34
Meredith Monk: Plateau Series II excerpt (Live, 1978)
Meredith Monk performs an excerpt from Plateau Series II, a hybrid music / dance piece tha...
published: 07 Nov 2012
author: mmonkhouse
Meredith Monk: Plateau Series II excerpt (Live, 1978)
Meredith Monk performs an excerpt from Plateau Series II, a hybrid music / dance piece that was shown here at St. Mark's Church, NYC. Includes 'Wa-li-Oh', a song that appears on her record, 'Songs from the Hill / Tablet'.
- published: 07 Nov 2012
- views: 388
- author: mmonkhouse
1:41
Meredith Monk: Strand (Gathering) from Songs of Ascension
New Sounds Live®: Meredith Monk & Vocal Ensemble with the Todd Reynolds Quartet from The G...
published: 26 May 2011
author: q2music
Meredith Monk: Strand (Gathering) from Songs of Ascension
New Sounds Live®: Meredith Monk & Vocal Ensemble with the Todd Reynolds Quartet from The Greene Space on May 18, 2011.
- published: 26 May 2011
- views: 1864
- author: q2music
photo: AP / Karlos Manlupig
05 Dec 2012
The death toll from a powerful storm that hit the southern Philippines is continuing to rise, as rescue teams headed for affected areas. Typhoon Bopha struck Mindanao island on Tuesday, bringing rain and high winds. Tens of thousands were evacuated ahead of the storm, which is now passing over the western island of Palawan ... Water and mud rushed down mountainous slopes to engulf a school and a village hall serving as evacuation centres ... ....(size: 2.4Kb)
photo: AP / Bassem Tellawi
04 Dec 2012
WASHINGTON (AP) â President Barack Obama warned Syria on Monday that the use of chemical weapons would be "totally unacceptable" and that the country's leaders would be held accountable ... Obama stopped short of detailing those consequences....(size: 6.7Kb)
photo: US Navy / Matthew Stroup
05 Dec 2012
ISAF today issued an operational update on combat operations in Afghanistan. It noted, among other things, that Afghan and coalition security forces conducted an operation in Watahpur district yesterday that resulted in the “death of insurgent leader Mohammad Yar Gul.” ... Mohammed Yar Gul coordinated the movement of insurgent fighters throughout Kunar province ... ....(size: 1.7Kb)
photo: AP / Nasser Nasser
05 Dec 2012
Police in the Egyptian capital, Cairo, have clashed with protesters angry at what they say is the rushed drafting of a new constitution and by President Morsi's recent extension of his powers. Tens of thousands of people had gathered outside the presidential palace. The police fired tear gas to disperse the crowd, some of whom managed to cut through barbed wire around the palace ... Press action ... ....(size: 2.6Kb)
photo: NATO
05 Dec 2012
BRUSSELS. NATO on Tuesday approved member state Turkey's request for Patriot missiles to defend its border against Syria following a series of blunt warnings to Damascus not to use chemical weapons ... "We say to anyone who would want to attack Turkey -- don't even think about it," he remarked, announcing the decision after the first day of a two-day meeting in Brussels ... ....(size: 4.9Kb)
All About Jazz
29 Nov 2012
... and sound sculptor Helge Sten (also a member of groundbreaking noise-improv group Supersilent), is Endresen's first recorded example of a move away from conventional singing towards a personal approach that has its precedent, to some degree, in Meredith Monk's vocal innovations, but more in spirit than in actual approach and execution....(size: 7.5Kb)
Houston Chronicle
21 Nov 2012
By BRIAN STELTERChuck Hodes/Starz Kelsey Grammer in “Boss.”. The low-rated political thriller “Boss,” a big bet made by the Starz cable channel in its competition with HBO and Showtime, has been terminated. Starz announced the decision the way a company would announce a layoff ... Mr ... Related Posts ... Meredith Monk at St ... Meredith Monk contributed to Danspace Project’s Judson Now season with a program of works at St ... O ... ....(size: 9.4Kb)
The New York Times
20 Nov 2012
Parts of Meredith Monk’s audience are old loyalists who let you know that they can, as they say, remember her when; other parts are young, keen on her not as history but as an artist who opens doors in the mind to new terrain ... Meredith Monk A selection of the artist’s work was presented by Danspace at St ... The Meredith Monk of recent decades is an artist whose eclecticism is characterized by generosity....(size: 10.4Kb)
The Guardian
19 Nov 2012
Wordless acrobatics … Meredith Monk in 2004 ... American composer Meredith Monk told me that she wasn't annoyed with the Coen brothers for using her Walking Song as the musical accompaniment to this scene, when I talked to her for Radio 3's Music Matters ... I thought that Monk could have been offended at the gender and culture stereotyping that seemed to ......(size: 6.7Kb)
The New York Times
15 Nov 2012
Dance. Breaking news about the arts, coverage of live events, critical reviews, multimedia and more. Go to Arts Beat ». A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics. Go to Event Listings » ... nytimes.com/dance ... ★ Meredith Monk (Monday) This pioneer of interdisciplinary performance presents an intimate, one-night-only program as part of Danspace Project’s Judson Now series ... ....(size: 15.7Kb)
The Examiner
12 Nov 2012
Related topics. The Kitchenfundraiser. Advertisement. The Kitchen (www.thekitchen.org) is not your Mom's everyday kitchen. The Kitchen (www.thekitchen.org) is a non-profit, interdisciplinary organization that gives the innovative artist the opportunity to create and present new work in the safe space of their "kitchen." ... Some of those artists would include Vito Acconici, Constance de Jong, Gary Hill, Kiki Smith and Meredith Monk ... Tweet ... ....(size: 6.6Kb)
Sydney Morning Herald
29 Oct 2012
FOUND sound was ground zero for Bang on a Can ... Experimental music rang between the art galleries and downtown apartments of Philip Glass and Meredith Monk ... Advertisement ....(size: 0.8Kb)
The New York Times
25 Oct 2012
Go to Arts Beat » ... Go to Event Listings » ... He makes CDs — the latest is “The Secret Song” (Thirsty Ear) — in which he revels in the art of the remix, a magpielike approach to juxtaposing newly composed music with snippets of existing recordings that become a kind of running commentary, and he has been engaged to remix tracks for other artists, including Yoko Ono, Meredith Monk, Stewart Copeland and Steve Reich ... ....(size: 11.2Kb)
Sacramento Bee
11 Oct 2012
Everyone, at one time or other, has fantasized about what it would be like to be a prodigy. The upside of being one is self-evident. However, the downside is not. Tales of prodigies who achieved fame but were burned out before they reached adulthood are many ... Tao was born in Illinois to Chinese parents who had earned Ph.D.s at Princeton ... 1 and the U.S ... Right now I love Meredith Monk – she's one of my biggest inspirations....(size: 4.4Kb)
The Columbus Dispatch
07 Oct 2012
The Dispatch for smart phones. The Dispatch app features breaking news, sports, weather, videos, movie times, gas prices, a flight tracker and much more. Download apps for your. . Eamon Queeney . Dispatch. Tony Zilincik, a Capital University associate professor of music, plays his tuba in the woods of Jeffrey Park in Bexley ... the tuba ... Meredith Monk and the Kronos Quartet are among those who have performed in the tower ... 12-15 on campus ... ....(size: 7.2Kb)
All About Jazz
10 Sep 2012
View All12345Next ». For many people around the world, the word jazz evokes a singer in a bar, club, restaurant or hotel, reworking the standards of yore ... Cassandra Wilson, Maria Joao, Meredith Monk, Maria Pia De Vito, Jen Shyu, Youn Sun Nah, Monica Akihary, Gretchen Parlato and, latterly, Lauren Kinsella all spring to mind, but everybody will have their own list, that's for sure ... "I'm very thankful for everything," she says ... ....(size: 4.7Kb)
The News & Observer
27 Aug 2012
Email Print Order Reprint Share This. Text. tool name. tool goes here. The News and Observer. COVER STORY. Fall Arts Events Database. by Caspio. to load this Caspio . Email Print Order Reprint Share This. Text. tool name. tool goes here. More Arts ... Here are a few offbeat suggestions for your holiday calendar ... From the third annual Hopscotch Music Festival to multi-media artist Meredith Monks Duke Performances residency, the N.C ... - it's free! ... Make ... ....(size: 9.0Kb)
Seattle Times
26 Aug 2012
In recent years, Bay Area a cappella comedians the Bobs have turned up at the Moisture Festival for three- or four-song sets on a surprisingly regular basis. Which had me thinking. "Gee, the festival must be doing unusually well to have such a generous travel budget ... Doctor, the latest to join the group, has collaborated with John Zorn, Meredith Monk, Bobby McFerrin and conductor Kent Nagano (performing in Leonard Bernstein's "Mass") ... ....(size: 4.3Kb)
| Meredith Monk | |
|---|---|
| Birth name | Meredith Jane Monk |
| Born | (1942-11-20) November 20, 1942 (age 69) |
| Origin | New York |
| Years active | 1968 — |
Meredith Jane Monk (born November 20, 1942 in New York) is an American composer, performer, director, vocalist, filmmaker, and choreographer. Since the 1960s, Monk has created multi-disciplinary works which combine music, theatre, and dance, recording extensively for ECM Records.[1]
Contents |
Life and work[link]
Meredith Monk is primarily known for her vocal innovations, including a wide range of extended techniques, which she first developed in her solo performances prior to forming her own ensemble. In December 1961, she appeared at the "Actor's Playhouse" in Greenwich Village (NYC) as a solo dancer in an Off Broadway children's musical theater adaptation of Charles Dickens' "A Christmas Carol," entitled "Scrooge" (music and lyrics by Norman Curtis; directed and choreographed by Patricia Taylor Curtis). In 1964, Monk graduated from Sarah Lawrence College after studying with Beverly Schmidt Blossom, and in 1968 she founded The House, a company dedicated to an interdisciplinary approach to performance.
Monk's performances have influenced many artists, including Bruce Nauman, whom she met in San Francisco in 1968. In 1978 Monk formed Meredith Monk and Vocal Ensemble (modelled after similar ensembles of musical colleagues, such as Steve Reich and Philip Glass), to explore new and wider vocal textures and forms, which often were contrasted with minimal instrumental textures. Monk began a long-standing relationship with the Walker Art Center of Minneapolis, which continues to showcase her work to this day. Pieces from this time include Dolmen Music (1979), which also was recorded for her first album released at Manfred Eicher's record label ECM in 1981.
In the 1980s, Monk wrote and directed two films, Ellis Island (1981), and Book of Days (1988), which developed from a single idea; "One day during summer of 1984, as I was sweeping the floor of my house in the country, the image of a young girl (in black and white) and a medieval street in the Jewish community (also in black and white) came to me." Monk tells this account in the liner notes of the ECM-recording. Apart from the film, different versions exist of this piece. Two are for the concert hall, and an album, produced by Meredith Monk and Manfred Eicher, is "a film for the ears."
In the early 1990s, Monk composed an opera called Atlas, which premiered in Houston, Texas in 1991. She has also written pieces for instrumental ensembles and symphony orchestras. Her first symphonic work was Possible Sky (2003). It was followed by Stringsongs (2004) for string quartet, which was commissioned by the Kronos Quartet. In 2005, events were held all over the world in celebration of the 40th anniversary of her career, including a concert in Carnegie Hall featuring Björk, Terry Riley, DJ Spooky (who sampled Monk on his album Drums of Death), Ursula Oppens, Bruce Brubaker, John Zorn, and the new music ensembles Alarm Will Sound and Bang on a Can All-Stars, along with the Pacific Mozart Ensemble.
Honors and legacy[link]
Monk has won numerous awards, including a MacArthur Fellowship. She has been awarded honorary Doctor of Arts degrees from Bard College, the University of the Arts (Philadelphia), the Juilliard School, the San Francisco Art Institute and the Boston Conservatory. In 2007, she received in Italy the Demetrio Stratos International Award for musical experimentation.[2][3]
Her music was used in films by the Coen Brothers (The Big Lebowski, 1998) and Jean-Luc Godard (Nouvelle Vague, 1990 and Notre musique, 2004).
French singer Camille paid an explicit homage to Meredith in her song The Monk (Music Hole, 2008) which beyond its obvious title also reminds in its construction the work of Monk.
In a recent interview, Monk said that her favourite music includes Brazilian music, especially Caetano Veloso's recordings, the music by Mildred Bailey ("the great jazz singer from the ‘30s and ‘40s"), and Bartók's cycle for piano Mikrokosmos.
Personal life[link]
Her partner was the Dutch-born choreographer Mieke van Hoek, who died in 2002.
Quotations[link]
"In most of my music, theater pieces and films, I try to express a sense of timelessness; of time as a recurring cycle."
--Liner notes of the album Book of Days, ECM New Series (1990)
"I work in between the cracks, where the voice starts dancing, where the body starts singing, where theater becomes cinema."
--Deborah Jowitt (ed.), Meredith Monk (Johns Hopkins University Press, 1997)
"Björk did one of my songs, "Gotham Lullaby". I'd heard her sing that [...] on an MP3 file one of my [voice] students gave me, and I found it really interesting. Then we met six months ago, and liked each other very much. She's a lovely spirit."
--Interview by Tony Montague in The Globe and Mail, November 11, 2005
Works[link]
Instrumental works[link]
- Paris for solo piano (1973)
- Acts from under and above Ellis Island for two pianos (1986)
- Window in 7's for solo piano (1986)
- Parlour Games for two pianos (1988)
- Phantom Waltz for two pianos (1990)
- St. Petersburg Waltz for solo piano (1994)
- Steppe Music for solo piano (1997)
- Clarinet Study #4, for Solo Clarinet (1999)
- Cello Study #1 for Solo Cello and Voice (1999)
- Trumpet Study #1 for Solo Trumpet (1999)
- Possible Sky for orchestra and voices (commissioned by Michael Tilson Thomas for the New World Symphony, 2003)
- Stringsongs for string quartet (commissioned by the Kronos Quartet, 2004)
Vocal works[link]
- 16 Millimeter Earrings for voice, guitar and tapes (1966)
- Juice: A Theater Cantata for 85 voices, jaw harp and two violins (1969)
- Vessel: An Opera Epic for 75 voices, electronic organ, dulcimer and accordion (1971)
- Our Lady of Late for solo voice and wine glass (1972)
- Quarry: An Opera for 38 voices, 2 pump organs, 2 soprano recorders, tape (1976)
- Songs from the Hill for unaccompanied solo voice (1976)
- Tablet for four voices, piano four hands, two soprano recorders (1976)
- Dolmen Music for 6 voices, cello, percussion (1979)
- The Games for 16 voices, synthesizer, keyboards, Flemish Bagpipes, bagpipes, Chinese horn and rauschpfeife (1983)
- Astronaut Anthem for chorus a cappella (1983)
- Panda Chant II for chorus a cappella (1984)
- Book of Days for 25 voices, synthesizer, piano or 7 voices, synthesizer (Chamber Version) (1985) recorded for ECM
- Scared Song, song for solo voice, synthesizer and piano (1986)
- I Don't Know, song for solo voice and piano (1986)
- Atlas: An Opera in Three Parts for 18 voices and chamber orchestra (1991)
- Three Heavens and Hells for 4 voices (1992)
- Volcano Songs (Solo) for solo voice, voice with taped voices and piano (1994)
- Star Trek: Envoy for composing/directing/performing in the Den-Kai/Krikiki Ensemble (1995)
- The Politics of Quiet for 10 voices, 2 keyboards, horn, violin, bowed psaltery (1996)
- Magic Frequencies for 6 voices, 2 keyboards, percussion (1999)
- Eclipse Variations for 4 voices, esraj, sampler, recorded in surround sound, commissioned by Starkland
- Mercy for 6 voices, 2 keyboards, percussion, multiple woodwinds, violin (2001)
- When There Were Work Songs for vocal ensemble (2002, commissioned by the Western Wind Vocal Ensemble)
- Last Song for solo voice and piano (2003)
- Impermanence for eight voices, piano, keyboard, marimba, vibraphone, percussion, violin, multiple woodwinds, bicycle wheel (2005)
- Night for chorus and orchestra (1996/2005)
- Songs of Ascension for vocal ensemble and string quartet (2006, commissioned by the Kronos Quartet, with Ann Hamilton)
- Weave for solo voices, chorus and orchestra (2010, commissioned by Grand Center Inc and the Los Angeles Master Chorale)
Discography[link]
- Key (Increase Records, 1971 / Lovely Music, 1977 and 1995)
- Our Lady of Late (Minona Records, 1973 / wergo, 1986)
- Songs from the Hill / Tablet (wergo, 1979)
- Dolmen Music (ECM, 1981)
- Turtle Dreams (ECM, 1983)
- Do You Be (ECM, 1987)
- Book of Days (1990) (ECM, 1990)
- Facing North (ECM, 1992)
- Atlas: An Opera in Three Parts (ECM, 1993)
- Monk and the Abbess, Music of Hildegard von Bingen and Meredith Monk (RCA, 1995)
- Volcano Songs (ECM, 1997)
- Eclipse Variations (Starkland, 2000), recorded on surround sound DVD
- Mercy (ECM, 2002)
- Impermanence (ECM, 2008)
- Beginnings (Tzadik, 2009), compositions from 1966 to 1980
- Songs of Ascension (ECM, 2011)
Films[link]
- 1993 – The Sensual Nature of Sound: 4 Composers – Laurie Anderson, Tania León, Meredith Monk, Pauline Oliveros. Directed by Michael Blackwood.
- 1983 – Four American Composers "Meredith Monk." Directed by Peter Greenaway.
- 1996 – Speaking of Dance: Conversations With Contemporary Masters of American Modern Dance. No. 22: Meredith Monk. American Dance Festival. Directed by Douglas Rosenberg.
References[link]
- ^ Allmusic
- ^ "COAST TO COAST MONK" (PDF). New York City, N.Y., U.S.: ejassociates.org. http://www.ejassociates.org/pdf/pr_MeredithMonk08-09.pdf. Retrieved 2009-03-15.
- ^ "Meredith Monk: di scena la musica totale" (in Italian). Articles. Teatro.org. 2007-06-02. http://www.teatro.org/rubriche/opera_da_tre_soldi_2011/meredith_monk_di_scena_la_musica_totale_9141. Retrieved 2011-08-26.
See also Beverly Schmidt Blossom
External links[link]
- Meredith Monk's official site
- Meredith Monk on ECM Records
- Meredith Monk. Encyclopaedia Britannica.
- NNDb
- "Meredith Monk". Boosey & Hawkes. http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=4913.
- Meredith Monk Archive, 1959-2006 Music Division, New York Public Library for the Performing Arts.
- Holland, Bernard (2005-11-08). "A Performance Art Pioneer, With Friends". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=940CE7D7143EF93BA35752C1A9639C8B63.
- Oteri, Frank J. (2000-04-01). "Meredith Monk: Composer First". NewMusicBox. http://www.newmusicbox.org/article.nmbx?id=619.
- Sandow, Greg (1984-10-30). "The Struggle for Form". The Village Voice. http://www.gregsandow.com/monk3.htm.
- Service, Tom (2005-01-25). "Kronos Quartet". The Guardian. http://www.guardian.co.uk/arts/reviews/story/0,,1397617,00.html.
- Sheridan, Molly (2005-11-15). "Our Lady of Late". New Music Box. http://www.newmusicbox.org/article.nmbx?id=4422.
- Turner, Bob (November 2005). "Meredith Monk: magician of the voice". Common Ground. http://www.commonground.ca/iss/0511172/cg172_monk.shtml.
- Meredith Monk in the Video Data Bank
- Meredith Monk interview
- Meredith Monk performs Our Lady of Late, for solo voice, wine glass, and percussion, July 23rd, 1975, Jack Kerouac School of Disembodied Poetics, Naropa Institute, Boulder, Colorado
- Archive film of Meredith Monk/The House performing Magic Frequencies in 1998 at Jacob's Pillow
| Persondata | |
|---|---|
| Name | Monk, Meredith |
| Alternative names | |
| Short description | |
| Date of birth | 1942-11-20 |
| Place of birth | |
| Date of death | |
| Place of death | |
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This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (February 2008) |
Theo Bleckmann (born Theodor Raoul Bleckmann May 28, 1966 in Dortmund, Germany) is a vocalist and composer.
Biography[link]
Theo Bleckmann is a jazz singer and new music composer, he was GRAMMY NOMINATED and received the ECHO award in 2010. His work was described as “from another planet” (New York Times), as “magical, futuristic,” (AllAboutJazz), “limitless” (Citypaper, Philadelphia) “transcendent” (Village Voice) and “brilliant” (New York Magazine).
Bleckmann has released a series of very well received albums on Winter & Winter, including recordings of Las Vegas standards, of Berlin Kabarett, and of popular “bar songs” (all with pianist Fumio Yasuda), a recording of newly arranged songs by Charles Ives (with jazz/rock collective Kneebody), and his new acoustic Solos for Voice “I dwell in possibility”.
Bleckmann has worked with such artists as Laurie Anderson, Anthony Braxton, Steve Coleman, Dave Douglas, Phillip Glass, Meredith Monk, Michael Tilson Thomas, John Zorn and The Bang on a Can All-Stars and was a guest vocalist with the San Francisco Symphony Chorus, Estonian Radio Choir, Merce Cunningham Dance Company and Mark Morris Dance and most prominently, Meredith Monk, with whom Bleckmann worked as a core ensemble member for fifteen years. He has recently been interview by Terry Gross on NPR’s Fresh Air.
Recognized as both a performer and composer, his work spans concerts, installations, theater, cabaret and performance art. He has sung worldwide on some of the great stages including Carnegie Hall's, Zankel Hall, and the Sydney Opera House. The New Yorker called him a 'local cult favorite', The New York Times 'excellent' and according to OUT Magazine Bleckmann is 'a singer who's only recently fallen to earth' and indeed Bleckmann's style has something otherworldly and ethereal.
Bleckmann is also an educator. He is professor of Jazz Voice at the prestigious Manhattan School of Music and Adjunct Assistant Professor at The New School, Queens College and New York University.
Theo Bleckmann grew up appreciating both traditional music from his native Germany as well as American popular music and The Great American Songbook. He trained as an ice dancer in Germany, and was a junior champion before deciding to pursue a career in music. In 1989 Bleckmann moved from his native Germany to New York City (subsequently becoming an American citizen in 2005) after meeting legendary jazz vocalist Sheila Jordan at a workshop in Graz, Austria, who remains an influential mentor and colleague to this day. Together they can be heard on Sheila Jordan's Jazzchild (High Note 1999).
Current Projects[link]
Solo Projects[link]
Bleckmann's latest release, I dwell in possibility (Winter&Winter, 2010) is one of a kind. Inspired by the Arte Povera, the '60s Italian art movement that created installations with the simplest and "poorest" materials, Bleckmann creates with humble means and the devotion of a prayer. Besides his voice and a myriad of acoustics, Bleckmann has chosen some unlikely companions for his solos: music boxes, megaphones, autoharp, glasses, water, shruti, and various toys.
His 2001 release, Origami (Songlines, 2001) received four and a half stars (out of five) from Down Beat magazine making it one of the Best Releases of 2001, as well as declaring him a 'Rising Star' in their recent Critic's Polls.
Hello Earth! - The music of Kate Bush[link]
This project goes beyond merely re-creating Kate's Bush music but taking it to even further realms of sound and interpretation. He is joined in this venture by long-time collaborator percussionist John Hollenbeck, bassist Skuli Sverrisson and keyboardist Henry Hey and special guest, mult-instrumentalist Caleb Burhans on viola, guitar and laptop.
On 15 October 2011 the album, Hello Earth! - The Music of Kate Bush was released. It contains covers of fourteen of Bush classics, including "The Man with the Child in His Eyes", "Running Up that Hill", and "This Woman's Work", as well as songs from Side B of Hounds of Love, "The Ninth Wave."[1] After seeing Bleckmann perform some of the Bush cannon live in 2010 in preparation for recording the album, New York Times music critic Nate Chinen wrote: “Kate Bush is a special fit for him. The arc of her career, uneasily abutting art-rock and alternative music, jibes with his own off-kilter profile. And she’s another transfixing singer with a penchant for careful diction and spooky connotation, and deep interest in the subconscious.”[2]
"Twelve Songs by Charles Ives" with Kneebody[link]
The Wire: "Fluff-toned American singer Theo Bleckmann and New York based jazz group Kneebody […] look deep inside the DNA of Ives's material to extrapolate contemporary resonance. 'Songs my mother taught me' and 'The Housatonic at Stockbridge' are recast as sepia memories of the originals, as Bleckmann uncovers an impressionistic side of Ives using well-judged electronic atmospherics to put distance between then and now." April 2009
Twelve Songs by Charles Ives with Kneebody, (Winter&Winter, 2008) Grammy Nomination 2010 Best Classical Crossover Album
Bleckmann/Hollenbeck Duo[link]
Bleckmann particularly enjoys performing in duo. He and percussionist and composer John Hollenbeck forge a bond born of a long track record of working together including their duo, which is captured on Static Still (GPE records 2000) and Hollenbeck's Quartet Lucy (CRI 2001).
Furthermore, Bleckmann and Hollenbeck are both equal members of the Refuge Trio and Theo Bleckmann is part of John Hollenbeck's Large Ensemble. (see section for detailed information)
Bleckmann/Nurock Duo[link]
Bleckmann has also collaborated extensively with composer and pianist Kirk Nurock; Looking Glass River (Traumton-Indigo, 1995)
Theo & Kirk, (Traumton-Indigo, 1992)
Bleckmann/Monder duo[link]
His ongoing collaborations with guitarist Ben Monder can be heard on Monder's Recordings:
Excavation and
Oceana (Sunnyside)
and on their two duo releases:
At Night (Songlines, 2007)
No Boat (Songlines, 1997)
Audiopool - Duo with Sissel Vera Pettersen[link]
Audiopool is a collaboration between two eerily like-minded musicians: Sissel Vera Pettersen from Norway and New York-based Theo Bleckmann. Both singers use their voices as an instrument incorporating live electronic processing and looping to create mercurial and haunting compositions, improvisations and soundscapes. Audiopool premiered in the summer of 2008 at the Copenhagen Jazz Festival. Using only accessible instruments (a FLIP HD camera and household lighting) they extend their sensibilities to creating miniature vocal/visual landscapes while translating their live electronic vocal manipulations to video.
Refuge Trio[link]
Refuge Trio takes its name from the Joni Mitchell song "Refuge of the Roads". The collaborative trio was formed to play at the '2002 Wall-to-Wall Joni Mitchell Marathon Concert' at Symphony Space in NYC. Since then, they have continued to explore music with mystery and exuberance. They fashion a transformative experience for the audience with their music and spirit.
Refuge Trio with Gary Versace and John Hollenbeck (Winter&Winter, 2008)
With Fumio Yusada[link]
Las Vegas Rhapsody[link]
Bleckmann's collection of showtunes, Las Vegas Rhapsody - The Night They Invented Champagne with the Chamber Orchester Basel and pianist, arranger, Fumio Yusada (Winter&Winter, 2006) has been described as "the most transcendent vocal album in many a moon", by Francis Davis in The Village Voice.
Berlin - Songs of Love and War, Peace and Exile[link]
Theo Bleckmann's second collaboration with Yusada is an extension of his love for music from his native country Germany surrounding the themes of love, war and peace. The repertoire consists of works by composers Hans Eisler, Kurt Weill, Kristian Schultze with Bertolt Brecht providing much of the texts.[3]
Berlin - Songs of Love and War, Peace and Exile (Winter&Winter, 2007)
Schumann's Favored Bar Songs[link]
It's wonderful to plunge into the Schumann's Bar, to feel the atmosphere, to hear the sound of the jazz piano, the warm and clear voice of the singer and the typical back ground noises. Fumio Yasuda and Theo Bleckmann present song after song in a terrific performance. Winter&Winter has made itself a name particularly through the creation of AudioFilms (cinema for closed eyes). »Schumann's Favored Bar Songs« (Winter&Winter, 2009) is one of these AudioFilms, a simple but exciting sound story of a wonderful place.
John Hollenbeck Large Ensemle[link]
Bleckmann is also a featured vocalist in Hollenbeck's three Large Ensemble recordings
Eternal Interlude (Sunnyside Records, 2009), Grammy Nomination in 2009
Joys and Desires (Intuition 2006), Grammy Nomination in 2006
A Blessing (Omnitone 2005)
Moss[link]
Moss is a vocal ensemble composed of some of New York's most diverse and interesting (jazz) singers (Theo Bleckmann, Peter Eldridge, Kate McGarry, Lauren Kinhan and Luciana Souza). The repertoire features each artist's individual approach to music and creates a unique collective at the same time. MOSS (Sunyside Records, 2008)
Selected Discography[link]
2010 I dwell in possibility, Theo Bleckmann; Winter&Winter 910 168-2
2009 Schumann’s Favored Bar Songs, with Fumio Yasuda; Winter&Winter 910 152-2
2008 Twelve songs by Charles Ives, with Kneebody; Winter&Winter 910 147-2
2008 Refuge Trio, with Gary Versace and John Hollenbeck; Winter&Winter
2007 Berlin - songs of love and war, peace and exile; with Fumio Yasuda Winter&Winter 910 138-2
2007 At night, Theo Bleckmann and Ben Monder; Songlines Recordings SGL 1561-2
2006 Las Vegas Rhapsody - The night they invented champagne, Theo Bleckmann with Fumio Yasuda and the Kammerorchester Basel; Winter&Winter N° 910 116-2
2005 anteroom, Theo Bleckmann; Traumton 4483
2001 origami, Theo Bleckmann; Songlines, SGL 1534-2
2000 static still, TheoBleckmannJohnHollenbeckDUO; gpe records, GEP 6823
1997 No Boat, Theo Bleckmann and Ben Monder Duo; Songlines SGL 1516
1995 Looking-Glass River, Theo Bleckmann-Kirk Nurock Duo; Traumton-Indigo 2412
1992 Theo & Kirk, Theo Bleckmann-Kirk Nurock Duo; Traumton-Indigo 2404
SELECTED GROUP OR SIDEMAN RECORDINGS
2009 Eternal Interlude, John Hollenbeck Large Ensemble; Sunnyside
2008 Moss w/Peter Eldridge, Lauren Kinhann, Kate McGarry and Luciana Souza; Sunnyside
2008 Impermanence, Meredith Monk; ECM
2007 The Carbon Copy Building, Band on a Can; Cantaloupe Records
2006 Joys and Desires, John Hollenbeck and Jazz Bigband Graz feat. Theo Bleckmann; Intuition
2005 A Blessing, John Hollenbeck Large Ensemble; Omnitone
2005 Oceana, Ben Monder Quartet; Sunnyside
2006 Excavation, Ben Monder Quartet; Sunnyside
2006 Lucidarium, Steve Coleman; Label Bleu Records
2004 Zippo Songs, Phil Kline; Cantaloupe Records
2002 Mercy, Meredith Monk; ECM
2002 The Whitney, Biennial 2002 exhibition catalogue with CD; Whitney
1999 Jazz Child, Sheila Jordan; High Note,
Performance Pieces[link]
Fidget[link]
Bleckmann's multidisciplinary works include a commission by the Whitney Museum of American Art at Philip Morris to compose and create a music performance piece out of Kenneth Goldsmith's text Fidget, which Bleckmann scored for voice, piano, percussion, bass, video and three sewing machines. In real time, four seamstresses sewed a paper suit out of the hundreds of sheets of paper that were Bleckmann's libretto.
Mercuria[link]
In collaboration with performance artist Lynn Book, he created Mercuria (produced by the Whitney Museum of Contemporary Art in Chicago), incorporating visual and vocal elements of dream and subconsciousness into an evening-length performance piece.
The True Last Words of Dutch Schultz[link]
Playing the gangster Dutch Schultz, Bleckmann co-created The True Last Words of Dutch Schultz a new music opera in collaboration with director Valeria Vasilevski and composer Eric Salzman.
Film, Television and Theater[link]
As a sound improviser, he has performed, created and developed movie, television and theater scores, among them an alleged space Alien language for Men In Black by Steven Spielberg, Star Trek: Envoy (Meredith Monk) and Kundun (Phillip Glass)
One of his recent appearances on television include "The David Letterman Show" with the performance artist Laurie Anderson on July 14, 2010.
Theo Bleckmann sang in John Moran's Book of the Dead at the Public Theater in NY, performed a lead in Bang on a Can's Obie Award-winning opera Carbon Copy Building and frequently appears as a soloist with The Bang on a Can All-Stars.
In collaboration with director Laurie McCants and set designer Elaine F. Williams, he wrote the music and performed The Alexandria Carry On, which has been traveling the US and was performed at the actual library in Alexandria, Egypt.
Selected Compositions[link]
2009 “Roundabout (4 J.A.C.K.) ” for string quartet, (commissioned by Ensemble Noamnesia)
2009 “Duet for One” for solo voice
2009 “I dwell in possibility” (poem by Emily Dickinson) for voice and chimes
2009 “I am not enough” for voice and toy microphone
2008 “elegy” for 2 voices and loops
2008 “Take my life” for voice, piano, Glockenspiel and drums
2007 “I build my time” (poem by Kurt Schwitters) for voice, piano and string quartet
2007 “Schmidt Lied” (poem by Kurt Schwitters) for voice, piano and string quartet
2007 “To what shall I compare this life” (lyrics Priest Monsei) for voice, piano and percussion
2007 “Happiness” for voice, piano and drums
2007 “Longing” for four voices, cello, percussion and Fender Rhodes
2006 “Orchard” (poem by Rumi) for five voices and guitar
2004 - 05 “Anteroom” for 16 voices
2004 - 05 “A small house can carry as much happiness as a large one” for voices and kalimba
2004 “Lament for a Jungle” for voices and paper
2003 - 04 “The Alexandria Carry On” songs and music for voice, flute, percussion and shruti box (lyrics by Laurie McCants adapted from Ancient Greek and Egyptian sources)
2001 “DNA” for voice, piano, guitar, vibraphone, electric bass and percussion
2001 “None of the Above” for voice, piano and vibraphone
1997 “Men in Black” Alien language for Soundtrack
Awards and honors[link]
Theo Bleckmann's work has been recognized with several awards including a Grammy Nomination in 2010 for the best "Classical Crossover Album". He received the ECHO Award for "Best Singer of the Year" 2010, a Bessie Award, Presser Award for Outstanding Talent and the ASCAP/GershwinAward for his composition "Chorale #1 for Eight Voices" as well as grants from Arts International, the Franklin Furnace Fund for Performance Art, New York Foundation for the Arts, Meet The Composer and the Council on Humanities, PA. He was also voted "Cultural Elite" by New York Magazine in 2005 and 2006.
References[link]
- ^ http://www.theobleckmann.com/MUSIC/MUSIC_DISCO_01.html Hello Earth! - The Music of Kate Bush released
- ^ http://www.nytimes.com/2010/09/24/arts/music/24theo.html NY Times review of Bleckmann performing Bush songs live
- ^ "Composer Theo Bleckmann Dwells In Possibility". National Public Radio. 2 July 2008. http://www.npr.org/templates/story/story.php?storyId=129909593. Retrieved 2 October 2010.
- Terry Gross interviews Theo Bleckmann
- New York Times Review - Tangled in A Dreamscape with Friends in Tow, Published 23 September 2010
External links[link]
- Theo Bleckmann's Official Website
- Winter & Winter (label)
- Songlines Recordings (label)
- Traumton
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| Name | Bleckmann, Theo |
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| Date of birth | May 28, 1966 |
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http://wn.com/Theo_Bleckmann
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
For the character, see Johnny Cage.
File:John Cage Laugh.png
John Cage
John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, music theorist, writer, and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential American composers of the 20th century.[1][2][3][4] He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives.[5][6]
Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is sometimes assumed, but rather the sounds of the environment heard by the audience during performance.[7][8] The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48).[9]
His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951.[clarification needed] The I Ching, an ancient Chinese classic text on changing events, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living".[10]
Contents |
Life[link]
1912–31: Early years[link]
Cage was born in Los Angeles. His father John Milton Cage, Sr. (1886–1964) was an inventor, and his mother Lucretia ("Crete") Harvey (1885–1969) worked intermittently as a journalist for the Los Angeles Times.[11] The family's roots were deeply American: in a 1976 interview, Cage mentioned "[George] Washington in the surveying of Virginia".[12] Cage described his mother as a woman with "a sense of society" who was "never happy",[13] while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine,[11] others revolutionary and against the scientific norms, such as the "electrostatic field theory" of the universe.[n 1] John Milton Sr. taught his son that "if someone says 'can't' that shows you what to do." In 1944–45 Cage wrote two small character pieces dedicated to his parents: Crete and Dad. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work.[14]
Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition.[15] By 1928 Cage was convinced that he wanted to be a writer. That year he graduated from Los Angeles High School as a valedictorian[16] and enrolled at Pomona College, Claremont. In 1930 he dropped out, having come to believe that "college was of no use to a writer"[17] after an incident described in the 1991 autobiographical statement:
I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left.[13]
Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies.[18] He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris.[19] Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it.[17] He then took up painting, poetry and music. It was in Europe that he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith) and finally got to know the music of Johann Sebastian Bach, which he had not experienced before.
After several months in Paris, Cage's enthusiasm for America was revived after he read Walt Whitman's Leaves of Grass – he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent.[20] Cage started travelling, visited various places in France, Germany and Spain, as well as Capri and, most importantly, Majorca, where he started composing.[21] His first compositions were created using dense mathematical formulae, but Cage was displeased with the results and left the finished pieces behind when he left.[22] Cage's association with theatre also started in Europe: during a walk in Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment."[23]
1931–36: Apprenticeship[link]
Cage returned to the United States in 1931.[22] He went to Santa Monica, California, where he made a living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as pianist Richard Buhlig (who became his first teacher[24]) and arts patron Galka Scheyer.[17] By 1933 Cage decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained.[17] In 1933 he sent some of his compositions to Henry Cowell; the reply was a "rather vague letter",[25] in which Cowell suggested that Cage study with Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg's twelve-tone technique.[26] Cowell mentioned, that before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil.[27]
Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School.[24] He supported himself financially by taking up a job washing walls at a Brooklyn YWCA.[28] Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am.[28][29] Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg.[n 2] He could not afford Schoenberg's price, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge.[30]
Cage studied with Schoenberg in California: first at USC and then at UCLA, as well as privately.[24] The older composer became one of the biggest influences on Cage, who "literally worshipped him",[31] particularly as an example of how to live one's life being a composer.[29] The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage "had no need for it [i.e. writing music]", he continued composing partly because of the promise he gave.[32] Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture Indeterminacy:
After I had been studying with him for two years, Schoenberg said, "In order to write music, you must have a feeling for harmony." I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, "In that case I will devote my life to beating my head against that wall."[33]
Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "[...] When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music."[31] Although Schoenberg never complimented Cage on his compositions during these two years, in a later interview he said that none of his American pupils were interesting, except Cage: "Of course he's not a composer, but he's an inventor—of genius."[31]
At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff. She was an Alaskan-born daughter of a Russian priest; her work encompassed fine bookbinding, sculpture and collage. Although Cage was involved in a relationship with Don Sample when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizona, on June 7, 1935.[34]
1937–49: Modern dance and Eastern influences[link]
See also: Works for prepared piano by John Cage
The newly married couple first lived with Cage's parents in Pacific Palisades, then moved to Hollywood.[35] During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at UCLA. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA, with his aunt Phoebe.[36] It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by Oskar Fischinger, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects.[36][37]
In 1938, with help from a fellow Cowell student Lou Harrison, Cage became a faculty member at Mills College, teaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl. Several famous dance groups were present, and Cage's interest in modern dance grew further.[36] After several months he left and moved to Seattle, Washington, where he found work as composer and accompanist for choreographer Bonnie Bird at the Cornish College of the Arts. The Cornish School years proved to be a particularly important period in Cage's life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between the strings—in 1940. This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble. It was also at the Cornish School that Cage met a number of people who became lifelong friends, such as painter Mark Tobey and dancer Merce Cunningham. The latter was to become Cage's lifelong partner and collaborator.
Cage left Seattle in the summer of 1941 after the painter László Moholy-Nagy invited him to teach at the Chicago School of Design. The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music. These opportunities did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at the University of Chicago. At one point, his reputation as percussion composer landed him a commission from the Columbia Broadcasting System to compose a soundtrack for a radio play by Kenneth Patchen. The result, The City Wears a Slouch Hat, was received well, and Cage deduced that more important commissions would follow. Hoping to find these, he left Chicago for New York City in the spring of 1942.
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Performed in 1958 by Arline Carmen (voice) and John Cage (closed piano). This is one of the rare recordings of Cage performing his own instrumental music.
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In New York, the Cages first stayed with painter Max Ernst and Peggy Guggenheim. Through them, Cage met numerous important artists such as Piet Mondrian, André Breton, Jackson Pollock, Marcel Duchamp, and many others. Guggenheim was very supportive: the Cages could stay with her and Ernst for any length of time, and she offered to organize a concert of Cage's music at the opening of her gallery, which included paying for transportation of Cage's percussion instruments from Chicago. After she learned that Cage secured another concert, at the Museum of Modern Art, Guggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless. The commissions he hoped for did not happen. He and Xenia spent the summer of 1942 with dancer Jean Erdman and her husband. Without the percussion instruments, Cage again turned to prepared piano, producing a substantial body of works for performances by various choreographers, including Merce Cunningham, who moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage's partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: the resulting piece, The Wonderful Widow of Eighteen Springs (1942), quickly became popular and was performed by the celebrated duo of Cathy Berberian and Luciano Berio.[38]
Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946 Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy.[39] Cage also attended, in late 1940s and early 1950s, D. T. Suzuki's lectures on Zen Buddhism,[40] and read the works of Ananda K. Coomaraswamy.[24] The first fruits of these studies were works inspired by Indian concepts: Sonatas and Interludes for prepared piano, String Quartet in Four Parts, and others. Cage accepted the goal of music as explained to him by Sarabhai: "to sober and quiet the mind, thus rendering it susceptible to divine influences".[41]
Early in 1946, his former teacher Richard Buhlig arranged for Cage to meet Berlin-born pianist Grete Sultan, who had escaped from Nazi persecution to New York in 1941.[42] They became close, lifelong friends, and Cage later dedicated part of his Music for Piano (Cage) and his monumental piano cycle Etudes Australes to her.
1950s: Discovering chance[link]
Sonatas and Interludes were received well by the public. After a 1949 performance at Carnegie Hall, New York, Cage received a grant from the Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez. More important was Cage's chance encounter with Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic Orchestra concert, where the orchestra performed Anton Webern's Symphony, op. 21, followed by a piece by Sergei Rachmaninoff. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason.[43] The two composers quickly became friends; some time later Cage, Feldman, Earle Brown, David Tudor and Cage's pupil Christian Wolff came to be referred to as "the New York school."[44][45]
In early 1951, Wolff presented Cage with a copy of the I Ching[46]—a Chinese classic text which describes a symbol system used to identify order in chance events. This version of the I Ching was the first complete English translation and had been published by Wolff's father, Kurt Wolff of Pantheon Books in 1950. The I Ching is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the I Ching; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation":[47][48] his lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will:
When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound [...] I don't need sound to talk to me.[49]
Although Cage had used chance on a few earlier occasions, most notably in the third movement of Concerto for Prepared Piano and Chamber Orchestra (1950–51),[50] the I Ching opened new possibilities in this field for him. The first results of the new approach were Imaginary Landscape No. 4 for 12 radio receivers, and Music of Changes for piano. The latter work was written for David Tudor,[51] whom Cage met through Feldman—another friendship that lasted until Cage's death.[n 3] Tudor premiered most of Cage's works until the early 1960s, when he stopped performing on the piano and concentrated on electronic music. The I Ching became Cage's standard tool for composition: he used it in practically every work composed after 1951.
Despite the fame Sonatas and Interludes earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment, at 326 Monroe Street (which he occupied since around 1946) his financial situation in 1951 worsened so much that, while working on Music of Changes, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death.[52] Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures, performances, etc. In 1952–53 he completed another mammoth project—the Williams Mix, a piece of tape music, which Earle Brown helped to put together.[53] Also in 1952, Cage wrote down the piece that became his most well-known and most controversial creation: 4′33″. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience.[54] The reaction to 4′33″ was just a part of the larger picture: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the 1950s, i.e. Karlheinz Stockhausen and Iannis Xenakis.[55]
From 1953 onwards, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as The Ten Thousand Things. In Summer 1954 he moved out from New York and settled in a cooperative community in Stony Point, New York. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and during 1956–58 he also worked as an art director of a typography.[56] Among the works completed during the last years of the decade were Concert for Piano and Orchestra (1957–58), a seminal work in the history of graphic notation, and Variations I (1958).
1960s: Fame[link]
Cage was affiliated with Wesleyan University and collaborated with members of its Music Department from the 1950s until his death in 1992. At the University, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both.[citation needed] In 1960 the composer was appointed a Fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan,[57] where he started teaching classes in experimental music. In October 1961, Wesleyan University Press published Silence, a collection of Cage's lectures and writings on a wide variety of subjects, including the famous Lecture on Nothing that was composed using a complex time length scheme, much like some of Cage's music. Silence was Cage's first book.[n 4] He went on to publish five more. Silence remained his most widely read and influential book.[24] In the early 1960s Cage began his lifelong association with C.F. Peters Corporation. Walter Hinrichsen, the president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalogue of Cage's works, which appeared in 1962.[56]
Edition Peters soon published a large number of scores by Cage, and this, together with the publication of Silence, led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 Betty Freeman set up an annual grant for living expenses for Cage, to be issued from 1965 to his death.[58] But by mid-1960s Cage was receiving so many commissions and requests for appearances, that he was not able to fulfill them. This was accompanied by a busy touring schedule; Subsequently Cage's compositional output from that decade was scant.[24] After the orchestral Atlas Eclipticalis (1961–62), a work based on star charts, which was fully notated, Cage gradually shifted to, in his own words, "music (not composition)." The score of 0′00″, completed in 1962, originally comprised a single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that sentence. The score of Variations III (1962) abounds in instructions to the performers, but makes no references to music, musical instruments or sounds.
Many of the Variations and other 1960s pieces were in fact "happenings", an art form established by Cage and his students in late 1950s. Cage's "Experimental Composition" classes at The New School have become legendary as an American source of Fluxus, an international network of artists, composers, and designers. The majority of his students had little or no background in music. Most were artists. They included Jackson Mac Low, Allan Kaprow, Al Hansen, George Brecht, and Dick Higgins, as well as many others Cage invited unofficially. Famous pieces that resulted from the classes include George Brecht's Time Table Music and Al Hansen's Alice Denham in 48 Seconds.[59] As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud's seminal treatise The Theatre and Its Double, and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October 1960, Mary Bauermeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his Etude for Piano cut off Cage's tie and then washed his co-performer’s hair with shampoo.[citation needed]
In 1967, Cage's A Year from Monday was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964,[60] and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death.[61]
1969–87: New departures[link]
Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with fifty-two tapes of computer-generated sounds, 6,400 slides of designs many supplied by NASA, and shown from sixty-four slide projectors, with forty motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there.[citation needed]
Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: "Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it."[62] Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975).
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Performed by the composer in 1976, shortly before he had to retire from performing.
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Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by early 1970s his hands were painfully swollen and rendered him unable to perform.[63] Nevertheless, he still played Cheap Imitation during the 1970s,[64] before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's Empty Words was first published by Wesleyan University Press.
1987–92: Final years and death[link]
See also: Number Pieces
In 1987, Cage completed a piece called Two, for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such pieces, one of the last being Eighty (1992, premiered in Munich on 28 October 2011), usually employing a variant of the same technique; together, these works are known as Number Pieces. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures;[24] the music has been linked to Cage's anarchic leanings.[65] One11 (i.e. the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film.
Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title Europera, in 1987–91. Europeras I and II require greater forces than III, IV and V, which are on a chamber scale.
Already in the course of the eighties, Cage's health worsened progressively: he suffered not only from arthritis, but also from sciatica and arteriosclerosis. He suffered a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet.[66] Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage suffered another stroke. He was taken to the nearest hospital, where he died on the morning of August 12.[67]
According to his wishes, Cage's body was cremated, and the ashes scattered in the Ramapo Mountains, near Stony Point, New York,[68] the same place where Cage scattered the ashes of his parents, years before.[61] The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by the composer Walter Zimmermann and the musicologist Stefan Schaedler was due to take place. The event went ahead as planned, including a performance of the Concert for Piano and Orchestra by David Tudor and Ensemble Modern.[2] Merce Cunningham lived another 17 years, dying of natural causes in July 2009.[69]
Music[link]
See also: List of compositions by John Cage
Early works, rhythmic structure, and new approaches to harmony[link]
Cage's first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power."[70] Cage then started producing pieces by improvising and writing down the results, until Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as Sonata for Clarinet (1933) and Composition for 3 Voices (1934), are highly chromatic and betray Cage's interest in counterpoint. Around the same time, the composer also developed a type of a tone row technique with 25-note rows.[71] After studies with Schoenberg, who never taught dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in Two Pieces for Piano (c. 1935), and then, with modifications, in larger works such as Metamorphosis and Five Songs (both 1938).
Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In Imaginary Landscape No. 1 (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. First Construction (in Metal) (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives.[72] Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as Sonatas and Interludes for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for Sonata I, for example),[73] or A Flower, a song for voice and closed piano, in which two sets of proportions are used simultaneously.[74]
In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in String Quartet in Four Parts (1950) Cage first composed a number of gamuts: chords with fixed instrumentation. The piece progresses from one gamut to another. In each instance the gamut was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony.[24] Concerto for prepared piano (1950–51) used a system of charts of durations, dynamics, melodies, etc., from which Cage would choose using simple geometric patterns.[24] The last movement of the concerto was a step towards using chance procedures, which Cage adopted soon afterwards.[75]
Chance[link]
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Chart system was also used (along with nested proportions) for the large piano work Music of Changes (1951), only here material would be selected from the charts by using the I Ching. All of Cage's music since 1951 was composed using chance procedures, most commonly using the I Ching. For example, works from Music for Piano were based on paper imperfections: the imperfections themselves provided pitches, and the I Ching was used to determine the methods of sound production, or the rhythms, etc.[76] A whole series of works was created by applying chance operations, i.e. the I Ching, to star charts: Atlas Eclipticalis (1961–62), and a series of etudes: Etudes Australes (1974–75), Freeman Etudes (1977–90), and Etudes Boreales (1978).[77] Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"[78]—this being Cage's answer to the notion that solving the world's political and social problems is impossible.[79] Cage described himself as an anarchist, and was influenced by Henry David Thoreau.[n 5]
Another series of works applied chance procedures to pre-existing music by other composers: Cheap Imitation (1969; based on Erik Satie), Some of "The Harmony of Maine" (1978; based on Belcher), and Hymns and Variations (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches.[80] Yet another series of works, the so-called Number Pieces, all completed during the last five years of the composer's life, make use of time brackets: the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15″ and 1′45″, and to anywhere from 2′00″ to 2′30″).[81]
Cage's method of using the I Ching was far from simple randomization. The procedures varied from composition to composition, and were usually complex. For example, in the case of Cheap Imitation, the exact questions asked to the I Ching were these:
- Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using?
- Which of the twelve possible chromatic transpositions am I using?
- For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote?[82]
In another example of late music by Cage, Etudes Australes, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the I Ching which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand.[77][83]
Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of Variations I (1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a coordinate system, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc.[84] Some of Cage's graphic scores (e.g. Concert for Piano and Orchestra, Fontana Mix (both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of 0'00" (1962; also known as 4'33" No. 2) consists of a single sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence.[85]
Musicircus (1967) simply invites the performers to assemble and play together. The first Musicircus featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. The English National Opera became the first opera company to hold a Cage Musicircus on 3 March 2012 at the London Colliseum.[86]. The ENO's Musicircus featured artists including Led Zeppelin bassist John Paul Jones and composer Michael Finnissy alongside ENO Music Director Edward Gardner, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London's Coliseum Opera House.[87]
This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as Roaratorio, an Irish circus on Finnegans Wake (1979), a many-tiered rendering in sound of both his text Writing for the Second Time Through Finnegans Wake, and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, Finnegans Wake, which was one of Cage's favorite books, and one from which he derived texts for several more of his works.
Improvisation[link]
Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. In a number of works beginning in the 1970s, he found ways to incorporate improvisation. In Child of Tree (1975) and Branches (1976) the performers are asked to use certain species of plants as instruments, for example the cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In Inlets (1977) the performers play large water-filled conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance.[88]
Visual art, writings, and other activities[link]
File:Cage-variations-iii-14-small.jpg
Variations III, No. 14, a 1992 print by Cage from a series of 57.
Although Cage started painting in his youth, he gave it up in order to concentrate on music instead. His first mature visual project, Not Wanting to Say Anything About Marcel, dates from 1969. The work comprises two lithographs and a group of what Cage called plexigrams: silk screen printing on plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations.[89]
From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching Score Without Parts (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by Seven Day Diary, which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, Signals.[90]
Between 1979 and 1982 Cage produced a number of large series of prints: Changes and Disappearances (1979–80), On the Surface (1980–82), and Déreau (1982). These were the last works in which he used engraving.[91] In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (Eninka, Variations, Ryoanji, etc.) to create his visual works.[92] In 1988–1990 he produced watercolors at the Mountain Lake Workshop. The only film Cage produced was one of the Number Pieces, One11, commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. One11 consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece 103.
Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was Silence: Lectures and Writings (1961). Silence included not only simple lectures, but also texts executed in experimental layouts, and works such as Lecture on Nothing (1959), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics.
Cage was also an avid amateur mycologist: he co-founded the New York Mycological Society with four friends,[56] and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz.
Reception and influence[link]
Cage's pre-chance works, particularly pieces from the late 1940s such as Sonatas and Interludes, earned critical acclaim: the Sonatas were performed at Carnegie Hall in 1949. Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of serialism such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique."[93] Prominent critics of serialism, such as the Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and [...] an abrogation of a composer's function."[94]
An article by teacher and critic Michael Steinberg, Tradition and Responsibility, criticized avant-garde music in general:
The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece [i.e. 4′33″], or his Landscapes for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power.[95]
Cage's aesthetic position was criticized by, among others, prominent writer and critic Douglas Kahn. In his 1999 book Noise, Water, Meat: A History of Sound in the Arts, Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social."[96]
While much of Cage's work remains controversial,[citation needed] his influence on countless composers, artists, and writers is notable.[citation needed] After Cage introduced chance,[clarification needed] Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen's piano writing in his later Klavierstücke was influenced by Cage's Music of Changes and David Tudor.[97] Other composers who adopted chance procedures in their works included Witold Lutosławski, Mauricio Kagel, and many others.[citation needed] Music in which some of the composition and/or performance is left to chance was labelled aleatoric music—a term popularized by Pierre Boulez.[citation needed] Helmut Lachenmann's work was influenced by Cage's work with extended techniques.[98]
Cage's rhythmic structure experiments and his interest in sound influenced a number of composers, starting at first with his close American associates Morton Feldman and Christian Wolff (and other American composers, such as La Monte Young), and then spreading to Europe.[citation needed] For example, almost all composers of the English experimental school acknowledge his influence[citation needed]: Michael Parsons, Christopher Hobbs, John White,[99] Gavin Bryars, who studied under Cage briefly,[100] and Howard Skempton. [101] The Japanese composer Tōru Takemitsu has also cited Cage's influence.[102]
Cage's influence was also acknowledged by rock acts such as Sonic Youth (who performed some of the Number Pieces[103]) and Stereolab (who named a song after Cage[104]), composer and rock and jazz guitarist Frank Zappa,[105] and various noise music artists and bands: indeed, one writer traced the origin of noise music to 4′33″.[106] The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno's label Obscure Records released works by Cage.[107] Prepared piano, which Cage popularized, is featured heavily on Aphex Twin's 2001 album Drukqs.[108] Cage's work as musicologist helped popularize Erik Satie's music,[109][110] and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage's ideas also found their way into sound design: for example, Academy Award-winning sound designer Gary Rydstrom cited Cage's work as a major influence.[111]
Archives[link]
- The archive of the John Cage Trust is held at Bard College in upstate New York.[1].
- The John Cage Music Manuscript Collection held by the Music Division of The New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works.
- The John Cage Papers are held in Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material, including clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations
- The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the Notations collection.
Footnotes[link]
- ^ Cage quoted in Kostelanetz 2003, 1–2. Cage mentions a working model of the universe that his father had built, and that the scientists who saw it could not explain how it worked and refused to believe it.
- ^ Different sources give different details of their first meeting. Pritchett, in Grove, implies that Cage met Schoenberg in New York City: "Cage followed Schoenberg to Los Angeles in 1934". In a 1976 interview quoted in Kostelanetz 2003, 5, Cage mentions that he "went to see him [Schoenberg] in Los Angeles."
- ^ Recent research has shown that Cage may have met Tudor almost a decade earlier, in 1942, through Jean Erdman: Gann, Kyle (2008). "Cleaning Up a Life". an ARTSJOURNAL weblog. http://www.artsjournal.com/postclassic/2008/09/cleaning_up_a_life.html. Retrieved August 4, 2009.
- ^ Technically, it was his second, for Cage previously collaborated with Kathleen Hoover on a biographical volume on Virgil Thomson, which was published in 1959.
- ^ Cage self-identified as an anarchist in a 1985 interview: "I'm an anarchist. I don't know whether the adjective is pure and simple, or philosophical, or what, but I don't like government! And I don't like institutions! And I don't have any confidence in even good institutions." John Cage at Seventy: An Interview by Stephen Montague. American Music, Summer 1985. Ubu.com. Accessed May 24, 2007.
Notes[link]
- ^ Pritchett, Grove: "He has had a greater impact on music in the 20th century than any other American composer."
- ^ a b "John Cage, 79, a Minimalist Enchanted With Sound, Dies". New York Times. August 13, 1992. http://www.nytimes.com/learning/general/onthisday/bday/0905.html. Retrieved July 21, 2007. "John Cage, the prolific and influential composer whose Minimalist works have long been a driving force in the world of music, dance and art, died yesterday at St. Vincent's Hospital in Manhattan. He was 79 years old and lived in Manhattan."
- ^ Leonard, George J. (1995). Into the Light of Things: The Art of the Commonplace from Wordsworth to John Cage. University of Chicago Press. p. 120 ("...when Harvard University Press called him, in a 1990 book advertisement, "without a doubt the most influential composer of the last half-century," amazingly, that was too modest."). ISBN 978-0-226-47253-9.
- ^ Greene, David Mason (2007). Greene's Biographical Encyclopedia of Composers. Reproducing Piano Roll Fnd.. p. 1407 ("[...] John Cage is probably the most influential ... of all American composers to date."). ISBN 978-0-385-14278-6.
- ^ Perloff, Junkerman, 1994, 93.
- ^ Bernstein, Hatch, 2001, 43–45.
- ^ Kostelanetz 2003, 69–70
- ^ Reviews cited in Fetterman 1996, 69
- ^ Nicholls 2002, 80: "Most critics agree that Sonatas and Interludes (1946–48) is the finest composition of Cage's early period."
- ^ Cage 1973, 12.
- ^ a b Nicholls 2002, 4.
- ^ Cage quoted in Kostelanetz 2003, 1. For details on Cage's ancestry, see, for example, Nicholls 2002, 4–6.
- ^ a b Cage, John (1991). "An Autobiographical Statement". Southwest Review. http://www.newalbion.com/artists/cagej/autobiog.html. Retrieved March 14, 2007.
- ^ Recording and notes: John Cage – Complete Piano Music Vol.7: Pieces 1933–1950. Steffen Schleiermacher (piano). MDG 613 0789-2.
- ^ Kostelanetz 2003, 2.
- ^ Nicholls 2002, 21.
- ^ a b c d Kostelanetz 2003, 4.
- ^ Nicholls 2002, 8.
- ^ Perloff, Junkerman, 1994, 79.
- ^ Perloff, Junkerman 1994, 80.
- ^ Nicholls 2002, 22.
- ^ a b Perloff, Junkerman, 1994, 81.
- ^ Cage quoted in Perloff, Junkerman, 1994, 81.
- ^ a b c d e f g h i Pritchett, Grove.
- ^ Cage quoted in Nicholls 2002, 24.
- ^ Kostelanetz 2003, 61.
- ^ Nicholls 2002, 24.
- ^ a b Kostelanetz 2003, 7.
- ^ a b Pritchett 2003, 9.
- ^ This conversation was recounted many times by Cage himself: see Silence, p. 261; A Year from Monday, p. 44; interviews quoted in Kostelanetz 2003, pp. 5, 105; etc.
- ^ a b c Kostelanetz 2003, 6.
- ^ Cage interview quoted in Kostelanetz 2003, 105.
- ^ Cage 1973, 260.
- ^ For details on Cage's first meeting with Xenia, see Kostelanetz 2003, 7–8; for details on Cage's homosexual relationship with Don Sample, an American he met in Europe, as well as details on the Cage-Kashevaroff marriage, see Perloff, Junkerman 1994, 81, 86.
- ^ Perloff, Junkerman, 86
- ^ a b c Revill 1993, 55.
- ^ Kostelanetz 2003, 43.
- ^ Reinhardt, Lauriejean. John Cage's "The Wonderful Widow of Eighteen Springs", 7. Available online.
- ^ Cage 1973, 127.
- ^ Revill 1993, 108.
- ^ Cage 1973, 158.
- ^ Bredow 2012.
- ^ Revill 1993, 101.
- ^ Pritchett 1993, 105.
- ^ Nicholls 2002, 101.
- ^ Kostelanetz 2003, 68.
- ^ Pritchett 1993, 97.
- ^ Revill 1993, 91.
- ^ John Cage, in an interview with Miroslav Sebestik, 1991. From: Listen, documentary by Miroslav Sebestik. ARTE France Développement, 2003.
- ^ Pritchett 1993, 71.
- ^ Pritchett 1993, 78.
- ^ Revill 1993, 142.
- ^ Revill 1993, 143–149.
- ^ Revill 1993, 166.
- ^ Revill 1993, 174
- ^ a b c Emmerik, Paul van (2009). "A John Cage Compendium". Paul van Emmerik. http://www.xs4all.nl/~cagecomp/. Retrieved August 6, 2009.
- ^ "Guide to the Center for Advanced Studies Records, 1958 – 1969". Wesleyan University. http://www.wesleyan.edu/libr/schome/FAs/ce1000-137.html. Retrieved September 4, 2010.
- ^ "The Many Views of Betty Freeman: Betty Freeman's Commissions". NewMusicBox. 2000. http://www.newmusicbox.org/article.nmbx?id=846. Retrieved August 8, 2009.
- ^ Alex Ross (December 4, 1992). "S.E.M. Evokes John Cage as Teacher". The New York Times. http://www.nytimes.com/1992/12/24/arts/review-music-sem-evokes-john-cage-as-teacher.html. Retrieved October 6, 2010.
- ^ Revill 1993, 208.
- ^ a b Revill 1993, 228.
- ^ Pritchett, James. 2004. "John Cage: Imitations/Transformations". In James Pritchett, Writings on John Cage (and others). (Online resource, accessed June 5, 2008)
- ^ Revill 1993, 247.
- ^ Fetterman 1996, 191.
- ^ Haskins 2004.
- ^ Revill 1993, 295.
- ^ Kostelanetz, Richard. 2000. John Cage: Writer: Selected Texts, xvii. Cooper Square Press, 2nd edition. ISBN 978-0-8154-1034-8
- ^ "John Cage (1912–1992) – Find A Grave Memorial". January 1, 2000. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=1461. Retrieved August 3, 2009.
- ^ "Dance great Cunningham dies at 90". BBC News. July 28, 2009. http://news.bbc.co.uk/2/hi/entertainment/arts_and_culture/8171036.stm. Retrieved September 3, 2009.
- ^ Pritchett 1993, 6.
- ^ Pritchett 1993, 7.
- ^ Nicholls 2002, 71–74.
- ^ Pritchett 1993, 29–33.
- ^ Notes in the score: A Flower. Edition Peters 6711. Copyright 1960 by Henmar Press.
- ^ Pritchett, James. 1988. "From Choice to Chance: John Cage's Concerto for Prepared Piano." Perspectives of New Music 26, no. 1 (Fall): 50–81.
- ^ Pritchett 1993, 94.
- ^ a b Nicholls 2002, 139.
- ^ Perloff, Junkerman 1994, 140.
- ^ Pritchett, James. 1994a. "John Cage: Freeman Etudes", CD liner notes to: John Cage, Freeman Etudes (Books 1 and 2) (Irvine Arditti, violin), Mode 32. (Accessed August 14, 2008)
- ^ Pritchett 1993, 197.
- ^ Pritchett 1993, 200.
- ^ Kostelanetz 2003, 84.
- ^ Kostelanetz 2003, 92.
- ^ Pritchett 1993, 136.
- ^ Pritchett 1993, 144–146.
- ^ http://classical-iconoclast.blogspot.com/2012/01/eno-presents-john-cage-musicircus.html
- ^ http://www.eno.org/see-whats-on/productions/production-page.php?&itemid=2007
- ^ Kostelanetz 2004, 92–96.
- ^ Nicholls 2002, 112–113.
- ^ Nicholls 2002, 113–115.
- ^ Nicholls 2002, 115–118.
- ^ Nicholls 2002, 118–122.
- ^ Boulez, Pierre. 1964. Alea. Perspectives of New Music, Vol. 3, No. 1 (Autumn – Winter, 1964), 42–53
- ^ Bois, Mario, and Xenakis, Iannis. 1980. The Man and his Music: A Conversation with the Composer and a Description of his Works, 12. Greenwood Press Reprint.
- ^ Steinberg, Michael. 1962. Tradition and Responsibility. Perspectives of New Music 1, 1962, 154–159.
- ^ Kahn, Douglas. 1999. Noise, Water, Meat: A History of Sound in the Arts, 165. Cambridge, MA: The MIT Press.
- ^ Maconie, Robin. 1976. The Works of Karlheinz Stockhausen, with a foreword by Karlheinz Stockhausen, 141–144. London and New York: Oxford University Press. ISBN 0-19-315429-3
- ^ Ryan, David. 1999. Interview with Helmut Lachenmann, p. 21. Tempo, New Ser., No. 210. (Oct., 1999), pp. 20–24.
- ^ Michael Parsons. 1976. Systems in Art and Music. The Musical Times, Vol. 17, No. 1604. (Oct., 1976), 815–818.
- ^ "Gavin Bryars biography etc". Gavin Bryars' Official Web-site. http://www.gavinbryars.com/Pages/bio_fr.html. Retrieved September 12, 2009.
- ^ Potter, Keith. "Skempton, Howard", Grove Music Online, ed. L. Macy (accessed March 12 2006), grovemusic.com (subscription access).
- ^ Burt, Peter. 2001. The Music of Toru Takemitsu, 94. Cambridge University Press. ISBN 0-521-78220-1.
- ^ Lopez, Antonio (December 1999 / January 2000). "Sonic Youth's Thurston Moore: On punk music, staying fresh, amd the strange bridge between art and rock". Thirsty Ear Magazine. http://www.thirstyearfestival.com/interviews/sonic.html. Retrieved August 26, 2010.
- ^ Morris, Chris (August 17, 1997). "Hold The Ketchup On That Stereolab". Yahoo! Music. http://www.music.yahoo.ca/read/interview/12052849. Retrieved August 26, 2010.
- ^ Lowe, Kelly Fisher (2006). The Words and Music of Frank Zappa. Praeger Publishers. p. 57. ISBN 0-275-98779-5.
- ^ Paul Hegarty, Full With Noise: Theory and Japanese Noise Music, pp. 86–98 in Life in the Wires (2004) eds. Arthur Kroker & Marilouise Kroker, NWP Ctheory Books, Victoria, Canada
- ^ Jack, Adrian (1975). ""I Want to be a Magnet for Tapes" (interview with Brian Eno)". Time Out. http://music.hyperreal.org/artists/brian_eno/interviews/timeo75a.html. Retrieved August 26, 2010.
- ^ Worby, Robert (October 23, 2002). "Richard Aphex, John Cage and the Prepared Piano". Warp Records. http://warp.net/records/aphex-twin/richard-aphex-john-cage-and-the-prepared-piano. Retrieved August 26, 2010.
- ^ Orledge, Robert (1990). Satie the Composer. Cambridge University Press. p. 259. ISBN 978-0-521-35037-2.
- ^ Shlomowitz, Matthew. 1999. Cage's Place In the Reception of Satie. Part of the PhD at the University of California at San Diego, USA. Available online.
- ^ LoBrutto, Vincent (1994). Sound-on-Film: Interviews With Creators of Film Sound. Greenwood Publishing Group. pp. 241–42. ISBN 978-0-275-94443-8.
References[link]
- Bernstein, David W., and Hatch, Christopher, eds. 2001. Writings through John Cage's Music, Poetry, and Art. University of Chicago Press. ISBN 0-226-04407-6
- Boulez, Pierre, and Cage, John. 1995. The Boulez-Cage Correspondence. Edited by Robert Samuels and Jean-Jacques Nattiez, translated by Robert Samuels. Cambridge University Press. ISBN 0-521-48558-4
- Bredow, Moritz von. 2012. "Rebellische Pianistin. Das Leben der Grete Sultan zwischen Berlin und New York." (Biography). Schott Music, Mainz, Germany. ISBN 978-3-7957-0800-9
- Brown, Kathan. 2001. John Cage Visual Art: To Sober and Quiet the Mind. Crown Point Press. ISBN 1-891300-16-4, ISBN 978-1-891300-16-5
- Cage, John. 1973. Silence: Lectures and Writings, Wesleyan University Press Paperback (first edition 1961). ISBN 0-8195-6028-6
- Eldred, Michael 1995/2006 Heidegger's Hölderlin and John Cage www.arte-fact.org
- Eldred, Michael 2010 The Quivering of Propriation: A Parallel Way to Music, Section II.3 New Music is the Other Music (Cage) www.arte-fact.org
- Fetterman, William. 1996. John Cage's Theatre Pieces: Notations and Performances. Routledge. ISBN 3-7186-5643-4
- Haskins, Rob. 2004. "An Anarchic Society of Sounds": The Number Pieces of John Cage. PhD dissertation, Musicology, Eastman School of Music, University of Rochester.
- Kostelanetz, Richard. 2003. Conversing with John Cage, Routledge. ISBN 0-415-93792-2
- Nicholls, David (ed.). 2002. The Cambridge Companion to John Cage. Cambridge University Press, 2002. ISBN 0-521-78968-0
- Nicholls, David. 2007. John Cage. University of Illinois Press. ISBN 0-252-03215-2
- Patterson, David W. (ed.). John Cage: Music, Philosophy, and Intention, 1933–1950. Routledge, 2002. ISBN 0-8153-2995-4
- Perloff, Marjorie, and Junkerman, Charles. 1994. John Cage: Composed in America. University of Chicago Press, 1994. ISBN 0-226-66057-5
- Pritchett, James. 1993. The Music of John Cage. Cambridge University Press. ISBN 0-521-56544-8
- Pritchett, James, and Kuhn, Laura. "John Cage", Grove Music Online, ed. L. Macy (accessed December 15 2006), grovemusic.com (subscription access).
- Revill, David. 1993. The Roaring Silence: John Cage – a Life. Arcade Publishing. ISBN 1-55970-220-6, ISBN 978-1-55970-220-1
- Taruskin, Richard. 2005. Oxford History of Western Music, The. Vol. 5. Oxford: Oxford UP, Inc. Indeterminacy pp. 55–101.
External links[link]
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Book: John Cage |
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Wikiquote has a collection of quotations related to: John Cage |
General information and catalogues[link]
- Official Website
- John Cage Database, includes a complete catalogue of Cage's music with details on individual compositions, as well as a discography, a bibliography and a list of forthcoming performances of Cage's work.
- A John Cage Compendium, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc.
- Larry Solomon's John Cage Pages, a complete catalogue of Cage's music and a filmography, as well as other materials.
- James Pritchett: Writings, articles on Cage's music in HTML and PDF form by Cage scholar James Pritchett.
- Edition Peters: John Cage Biography and Works, Cage's principal publisher since 1961.
- Guide to the John Cage Mycology Collection
- Silence/Stories: related texts and poems by, among others, Lowell Cross, AP Crumlish, Karlheinz Essl, Raymond Federman, August Highland, George Koehler, Richard Kostelanetz, Ian S. Macdonald, Beat Streuli, Dan Waber, Sigi Waters and John Whiting
- A Project by John Cage called ORGAN2/ASLSP is the longest concert ever created.
- Works by or about John Cage in libraries (WorldCat catalog)
- (French) A biography of John Cage, from IRCAM's website.
- Artist Biography and a list of video works by and about John Cage at Electronic Arts Intermix eai.org.
Link collections[link]
Specific topics[link]
- Kasper, Ulrike. "Sounds Visions, The Work of Jacques Pourcher, Perspectives on John Cage", essay on the exhibition "John Cage and Jacques Pourcher, Works on Paper", Virginia Tech, Blacksburg, USA.
- The Music of Chance, article from the UK Guardian newspaper, quotes from various people who knew Cage.
- ORGAN2/ASLSP: As Slow as Possible – John-Cage-Orgelprojekt Halberstadt, Web site about a current ongoing performance of As Slow As Possible, which began in 2001 and is scheduled to have a duration of 639 years
- 'Silence and Change / Five Hanau Silence': Articles and documents on a project of John Cage, Claus Sterneck and Wolfgang Sterneck in benefit of a squated culture center in Hanau (Germany) in 1991, (English / German).
Listening[link]
- In Conversation with Morton Feldman, 1966, Part 1
- In Conversation with Morton Feldman, 1966, Part 2
- In Conversation with Morton Feldman, 1966, Part 3
- In Conversation with Morton Feldman, 1966, Part 4
- In Conversation with Morton Feldman, 1966, Part 5
- Excerpts from sound archives of Cage's works.
Media[link]
- John Cage at UbuWeb: historical, sound, film.
- John Cage's etchings at the Crown Point Press website
- Art of the States: John Cage, six works by the composer
- Indeterminacy, Cage's short stories taken from various publications and accessed in random order.
- FontanaMixer: computer program by Karlheinz Essl which generates a realtime version of John Cage's "Fontana Mix" (1958)
- Other Minds Archive: John Cage interviewed by Jonathan Cott, streaming audio
- Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965), streaming audio
- 27, 2002 Suite for Toy Piano (1948) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco.
- 1982 performance of Speech for 5 radios and reel (1955) on YouTube
- Water Walk on YouTube from Cage's appearance on the game show I've Got a Secret in January 1960.
- The Anarchy of Silence. John Cage and Experimental Art (2009) a lecture by Julia E. Robinson on occasion of Cage's exhibition at the MACBA, Barcelona
- Notes towards a re-reading of the “Roaratorio” the work of John Cage and his special relationship to radio at Ràdio Web MACBA
- The Rest isn't Silence... it doesn't exist! Analytical material and recordings going back to the first rehearsal and performance of Imaginary Landscape No 4 in 1951.
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| Persondata | |
|---|---|
| Name | Cage, John |
| Alternative names | Cage, John Milton, Jr. |
| Short description | Composer, philosopher, printmaker, writer |
| Date of birth | September 5, 1912 |
| Place of birth | Los Angeles, United States |
| Date of death | August 12, 1992 |
| Place of death | New York City, United States |
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