1.
Theatre of Eternal Music
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The Theatre of Eternal Music, sometimes later known as The Dream Syndicate, was a mid-1960s musical group formed by La Monte Young, that focused on experimental drone music. It featured the performances of La Monte Young, John Cale, Angus MacLise, Terry Jennings, Marian Zazeela, Tony Conrad, Billy Name, Jon Hassell, Alex Dea, the group is stylistically tied to the Neo-Dada aesthetics of Fluxus and the post-John Cage noise music continuum. In 1964 the ensemble contained Young and Marian Zazeela, voices, Tony Conrad and John Cale, strings, the Theater of Eternal Musics discordant sustained notes and loud amplification influenced Cales subsequent contribution to the Velvet Underground in his use of both discordance and feedback. Cale and Conrad have released noise music recordings made during the mid-sixties. Likewise, the works are often of extreme length, many pieces having no beginning and no end, existing before, New York, Dover Publications LaBelle, Brandon. Background Noise, Perspectives on Sound Art New York and London, Continuum International Publishing, p.71 Joseph, beyond the Dream Syndicate, Tony Conrad and the arts after Cage, a minor history. Jim Samson, Music in Transition, A Study of Tonal Expansion and Atonality, 1900–1920 New York, W. W
2.
Marian Zazeela
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Marian Zazeela is a light-artist, designer, painter and musician based in New York City. She was a member of the 1960s New York experimental music collective Theatre of Eternal Music and she earned a Bachelor of Arts degree with a major in painting in 1960. One of them at 275 Church Street, above the loft, has run since the early 90s and is open to the public four days a week. In 1970, Zazeela began studies in the Kirana school of Hindustani classical music with Pandit Pran Nath and she performs occasionally with Young and others. A monograph of her drawings was published in Germany in three languages ca, dream House 7817 LaBelle, Brandon
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Terry Riley
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Terrence Mitchell Terry Riley is an American composer and performing musician associated with the minimalist school of Western classical music, of which he was a pioneer. His work is influenced by both jazz and Indian classical music. He was involved in the experimental San Francisco Tape Music Center, working with Morton Subotnick, Steve Reich, Pauline Oliveros and his most influential teacher, however, was Pandit Pran Nath, 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 him on tabla, tambura. Riley was awarded an Honorary Doctorate Degree in Music at Chapman University in 2007, Riley began his long-lasting association with the Kronos Quartet when he met founder David Harrington while at Mills. Over the course of his career, Riley composed 13 string quartets for the ensemble and he wrote his first orchestral piece, Jade Palace, in 1991, and has continued to pursue that avenue, with several commissioned orchestral compositions following. Riley is also performing and teaching both as an Indian raga vocalist and as a solo pianist. He is married to Anne Riley, Riley continues to perform live and was part of the All Tomorrows Parties festival in May 2011. He has three children, one daughter, Colleen, and two sons, Shahn and Gyan, who is a guitarist, Rileys music is usually based on improvising through a series of modal figures of different lengths, such as in In C and the Keyboard Studies. The first performance of In C was given by Steve Reich, Jon Gibson, Pauline Oliveros, and Morton Subotnick. Its form was an innovation, The piece consists of 53 separate modules of roughly one measure apiece, each containing a different musical pattern but each, as the title implies, one performer beats a steady pulse of Cs on the piano to keep tempo. The others, in any number and on any instrument, perform these musical modules following a few loose guidelines, an early tape loop piece titled The Gift featured the trumpet playing of Chet Baker. Riley has composed using just intonation as well as microtones, a longtime friend of LaMonte Young, he played with him in New York City in the mid 1960s, as well as tabla player Angus MacLise and John Cale, who were founding members of The Velvet Underground. Rileys famous overdubbed electronic album A Rainbow in Curved Air inspired many later developments in electronic music and these include Pete Townshends organ parts on The Whos Wont Get Fooled Again and Baba ORiley, the latter named in tribute to Riley as well as to Meher Baba. Rileys collaborators have included the Rova Saxophone Quartet, Pauline Oliveros, the ARTE Quartett, and, as mentioned, Rileys 1995 Lisbon Concert recording features him in a solo piano format, improvising on his own works. In the liner notes Riley cites Art Tatum, Bud Powell,1963, Music for The Gift 1964, In C, Columbia MS71781965, Reed Streams, Mass Art Inc. M-1311968 Gem, with Gérard Frémy & Martine Joste,1969, A Rainbow in Curved Air, CBS645641971, Church of Anthrax, with John Cale 1972, Happy Ending, Warner Bros. Klaus Kinski, Tina Aumont and Hiram Keller, soundtrack released as Le secret de la vie in France, on Philips LP9120037
4.
Charlemagne Palestine
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Charlemagne Palestine is a performance artist from New York. Born in Brooklyn, New York in 1947, Palestine began by singing sacred Jewish music and studying accordion, at the age of 12 he started playing backup conga and bongo drums for Allen Ginsberg, Gregory Corso, Kenneth Anger, and Tiny Tim. From 1962–69 Palestine was daily carillonneur for the Saint Thomas Episcopal Church in Manhattan, throughout the seventies Palestine created records, videos, sculptural objects, abstract expressionist visual scores and performed regularly in the company of his stuffed animals. From 1980 to 1995 Palestine performed only rarely, exhibiting instead at Stedelijk Museum, Amsterdam, the Moderna Museet, Stockholm, during that time he also founded the Ethnology Cinema Project in New York, which is dedicated to preserving films that document disappearing traditional cultures. After moving to Europe in 1995, in addition to creating exhibitions, Palestine performs regularly, re-releasing older material and developing new videos, solo performance with Indian harmonium and falsetto voice, rec. Solo pieces for piano and for electronics, felmay, San Germano, Italy,1995, reissue of New Tone recording nt6742 Three Compositions for Machines. Piece for found sound and electronic drones, a Sweet Quasimodo between Black Vampire Butterflies, For Maybeck. Strumming Music for Piano, Harpsichord and String Ensemble, Charlemagne Palestine, David Coulter and Jean Marie Mathoul. Charlemagne Palestine, David Coulter, Michael Gira and Jean Marie Mathoul, gantse Mishpuchach / Music in Three Parts. Charlemagne Palestine, Terry Jennings, Tony Conrad, Robert Feldman, Charlemagne Palestine and Rhys Chatham Youuu + Mee = Weee. The Voice of New Music, New York City 1972–1982, A Collection of Articles Originally Published by the Village Voice, listening to Noise and Silence, Towards a Philosophy of Sound Art. Official website Interview with Steve Dalachinsky in Bomb Magazine Charlemagne Palestine Contemporary Art Exhibition
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Tony Conrad
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Anthony Schmalz Tony Conrad was an American avant-garde video artist, experimental filmmaker, musician, composer, sound artist, teacher, and writer. Active in a variety of media since the early 1960s, he was a pioneer of both film and drone music. Conrad was born in Concord, New Hampshire to Mary Elizabeth Parfitt, but raised in Baldwin, Maryland and Northern Virginia. His father worked with Everett Warner during World War II in designing dazzle camouflage for the US Navy, Conrad graduated from Harvard University in 1962 with a degree in Mathematics. While studying at Harvard, Conrad was exposed to the ideas of John Cage, after graduating, Conrad went to Copenhagen to see a friend, who was a research mathematician working on a computer project at the Physics Chemist Institute. That computer was the computer in Denmark at the time. Conrad worked on it in machine language during the summer, which helped build his computer skills and he also did work as a computer programmer for a year when he came back to the United States. After working as a programmer, Conrad got into the experimental music scene in New York City. At the time, film was institutionally unattached, which drew Conrad towards the community of New York filmmakers, in 1966, he made his first film, The Flicker, said to be a landmark in structural filmmaking. The film consists of completely black and completely white images. When the film was first screened several viewers in the audience became physically ill, Conrad wished to generalize the whole technology of film. He approached the film by considering the relationship between the subjective conditions of the flicker, and its relation to narrative and storytelling. Conrads concept came from an attempt at pushing the framework of film. He wanted to make a film that would last fifty years, Conrad began to work in video and performance in the 1970s as a professor at Antioch College in Ohio, where he overlapped with the filmmaker Paul Sharits. In 1976, Conrad joined the faculty at the Center for Media studies at the University at Buffalo. While in Buffalo, Conrad was part of a scene that included Sharits, as well as Hollis Frampton, Steina and Woody Vasulka, Peter Weibel, James Blue, and Gerald OGrady. Their practices in film, video, performance, and other forms were documented in the 2008 book Buffalo Heads, Media Study, Media Practice, Media Pioneers, 1973–1990, edited by Vasulka, in the mid-1970s, Conrad began performing film. With Sukiyaki Film he decided that the film should be prepared immediately before viewing, Sukiyaki was chosen as the paradigm for the work because it is a dish often cooked immediately before eating, in front of the diners
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Jon Hassell
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Jon Hassell is an American trumpet player and composer. He is known for developing the musical aesthetic known as Fourth World, which unifies ideas from minimalism, various world music sources, and his unusual electronic manipulation of the trumpet. He has collaborated with such as Brian Eno, La Monte Young, Terry Riley, Talking Heads, Farafina, Peter Gabriel. Born in Memphis, Tennessee, United States, Hassell received his masters degree from the Eastman School of Music in Rochester, New York. Hassell returned to the U. S. in 1967, where he met Terry Riley in Buffalo, New York and he pursued his Ph. D. in musicology in Buffalo and performed in La Monte Youngs Dream House in New York City. On his return to Buffalo in the early 1970s, Hassell was introduced to the music of Indian Pandit Pran Nath, Hassell, Young, Marian Zazeela, and Riley went together to India to study with Nath. His work with Nath awoke his appetite for traditional musics of the world and he stated, From 1973 up until then I was totally immersed in playing raga on the trumpet. I wanted the physical dexterity to be able to come into a room, in 1980, he collaborated with Brian Eno on the album Fourth World, Vol.1, Possible Musics. Hassells 1981 release, Dream Theory in Malaya, led to a performance at the first World of Music, Arts and Dance Festival and he performed and co-wrote tracks on David Sylvians first solo album Brilliant Trees, and its instrumental follow-up Words with the Shaman. In the late 1980s, Hassell contributed to Gabriels Passion, Music for The Last Temptation of Christ, Hassell and Pete Scaturro composed the electronic theme music for the television show The Practice. In 1989, Hassell contributed to the Tears for Fears album The Seeds of Love, Hassell coined the term Fourth World to describe his musical style, as expressed both in his trumpet playing and in his approach to composition. This musical conception combines the philosophy and techniques of minimalism with Asian and African styles, in addition to nonwestern traditional musics, critics have noted the influence of Miles Davis on Hassells style, particularly Davis use of electronics, modal harmony, and understated lyricism. New York and London, Bloomsbury Publishing,2000, ISBN 978-0747557326 Jon Hassell, official website Magic Realism, Vol.2, Maarifa Street album site Jon Hassell discography at Discogs
7.
Phill Niblock
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Phill Niblock is an American composer, filmmaker, videographer, and director of Experimental Intermedia, a foundation for avant-garde music based in New York with a parallel branch in Ghent, Belgium. After an early period studying economics Niblock came to New York in 1958, initially he worked as a photographer and filmmaker. Much of this activity centered around photographing and filming jazz musicians, thereafter he made a number of films in a series titled The Movement of People Working. Filmed in primarily rural environments in many countries, the look at everyday work. These scenes of the movement of manual labor are treated abstractly without explicit anthropological or sociological meaning. Niblocks first musical compositions date from 1968, unusually, even among the avant-garde composers of his generation, he has no formal musical training. He cites the musical activities of New York in the 1960s as a stimulus, all his compositions are worked out intuitively rather than systematically. His early works were all done with tape, overdubbing unprocessed recordings of precisely tuned long tones played on instruments in four, eight. Since the late 1990s his music has created with computer technology. His later works are more dense in texture, sometimes involving as many as forty tracks. Niblocks music is an exploration of sound created by multiple tones in very dense. The layering of long tones only very slightly distinct in pitch creates a multitude of beats and generates complex overtone patterns, Niblocks work continues to influence a generation of musicians, especially younger players from a variety of musical genres. Niblocks compositional process often begins with recordings of single, absolute tones played by a musician with the breathing and attack. Toeplitz, and Reinhold Friedl, on Touch Food, Dave Soldier and the Soldier String Quartet on Five More String Quartets, Early Winter, the premieres of all these works have been conducted by Petr Kotik. In performance, live musicians may play, wandering through the changing the sound texture through reinforcement of or interference with the existing tunings. Simultaneously, Niblock generally accompanies performances by presenting his films and videos, in these performances Niblock generally projects three film images simultaneously, on large screens three to four meters wide. The films are 16mm and color, the music is produced from stereo or quad tapes, with four or more speakers in the corners of the space. His more recent video pieces are played individually or with several simultaneously, since 1985, Niblock has been the director of the Experimental Intermedia Foundation in New York where he has been an artist-member since 1968
8.
Rhys Chatham
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Rhys Chatham is an American composer, guitarist, trumpet player, multi-instrumentalist, primarily active in avant-garde and minimalist music. He is best known for his orchestra compositions. He has lived in France since 1987, Chatham began his musical career as a piano tuner for avant-garde pioneer La Monte Young as well as harpsichord tuner for Gustav Leonhardt, Rosalyn Tureck and Glenn Gould. In 1971, while still in his teens, Chatham became the first music director at the art space The Kitchen in lower Manhattan. His early works, such as Two Gongs owed a significant debt to Young and he has worked closely with visual artist/musician Robert Longo, particularly in the 1980s, and on an experimental opera called XS, The Opera Opus with the visual artist Joseph Nechvatal. By 1977, Chathams music was influenced by punk rock. He was particularly intrigued by and influential upon the group of music critics would label No Wave in 1978. That year, he began performing Guitar Trio around downtown Manhattan with an ensemble that included Glenn Branca, during this period, he wrote several works for large guitar ensembles, including Drastic Classicism, a collaboration with dancer Karole Armitage. Drastic Classicism was first released in 1982 on the compilation New Music from Antarctica, put together by Kit Fitzgerald, John Sanborn and it was also included on the 1987 album that also included his 1982 composition Die Donnergötter. The An Angel Moves Too Fast To See part of the title comes from Chathams 1989 composition for 100 guitars and he has been since touring with his 100-guitar orchestra in Europe. In 2005, he was commissioned by the city of Paris, in his homeland, to write a composition for 400 electric guitars entitled A Crimson Grail. Approximately 10,000 people were present at the performance, and 100,000 more watched it on live television, a CD of excerpts from this concert was released in January 2007 by Table Of The Elements. The sets consisted of musicians from each city of the performances, including members of Sonic Youth, Tortoise. Black Emperor, Hüsker Dü, Brokeback,90 Day Men, Town & Country, Die Kreuzen, Bird Show, a three-CD box set of these performances was released by Table of the Elements in March 2008. This performance was the premiere of a new composition entitled Les 100 Guitares, the American premiere of A Crimson Grail was on August 8,2009. Two-hundred electric guitarists performed the piece at the Damrosch Park Bandshell in New York City, the performance was part of a free concert series, Lincoln Center Out of Doors, that was being commissioned by the Lincoln Center. Originally, the piece was supposed to be performed for 2008s Lincoln Center Out of Doors, for the 2009 premiere, precautions were taken so that the concert could go on even if it rained. Examples of this style can be heard on Chathams releases, The Bern Project, released by Hinterzimmer Records in January 2010, containing, Charm Ramatek Hornithology Neon Septile, Ntone 1997 All compositions in collaboration with Jonathan Kane & DJ Elated System
9.
Henry Flynt
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Henry Flynt is a philosopher, avant-garde musician, anti-art activist and exhibited artist often associated with Conceptual Art, Fluxus and Nihilism. Henry Flynt’s work devolves from what he calls cognitive nihilism, a concept he developed, the 1961 draft was published in Milan with other early work in his book Blueprint for a Higher Civilization in 1975. Flynt refined these dispensations in the essay Is there language and that was published as Primary Study in 1964. In 1961 Flynt coined the concept art in the Neo-Dada. An Anthology of Chance Operations contained seminal works by Fluxus artists such as George Brecht, Flynts concept art, he maintained, devolved from cognitive nihilism, from insights about the vulnerabilities of logic and mathematics. Drawing on an exclusively syntactical paradigm of logic and mathematics, concept art was meant jointly to supersede mathematics, therefore, Flynt maintained, to merit the label concept art, a work had to be an object-critique of logic or mathematics or objective structure. In 1962 Flynt began to campaign for an anti-art position, thus he demonstrated against cultural institutions in New York City with Tony Conrad and Jack Smith in 1963 and against the composer Karlheinz Stockhausen twice in 1964. Flynt wanted avant-garde art to become superseded by the terms of veramusement, Flynt read publicly from his text From Culture to Veramusment at Walter De Marias loft on February 28, 1963—an act which can be considered performance art. From about 1980, Flynt has given a deal of time to two endeavors which did not achieve the notoriety of the early actions, his concepts of meta-technology. In 1987 he revived his concept art for tactical reasons, following that period, Flynt began to publish recorded but unreleased musical compositions. Over 10 audio CDs have appeared as of 2007, in 1966, he recorded several rehearsal demo tapes with Henry Flynt & The Insurrections, a garage rock and folk rock band, which were later compiled and released in 2004 on Locust Music. Much of Henry Flynts subsequent recorded output has been release on the Recorded and his first CD release was You Are My Everlovin/Celestial Power on Recorded, quickly followed by Spindizzy and Hillbilly Tape Music also on Recorded. Later Recorded released NAEM4, Ascent to The Sun, recently, Flynts Glissando No.1 was published by Recorded. The Locust Music releases showcase the range of his musical interestes from minimalism, hillbilly country. C Tune documents a 1980 live improvisation with Catherine Christer Hennix on tamboura, Raga Electric, Experimental Music 1963-1971 is the seminal anthology of Flynts most challenging avant-garde work that includes Raga Electric and Free Alto. I Dont Wanna documents a band, the Insurrections, that Flynt led in 1966 with Walter De Maria. Purified by the Fire, recorded in December 1981, repeats the format of C Tune, Catherine Christer Hennix on tamboura, the 41-minute raga is dominated by the languid phrases of the violin that tests the border between melodic fragments and distorted tones. Dharma Warriors showcases another meeting between Catherine Christer Hennix & Flynt recorded in 1980 in Woodstock, New York, online reading, Henry Flynts text The Meaning of My Avant-Garde Hillbilly and Blues Music
10.
John Cale
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John Davies Cale, OBE is a musician, composer, singer-songwriter and record producer, born in Wales, who was a founding member of the experimental rock band the Velvet Underground. Over his five-decade career, Cale has worked in various styles across rock, drone, classical, avant-garde, since leaving the band in 1968, he has released approximately 30 albums. He produced the first albums of the Stooges, the Modern Lovers, Patti Smith, Squeeze, Cale was inducted into the Rock and Roll Hall of Fame as a member of the Velvet Underground in 1996, and appointed Officer of the Order of the British Empire in 2010. John Cale was born on 9 March 1942 in Garnant in the industrial Amman Valley of Wales to Will Cale, a miner, and Margaret Davies. Cale was molested by two different men during his childhood, one of the men was an Anglican priest who molested him in a church. Having discovered a talent for viola, Cale studied music at Goldsmiths College, while he was there he organised an early Fluxus concert, A Little Festival of New Music, on 6 July 1964. He also contributed to the short film Police Car and had two published in Fluxus Preview Review for the nascent avant-garde collective. He conducted the first performance in the UK of Cages Concert for Piano and Orchestra, with the composer and pianist Michael Garrett as soloist. He also enjoyed rock music from an age and in 1963 he travelled to the United States to continue his musical training, thanks to the help. In New York City Cale met a number of influential composers, on 9 September 1963 he participated, along with John Cage and several others, in an 18-hour piano-playing marathon that was the first full-length performance of Erik Saties Vexations. After the performance Cale appeared on the panel show Ive Got a Secret. Cales secret was that he had performed in an 18-hour concert, Cale also played in La Monte Young and Tony Conrads ensemble the Theatre of Eternal Music, also known as the Dream Syndicate. The heavily drone-laden music he played there proved to be a big influence in his work with his next group, one of his collaborators on these recordings was the Velvet Underground guitarist Sterling Morrison. Three albums of his experimental work from this period were released in 2001. In early 1965, he co-founded the Velvet Underground with Lou Reed, recruiting his flatmate Angus MacLise, Cale left the band in September 1968, owing in part to creative disagreements with Reed. Initially hired to play one show, she soon became a permanent member and her tribal pounding style became an integral part of the groups music. The very first commercially available recording of the Velvet Underground, a track called Loop given away with Aspen Magazine, was a feedback experiment written. His creative relationship with Reed was integral to the sound of the Velvet Undergrounds first two albums, The Velvet Underground & Nico and White Light/White Heat, on these albums he plays viola, bass guitar and piano, and sings occasional backing vocals
11.
Avant-garde
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The avant-garde are people or works that are experimental, radical, or unorthodox, with respect to art, culture, and society. It may be characterized by nontraditional, aesthetic innovation and initial unacceptability, the avant-garde pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, the avant-garde also promotes radical social reforms. Several writers have attempted, with limited success, to map the parameters of avant-garde activity, the Italian essayist Renato Poggioli provides one of the best-known analyses of vanguardism as a cultural phenomenon in his 1962 book Teoria dellarte davanguardia. Other authors have attempted both to clarify and to extend Poggiolis study, bürgers essay also greatly influenced the work of contemporary American art-historians such as the German Benjamin H. D. Buchloh. Buchloh, in the collection of essays Neo-avantgarde and Culture Industry critically argues for an approach to these positions. Subsequent criticism theorized the limitations of these approaches, noting their circumscribed areas of analysis, including Eurocentric, chauvinist, and genre-specific definitions. The concept of avant-garde refers primarily to artists, writers, composers and thinkers whose work is opposed to cultural values. For Greenberg, these forms were therefore kitsch, phony, faked or mechanical culture, for instance, during the 1930s the advertising industry was quick to take visual mannerisms from surrealism, but this does not mean that 1930s advertising photographs are truly surreal. In this way the autonomous artistic merit so dear to the vanguardist was abandoned and sales became the measure. It has become common to describe successful rock musicians and celebrated film-makers as avant-garde, nevertheless, an incisive critique of vanguardism as against the views of mainstream society was offered by the New York critic Harold Rosenberg in the late 1960s. Since then it has been flanked by what he called avant-garde ghosts to the one side, and this has seen culture become, in his words, a profession one of whose aspects is the pretense of overthrowing it. Avant-garde in music can refer to any form of working within traditional structures while seeking to breach boundaries in some manner. The term is used loosely to describe the work of any musicians who radically depart from tradition altogether, although most avant-garde composers have been men, this is not exclusively the case. Women avant-gardists include Pauline Oliveros, Diamanda Galás, Meredith Monk, there are movements in theatre history that are characterized by their contributions to the avant-garde traditions in both the United States and Europe. Among these are Fluxus, Happenings, and Neo-Dada, Avant-garde – Wikipedia book Barron, Stephanie, and Maurice Tuchman. The Avant-garde in Russia, 1910–1930, New Perspectives, Los Angeles County Museum of Art Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C. Los Angeles, CA, Los Angeles County Museum of Art ISBN 0-87587-095-3, Cambridge, MA, ISBN 0-671-20422-X Berg, Hubert van den, and Walter Fähnders
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Experimental music
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The practice became prominent in the mid-20th century, particularly in North America. John Cage was one of the earliest composers to use the term and one of experimental musics primary innovators, utilizing indeterminacy techniques and seeking unknown outcomes. Also, in America, a distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller. Harry Partch as well as Ivor Darreg worked with other tuning scales based on the laws for harmonic music. For this music they developed a group of experimental musical instruments. Musique concrète, is a form of music that utilises acousmatic sound as a compositional resource. Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. The Groupe de Recherches de Musique Concrète, under the leadership of Pierre Schaeffer, publication of Schaeffers manifesto was delayed by four years, by which time Schaeffer was favoring the term recherche musicale, though he never wholly abandoned musique expérimentale. John Cage was also using the term as early as 1955, according to Cages definition, an experimental action is one the outcome of which is not foreseen, and he was specifically interested in completed works that performed an unpredictable action. Rebners lecture extended the concept back in time to include Charles Ives, Edgard Varèse, nyman opposes experimental music to the European avant-garde of the time, for whom The identity of a composition is of paramount importance. David Cope also distinguishes between experimental and avant garde, describing music as that which represents a refusal to accept the status quo. That is, for the most part, experimental music studies describes a category without really explaining it and this was an attempt to marginalize, and thereby dismiss various kinds of music that did not conform to established conventions. In 1955, Pierre Boulez identified it as a new definition makes it possible to restrict to a laboratory. He concludes, There is no such thing as experimental music … and it is therefore not a genre, but an open category, because any attempt to classify a phenomenon as unclassifiable and elusive as experimental music must be partial. Furthermore, the indeterminacy in performance guarantees that two versions of the same piece will have virtually no perceptible musical facts in common. The term experimental music was used contemporaneously for electronic music, particularly in the early musique concrète work of Schaeffer, a number of early 20th-century American composers, seen as precedents to and influences on John Cage, are sometimes referred to as the American Experimental School. These include Charles Ives, Charles and Ruth Crawford Seeger, Henry Cowell, Carl Ruggles, for this music they both developed custom-built musical instruments often characterized as experimental instruments. La Monte Young is known for using this technique when he began working on his minimal drone pieces which consisted of layers of sounds in different pitches
13.
Downtown music
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Downtown music is a subdivision of American music, closely related to experimental music. Prior to this, most classical music performances in New York City occurred uptown around the areas that the Juilliard School at Lincoln Center, brooklyn Academy of Music has also shown a predilection for composers from the Downtown scene. Another generalization one could point to is an embrace of the attitudes of John Cage, though this is not universal. Some Downtown music, particularly that of Philip Glass, Steve Reich, John Zorn, more than a continuous scene, Downtown music has resembled a battlefield on which, from time to time, various groups have reigned ascendant. In chronological order of dominance, the movements have been prominent Downtown, Conceptualism – starting with the Fluxus artists. This scene coexisted with minimalism, and due to the dearth of funding opportunities for Downtown composers, art rock or experimental rock – this is a term with several different meanings, depending on ones milieu, but two are most relevant to Downtown music,1. Originally, music made by artists, presumably musical amateurs, often tending toward surreal theater, as in the early performances of Glenn Branca and Jeffrey Lohn. Subsequent to Rhys Chathams influence, a transferral of minimalism to rock instruments, resulting in static pieces played on electric guitars, groups like DNA, Sonic Youth, Live Skull and the Swans arose from this movement. The Velvet Underground, in Andy Warhols Exploding Plastic Inevitable, combined avant-garde, minimalist, drone and rock music with visual arts and avant-garde theater. Free improvisation – originating with Terry Riley and Pauline Oliveros, this took over Downtown in the early 1980s, under the leadership of John Zorn. Postminimalism – a style of music based on a beat and diatonic harmony, less linear or obvious than minimalism. Postminimalism was more a national movement than anything specific to Manhattan. Totalism – another style emerging from minimalism but taking it in the direction of rhythmic complexity, postminimalism and totalism were both bolstered by the emergence, starting in 1987, of the Bang on a Can festival, curated by Julia Wolfe, David Lang, and Michael Gordon. The history of sound installations should be taken into account, along with the recent advent of DJ-ing as an art form. One could say that, if, when a composer gets played in New York City, its likely to be at a Downtown space, then he or she can be called a Downtown composer, regardless of primary residence. In this respect, as a descriptive, and without reference to any particular scene, experimental. Due to its obvious and inconvenient applicability to many types of music, use of new music as describing a specific type of contemporary composition has fallen off in recent years
14.
Fluxus
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Fluxus is an international and interdisciplinary group of artists, composers, designers and poets that took shape in the 1960s and 1970s. Dutch gallerist and art critic Harry Ruhé describes Fluxus as the most radical and experimental art movement of the sixties, Fluxus is known for experimental contributions to different artistic media and disciplines. Fluxus is also known for generating art forms that were new when Fluxus artists created them, Fluxus participants included artists, composers, designers, and architects, as well as economists, mathematicians, ballet dancers, chefs, and even a would-be theologian. Equally significant, they represented nations on three continents – Asia, Europe, and North America, many Fluxus artists share an anti-commercial and anti-art sensibility. Fluxus is sometimes described as intermedia, the process of creating was privileged over the finished product. Another influence was the readymades of Marcel Duchamp, a French artist who was active in Dada, George Maciunas, a co-founder of this fluid movement, coined the name Fluxus in 1961 to title a proposed magazine. The broad and varied nature of the involved in Fluxus involved a community of friends who worked together. They had different ideas about art and the role of art in society, the overlapping communities within Fluxus and the way that Fluxus developed in overlapping stages meant that participants had very different ideas about what Fluxus was. One Fluxus co-founder – George Maciunas – proposed a well known manifesto, but none of the artists agreed with it. Instead, a series of festivals in Wiesbaden, Copenhagen, Stockholm, Amsterdam, and New York, gave rise to a loose but robust community. In keeping with the reputation Fluxus earned as a forum of experimentation, Fluxus played an important role in the opening up of definitions of art. The origins of Fluxus lie in many of the concepts explored by composer John Cage in his music of the 1930s through the 1960s. After attending courses on Zen Buddhism taught by D. T, a major influence is found in the work of Marcel Duchamp. Also of importance was Dada Poets and Painters, edited by Robert Motherwell, the term anti-art, a precursor to Dada, was coined by Duchamp around 1913, when he created his first readymades from found objects. Indifferently chosen, readymades and altered readymades challenged the notion of art as an inherently optical experience, the most famous example is Duchamps infamous altered readymade Fountain, a work which he signed R. Mutt. While taking refuge from WWI in New York, in 1915 Duchamp formed a Dada group with Francis Picabia, Other key members included Arthur Craven, Florine Stettheimer, and the Baroness Elsa von Freytag-Loringhoven, credited by some with proposing the idea for Fountain to Duchamp. By 1916 these artists, especially Duchamp, Man Ray, and their artworks would inform Fluxus and conceptual art in general. A number of contemporary events are credited as either anticipating Fluxus
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Multimedia
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Multimedia is content that uses a combination of different content forms such as text, audio, images, animations, video and interactive content. Multimedia contrasts with media that use only rudimentary computer displays such as text-only or traditional forms of printed or hand-produced material, Multimedia devices are electronic media devices used to store and experience multimedia content. Multimedia is distinguished from mixed media in art, for example. The term rich media is synonymous with interactive multimedia, the term multimedia was coined by singer and artist Bob Goldstein to promote the July 1966 opening of his LightWorks at LOursin show at Southampton, Long Island. Goldstein was perhaps aware of an American artist named Dick Higgins, two years later, in 1968, the term multimedia was re-appropriated to describe the work of a political consultant, David Sawyer, the husband of Iris Sawyer—one of Goldsteins producers at LOursin. In the intervening forty years, the word has taken on different meanings, in the late 1970s, the term referred to presentations consisting of multi-projector slide shows timed to an audio track. However, by the 1990s multimedia took on its current meaning, in the 1993 first edition of Multimedia, Making It Work, Tay Vaughan declared Multimedia is any combination of text, graphic art, sound, animation, and video that is delivered by computer. When you allow the user – the viewer of the project – to control what, when you provide a structure of linked elements through which the user can navigate, interactive multimedia becomes hypermedia. The German language society Gesellschaft für deutsche Sprache recognized the words significance, the institute summed up its rationale by stating has become a central word in the wonderful new media world. In common usage, multimedia refers to an electronically delivered combination of media including video, still images, audio, much of the content on the web today falls within this definition as understood by millions. That era saw also a boost in the production of educational multimedia CD-ROMs, the term video, if not used exclusively to describe motion photography, is ambiguous in multimedia terminology. Video is often used to describe the format, delivery format. Multiple forms of content are often not considered modern forms of presentation such as audio or video. Likewise, single forms of content with single methods of information processing are often called multimedia. Performing arts may also be considered multimedia considering that performers and props are multiple forms of content and media. Multimedia presentations may be viewed by person on stage, projected, transmitted, a broadcast may be a live or recorded multimedia presentation. Broadcasts and recordings can be analog or digital electronic media technology. Digital online multimedia may be downloaded or streamed, streaming multimedia may be live or on-demand
16.
Dream House 78' 17"
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Originally released by the French label Shandar with the catalog number Shandar 83. The 7817 in the consists of the duration of the record measured in minutes. This length, almost double what was normal, was extremely unusual in its time. Young thanks Mr. Michel Blancvillain who made it technically possible, cover, labels, design and calligraphy are by Marian Zazeela, and are drawn in her trademark magenta on a black background. In 2016 Aguirre Records reissued the album on vinyl in a limited-edition, the titles of the two compositions consist of the date, time and place of the recording. The Shandar record includes the music for one of Youngs Dream Houses, Youngs first continuous electronic sound environment was created in his loft on Church Street, NYC in September 1966 with sine wave generators. Young and Zazeela worked, sang and lived in it and studied the effects on themselves, in July 1970 a model short-term Dream House was displayed to the public at Galerie Heiner Friedrich in Munich, Germany. Later, model Dream Houses were presented in various locations of Europe, the work presented within these Dream Houses consisted of a total environmental set of frequency structures in the media of sound and light. The sound was produced by both the wave generators and by the Theatre of Eternal Music, this last playing at prescribed intervals. In it, three waves and the members of The Theatre of Eternal Music play together. According to Young, the lack of content of the sine waves makes accompanying them with regular instruments. The second composition, Drift Study 14 VII739,27, the sine waves produced are such that they interfere with each other, creating changes of volume both in time and space that can be experienced either walking within the room or staying put. If one chooses to walk, he change the sound experience of other people in the room by moving the molecules of air. A Dream House exists at the Mela Foundation on 275 Church Street, New York, and is open to the public
17.
Definition of music
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A definition of music is a definition, or statement of the meaning of, the term music. An accurate and concise definition of music is fundamental to being able to discuss, categorize, explications of the concept of music usually begin with the idea that music is organized sound. Many authorities have suggested definitions, but defining music turns out to be more difficult than might first be imagined, as this article will demonstrate, there is ongoing controversy about how to define music. The Concise Oxford Dictionary defines music as the art of combining vocal or instrumental sounds to produce beauty of form, harmony, a famous example of the dilemma in defining music is modern composer John Cage’s composition titled 433. What is heard are only whatever ambient sounds may occur in the room, the problem of defining music is further complicated by different conceptions of music in different cultures. Inuit and most North American Indian languages do not have a term for music. In Africa there is no term for music in Tiv, Yoruba, Igbo, Efik, Birom, Hausa, Idoma, many other languages have terms which only partly cover what Western culture typically means by the term music. The Mapuche of Argentina do not have a word for music, but they do have words for instrumental versus improvised forms, European and non-Mapuche music, ceremonial songs, and tayil. While some languages in West Africa have no term for music, ben Watson points out that Ludwig van Beethovens Grosse Fuge sounded like noise to his audience at the time. Indeed, Beethovens publishers persuaded him to remove it from its setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro, by all accounts there is no single and intercultural universal concept defining what music might be. An often-cited definition of music is that it is organized sound, varèses concept of music as organized sound fits into his vision of sound as living matter and of musical space as open rather than bounded. He conceived the elements of his music in terms of sound-masses, Varèse thought that to stubbornly conditioned ears, anything new in music has always been called noise, and he posed the question, what is music but organized noises. A human organizing element is often felt to be implicit in music, levi R. Bryant defines music not as a language, but as a marked-based, problem-solving method such as mathematics. As such the search for musical universals would fail and would not provide one with a valid definition and this is primarily because other cultures have different understandings in relation to the sounds that English language writers refer to as music. Many people do, however, share an idea of music. This approach to the definition focuses not on the construction but on the experience of music, an extreme statement of the position has been articulated by the Italian composer Luciano Berio, “Music is everything that one listens to with the intention of listening to music”. This definition distinguishes music, as an end in itself, from compositional technique and it is therefore a certain reciprocal relation established between a person, his behavior, and a sounding object
18.
New York (magazine)
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New York is a bi-weekly magazine concerned with life, culture, politics, and style generally, and with a particular emphasis on New York City. Founded by Milton Glaser and Clay Felker in 1968 as a competitor to The New Yorker, it was brasher and less polite, and established itself as a cradle of New Journalism. Since its redesign and relaunch in 2004, the magazine has won more National Magazine Awards than any other publication and it was one of the first dual-audience lifestyle magazines, and its format and style have been emulated by some other American regional city publications. In 2009, its paid and verified circulation was 408,622 and its websites—NYmag. com, Vulture. com, The Cut, and Grub Street—receive visits from more than 14 million users per month. New York began life in 1963 as the Sunday-magazine supplement of the New York Herald Tribune newspaper, edited first by Sheldon Zalaznick and then by Clay Felker, the magazine showcased the work of several talented Tribune contributors, including Tom Wolfe, Barbara Goldsmith, and Jimmy Breslin. Soon after the Tribune went out of business in 1966–67, Felker and his partner, Milton Glaser, gerald Goldsmith, and reincarnated the magazine as a stand-alone glossy. Joining them was managing editor Jack Nessel, Felkers number-two at the Herald Tribune, New Yorks first issue was dated April 8,1968. Among the by-lines were many names from the magazines earlier incarnation, including Breslin, Wolfe, and George Goodman. Within a year, Felker had assembled a team of contributors who would come to define the magazines voice, Breslin became a regular, as did Gloria Steinem, who wrote the city-politics column, and Gail Sheehy. Harold Clurman was hired as the theater critic, Alan Rich covered the classical-music scene. Gael Greene, writing under the rubric The Insatiable Critic, reviewed restaurants, Woody Allen contributed a few stories for the magazine in its early years. The magazines regional focus and innovative illustrations inspired numerous imitators across the country, the office for the magazine was on the top floor of the old Tammany Hall clubhouse at 207 East 32nd Street, which Glaser owned. Wolfe, a contributor to the magazine, wrote a story in 1970 that captured the spirit of the magazine, Radical Chic. The article described a benefit party for the Black Panthers, held in Leonard Bernsteins apartment, in a collision of high culture, in 1972, New York also launched Ms. magazine, which began as a special issue. New West, a magazine on New Yorks model that covered California life, was also published for a few years in the 1970s. As the 1970s progressed, Felker continued to broaden the magazines editorial vision beyond Manhattan, covering Richard Nixon, twenty years later, Cohn admitted that hed done no more than drive by Odysseys door, and that hed made the rest up. It was a problem of what Wolfe, in 1972, had labeled The New Journalism. In 1976, the Australian media baron Rupert Murdoch bought the magazine in a hostile takeover, a succession of editors followed, including Joe Armstrong and John Berendt
19.
The Observer
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The Observer is a British newspaper, published on Sundays. First published in 1791, it is the worlds oldest Sunday newspaper, the first issue, published on 4 December 1791 by W. S. Bourne, was the worlds first Sunday newspaper. Believing that the paper would be a means of wealth, Bourne instead soon found himself facing debts of nearly £1,600, though early editions purported editorial independence, Bourne attempted to cut his losses and sell the title to the government. When this failed, Bournes brother made an offer to the government, as a result, the paper soon took a strong line against radicals such as Thomas Paine, Francis Burdett and Joseph Priestley. In 1807, the decided to relinquish editorial control, naming Lewis Doxat as the new editor. Seven years later, the brothers sold The Observer to William Innell Clement, the woodcut pictures published of the stable and hayloft where the conspirators were arrested reflected a new stage of illustrated journalism that the newspaper pioneered during this time. Clement maintained ownership of The Observer until his death in 1852, during that time, the paper supported parliamentary reform, but opposed a broader franchise and the Chartist leadership. After Doxat retired in 1857, Clements heirs sold the paper to Joseph Snowe, under Snowe, the paper adopted a more liberal political stance, supporting the North during the American Civil War and endorsing universal manhood suffrage in 1866. These positions contributed to a decline in circulation during this time, in 1870, wealthy businessman Julius Beer bought the paper and appointed Edward Dicey as editor, whose efforts succeeded in reviving circulation. Though Beers son Frederick became the owner upon Juliuss death in 1880, henry Duff Traill took over the editorship after Diceys departure, only to be replaced in 1891 by Fredericks wife, Rachel Beer, of the Sassoon family. Though circulation declined during her tenure, she remained as editor for thirteen years, combining it in 1893 with the editorship of The Sunday Times, upon Fredericks death in 1901, the paper was purchased by the newspaper magnate Lord Northcliffe. After maintaining the editorial leadership for a couple of years. Garvin quickly turned the paper into an organ of political influence, yet the revival in the papers fortunes masked growing political disagreements between Garvin and Northcliffe. These disagreements ultimately led Northcliffe to sell the paper to William Waldorf Astor in 1911, during this period, the Astors were content to leave the control of the paper in Garvins hands. Under his editorship circulation reached 200,000 during the interwar years, politically the paper pursued an independent Tory stance, which eventually brought Garvin into conflict with Waldorfs more liberal son, David. Their conflict contributed to Garvins departure as editor in 1942, after which the paper took the step of declaring itself non-partisan. Ownership passed to Waldorfs sons in 1948, with David taking over as editor and he remained in the position for 27 years, during which time he turned it into a trust-owned newspaper employing, among others, George Orwell, Paul Jennings and C. A. Lejeune. Under Astors editorship The Observer became the first national newspaper to oppose the governments 1956 invasion of Suez, in 1977, the Astors sold the ailing newspaper to US oil giant Atlantic Richfield who sold it to Lonrho plc in 1981
20.
The Well-Tuned Piano
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The Well-Tuned Piano is a long, improvisatory, solo piano work by composer La Monte Young. Begun in 1964, Young has never considered the composition or performance finished, a typical performance lasts five to six hours. The Guardian described the piece as one of the achievements of 20th-century music. La Monte Young was born October 14,1935, in Bern, growing up, he often listened to the sounds of nature spilling into his log-cabin home. Young cites these sounds as inspirations in life, and his compositions often involved drones. Young is often described as one of the fathers of minimalism, along with Terry Riley, Steve Reich. In 1962, Young married visual artist Marian Zazeela, the two have often collaborated on projects that combine visual art and music, including The Well-Tuned Piano. As an audience member at a performance of The Well-Tuned Piano, one is surrounded by the, pure and intense color sensations. These lights are magenta in color and are installed into the performance area, Young gives credit to Dennis Johnson, a former schoolmate and composer from UCLA, for inspiring The Well-Tuned Piano. Johnson wrote an extensive, improvisatory, solo piano piece titled November in 1959, although the piece is said to be as long as six hours, the tape recording made in 1962 cuts off suddenly after only an hour and a half. Young has also been influential to many composers and musicians throughout his life, Dennis Johnson cites Young as an influence in his composition, The Second Machine, which is based on four single pitches of Youngs Four Dreams of China. Gann has also called the piece the most important piano work of the late 20th century, the tuning of the piano used in The Well-Tuned Piano is the most important aspect of the piece. When Young dates the piece as 1964-73-81-Present, the years 1973 and 1981 identify significant changes in the tuning. Although it might seem that Young is giving a nod to Bachs The Well-Tempered Clavier with his title The Well-Tuned Piano, musical tuning, temperament actually involves the deliberate mistuning of pitches to make the overall octave more or less usable in various different tones. In The Well-Tuned Piano, Young is aspiring to get all intervals perfectly in tune, using just intonation, which is often called pure intonation. This means that all pitches are derived using simple whole numbers, such as 1,1 for a pitch,2,1 for an octave,5,4 for a major third. Using just intonation eliminates beats, often heard when various instruments seem to be playing out of tune, to an ear not accustomed to just intonation, these pitches may sound unfamiliar since they are not in tune with standard equal temperament. A more complex explanation of Youngs tuning method is offered by Kyle Gann, according to his article, La Monte Youngs The Well-Tuned Piano, Young modifies the seven-limit tuning process, which usually involves tunings based on 3,2,5,4 and 7,4 ratios
21.
20th-century music
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During the 20th century there was a vast increase in the variety of music that people had access to. The 20th-century orchestra was far more flexible than its predecessors and used a wider variety of instruments. In Beethovens and Felix Mendelssohns time in the 19th century, the orchestra was composed of a standard core of instruments which was very rarely modified. The 20th century saw dramatic innovations in musical forms and styles, composers and songwriters experimented with new musical styles, such as genre fusions. As well, composers and musicians used new electric, electronic, in the 1980s, some styles of music, such as electronic dance music genres such as house music were created largely with synthesizers and drum machines. Faster modes of such as jet flight allowed musicians and fans to travel more widely to perform or hear shows. Busoni, Stravinsky, Schoenberg, and Schreker were already recognized before 1914 as modernists, composers such as Ravel, Milhaud, and Gershwin combined classical and jazz idioms. Late-Romantic and modernist nationalism was also in British, American. Composers such as Ralph Vaughan Williams, Aaron Copland, Carlos Chávez, in the middle of the century composers such as Harry Partch and Ben Johnston explored just intonation. There were three schools of neoclassicism, associated with Igor Stravinsky, Paul Hindemith, and Arnold Schoenberg. Similar sympathies in the half of the century are generally subsumed under the heading postmodernism. A compositional tradition arose in the mid-20th century—particularly in North America—called experimental music and its most famous and influential exponent was John Cage. According to Cage, an action is one the outcome of which is not foreseen. Minimalist music, involving a simplification of materials and intensive repetition of motives began in the late 1950s with the composers Terry Riley, Steve Reich, later, minimalism was adapted to a more traditional symphonic setting by composers including Reich, Glass, and John Adams. For more examples see List of 20th-century classical composers, contemporary classical music can be understood as belonging to the period that started in the mid-1970s to early 1990s, which includes modernist, postmodern, neoromantic, and pluralist music. However, the term may also be employed in a sense to refer to all post-1945 musical forms. Many composers working in the early 21st century were prominent figures in the 20th century, some younger composers such as Oliver Knussen, Thomas Adès, and Michael Daugherty did not rise to prominence until late in the 20th century. For more examples see List of 21st-century classical composers, in the early twentieth century, electronic devices were invented that were capable of generating sound electronically, without an initial mechanical source of vibration
22.
The Guardian
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The Guardian is a British daily newspaper, known from 1821 until 1959 as the Manchester Guardian. Along with its sister papers The Observer and The Guardian Weekly, The Guardian is part of the Guardian Media Group, the Scott Trust became a limited company in 2008, with a constitution to maintain the same protections for The Guardian. Profits are reinvested in journalism rather than to the benefit of an owner or shareholders, the Guardian is edited by Katharine Viner, who succeeded Alan Rusbridger in 2015. In 2016, The Guardians print edition had a daily circulation of roughly 162,000 copies in the country, behind The Daily Telegraph. The newspaper has an online UK edition as well as two international websites, Guardian Australia and Guardian US, the newspapers online edition was the fifth most widely read in the world in October 2014, with over 42.6 million readers. Its combined print and online editions reach nearly 9 million British readers, notable scoops include the 2011 News International phone hacking scandal, in particular the hacking of murdered English teenager Milly Dowlers phone. The investigation led to the closure of the UKs biggest selling Sunday newspaper, and one of the highest circulation newspapers in the world, in 2016, it led the investigation into the Panama Papers, exposing the then British Prime Minister David Camerons links to offshore bank accounts. The Guardian has been named Newspaper of the Year four times at the annual British Press Awards, the paper is still occasionally referred to by its nickname of The Grauniad, given originally for the purported frequency of its typographical errors. The Manchester Guardian was founded in Manchester in 1821 by cotton merchant John Edward Taylor with backing from the Little Circle and they launched their paper after the police closure of the more radical Manchester Observer, a paper that had championed the cause of the Peterloo Massacre protesters. They do not toil, neither do they spin, but they better than those that do. When the government closed down the Manchester Observer, the champions had the upper hand. The influential journalist Jeremiah Garnett joined Taylor during the establishment of the paper, the prospectus announcing the new publication proclaimed that it would zealously enforce the principles of civil and religious Liberty. Warmly advocate the cause of Reform, endeavour to assist in the diffusion of just principles of Political Economy and. Support, without reference to the party from which they emanate, in 1825 the paper merged with the British Volunteer and was known as The Manchester Guardian and British Volunteer until 1828. The working-class Manchester and Salford Advertiser called the Manchester Guardian the foul prostitute, the Manchester Guardian was generally hostile to labours claims. The Manchester Guardian dismissed strikes as the work of outside agitators –, if an accommodation can be effected, the occupation of the agents of the Union is gone. CP Scott made the newspaper nationally recognised and he was editor for 57 years from 1872, and became its owner when he bought the paper from the estate of Taylors son in 1907. Under Scott, the moderate editorial line became more radical, supporting William Gladstone when the Liberals split in 1886
23.
Transformer
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A transformer is an electrical device that transfers electrical energy between two or more circuits through electromagnetic induction. A varying current in one coil of the transformer produces a magnetic field. Power can be transferred between the two coils through the field, without a metallic connection between the two circuits. Faradays law of induction discovered in 1831 described this effect, Transformers are used to increase or decrease the alternating voltages in electric power applications. A wide range of designs is encountered in electronic and electric power applications. Transformers range in size from RF transformers less than a centimeter in volume to units interconnecting the power grid weighing hundreds of tons. For simplification or approximation purposes, it is common to analyze the transformer as an ideal transformer model as presented in the two images. An ideal transformer is a theoretical, linear transformer that is lossless and perfectly coupled, perfect coupling implies infinitely high core magnetic permeability and winding inductances and zero net magnetomotive force. A varying current in the primary winding creates a varying magnetic flux in the transformer core. This varying magnetic field at the secondary winding induces a varying EMF or voltage in the secondary winding due to electromagnetic induction. The primary and secondary windings are wrapped around a core of high magnetic permeability so that all of the magnetic flux passes through both the primary and secondary windings. With a voltage source connected to the winding and load impedance connected to the secondary winding. The primary EMF is sometimes termed counter EMF and this is in accordance with Lenzs law, which states that induction of EMF always opposes development of any such change in magnetic field. The transformer winding voltage ratio is shown to be directly proportional to the winding turns ratio according to eq. common usage having evolved over time from turn ratio to turns ratio. However, some use the inverse definition. The ideal transformer model assumes that all flux generated by the primary winding links all the turns of winding, including itself. In practice, some flux traverses paths that take it outside the windings, Such flux is termed leakage flux, and results in leakage inductance in series with the mutually coupled transformer windings. Leakage flux results in energy being alternately stored in and discharged from the fields with each cycle of the power supply
24.
The Church of Jesus Christ of Latter-day Saints
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The Church of Jesus Christ of Latter-day Saints is a Christian restorationist church that is considered by its members to be the restoration of the original church founded by Jesus Christ. The church is headquartered in Salt Lake City, Utah, and has established congregations, according to the church, it has over 70,000 missionaries and a membership of over 15 million. It is ranked by the National Council of Churches as the fourth-largest Christian denomination in the United States and it is the largest denomination in the Latter Day Saint movement founded by Joseph Smith during the period of religious revival known as the Second Great Awakening. Adherents, often referred to as Latter-day Saints, or, less formally, Mormons, view faith in Jesus Christ and his atonement as fundamental principles of their religion. The church has a canon which includes four scriptural texts, the Bible, the Book of Mormon, the Doctrine and Covenants. The current president is Thomas S. Monson, individual members of the church believe that they can also receive personal revelation from God in conducting their lives. The president heads a hierarchical structure with various levels reaching down to local congregations, Bishops, drawn from the laity, lead local congregations. Male members, after reaching age 12, may be ordained to the priesthood, Women do not hold positions within the priesthood, but do occupy leadership roles in some church auxiliary organizations. Both men and women may serve as missionaries, and the church maintains a large missionary program which proselytizes, faithful members adhere to church laws of sexual purity, health, fasting, and Sabbath observance, and contribute ten percent of their income to the church in tithing. The LDS Church was formally organized by Joseph Smith on April 6,1830, Smith intended to establish the New Jerusalem in North America, called Zion. In 1831, the moved to Kirtland, Ohio, and began establishing an outpost in Jackson County, Missouri. However, in 1833, Missouri settlers brutally expelled the Latter Day Saints from Jackson County, the Kirtland era ended in 1838, after a financial scandal rocked the church and caused widespread defections. Smith regrouped with the church in Far West, Missouri. Believing the Saints to be in insurrection, the Missouri governor ordered that the Saints be exterminated or driven from the State, in 1839, the Saints converted a swampland on the banks of the Mississippi River into Nauvoo, Illinois, which became the churchs new headquarters. Nauvoo grew rapidly as missionaries sent to Europe and elsewhere gained new converts who then flooded into Nauvoo, meanwhile, Smith introduced polygamy to his closest associates. He also established ceremonies, which he stated the Lord had revealed to him, to allow people to become gods in the afterlife. He also introduced the church to an accounting of his First Vision. This vision would come to be regarded by the LDS Church as the most important event in history since the resurrection of Jesus
25.
Los Angeles City College
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Los Angeles City College, known as LACC, is a public community college in East Hollywood, Los Angeles, California. A part of the Los Angeles Community College District, it is located on Vermont Avenue south of Santa Monica Boulevard, the college also offers a program known as The Theater Academy, a block program for students pursuing acting, technical side of theater, or costume design. LACC occupies the campus of the University of California, Los Angeles. One of nine separate college campuses of the Los Angeles Community College District, when the Pacific Electric Interurban Railroad connected downtown Los Angeles and Hollywood in 1909, the area began to develop rapidly. In 1914, the LA Board of Education moved the teachers Normal School to the site, the Italian Romanesque campus became what is now the University of California, Los Angeles in 1919. In need of space, UCLA moved to its present location in 1929. On September 9,1929, Los Angeles Junior College opened its doors for the first time with over 1,300 students and 54 teachers and it later changed its name to Los Angeles City College. California Community Colleges System Community, an NBC comedy series which shoots on the LACC campus Official website LACC Filipino Club
26.
Ornette Coleman
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Randolph Denard Ornette Coleman was an American jazz saxophonist, violinist, trumpeter, and composer. He was one of the innovators of the free jazz movement of the 1960s. His Broadway Blues has become a standard and has cited as a key work in the free jazz movement. He was awarded a MacArthur Fellowship in 1994 and his album Sound Grammar received the 2007 Pulitzer Prize for music. Coleman was born in 1930 in Fort Worth, Texas, where he was also raised and he attended I. M. Terrell High School, where he participated in band until he was dismissed for improvising during The Washington Post. He began performing R&B and bebop initially on tenor saxophone, and started a band, the Jam Jivers, with some fellow students including Prince Lasha and Charles Moffett. Seeking a way to work his way out of his town, he took a job in 1949 with a Silas Green from New Orleans traveling show and then with touring rhythm. After a show in Baton Rouge, Louisiana, he was assaulted and he switched to alto saxophone, which remained his primary instrument, first playing it in New Orleans after the Baton Rouge incident. He then joined the band of Pee Wee Crayton and travelled with them to Los Angeles and he worked at various jobs, including as an elevator operator, while continuing to pursue his musical career. From the beginning of his career, Colemans music and playing were in many ways unorthodox and his raw, highly vocalized sound and penchant for playing in the cracks of the scale led many Los Angeles jazz musicians to regard Colemans playing as out-of-tune. He sometimes had difficulty finding like-minded musicians with whom to perform, nevertheless, pianist Paul Bley was an early supporter and musical collaborator. In 1958, Coleman led his first recording session for Contemporary, the session also featured trumpeter Don Cherry, drummer Billy Higgins, bassist Don Payne and Walter Norris on piano. 1959 was a productive year for Coleman. His last release on Contemporary was Tomorrow Is the Question, a quartet album, with Shelly Manne on drums, and excluding the piano, which he would not use again until the 1990s. Next Coleman brought double bassist Charlie Haden – one of a handful of his most important collaborators – into a group with Cherry. He signed a contract with Atlantic Records, who released The Shape of Jazz to Come in 1959. While definitely – if somewhat loosely – blues-based and often quite melodic, some musicians and critics saw Coleman as an iconoclast, others, including conductor Leonard Bernstein and composer Virgil Thomson regarded him as a genius and an innovator. Jazzwise listed it #3 on their list of the 100 best jazz albums of all time, Colemans quartet received a lengthy – and sometimes controversial – engagement at New York Citys famed Five Spot jazz club
27.
Don Cherry (trumpeter)
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Donald Eugene Cherry was an American jazz trumpeter. Noted for his association with saxophonist Ornette Coleman, which began in the late 1950s. During this period, he incorporated various styles into his playing. After relocating to Sweden in the 1970s, he continued to tour and play throughout the world. Cherry was born in Oklahoma City, Oklahoma, where his father owned the Cherry Blossom Club, in 1940, Cherry moved with his family to Los Angeles, California. He lived in the Watts neighborhood, and his father tended bar at the Plantation Club on Central Avenue, Cherry recalled skipping school at Fremont High School in order to play with the swing band at Jefferson High School. This resulted in his transfer to Jacob Riis High School, a reform school, by the early 1950s Cherry was playing with jazz musicians in Los Angeles, sometimes acting as pianist in Art Farmers group. While trumpeter Clifford Brown was in Los Angeles with Max Roach, Cherry attended a jam session with Brown and Larance Marable at Eric Dolphys house and he also toured with saxophonist James Clay. Gathered much of their freedom of motion from the harmonic structures. His first recording as a leader was Complete Communion for Blue Note Records in 1965, the band included Colemans drummer Ed Blackwell as well as saxophonist Gato Barbieri, whom he had met while touring Europe with Ayler, and bassist Henry Grimes. After a departure from Colemans quartet, Cherry often played in groups and duets during a long sojourn in Scandinavia. In the 1970s he ventured into the genre of world fusion music. Cherry incorporated influences of Middle Eastern, traditional African, and Indian music into his playing and he studied Indian music with Vasant Rai in the early seventies. From 1978 to 1982, he recorded three albums for ECM with world jazz group Codona, consisting of Cherry, percussionist Nana Vasconcelos and sitar, Cherry also collaborated with classical composer Krzysztof Penderecki on the 1971 album Actions. In 1973, he co-composed the score for Alejandro Jodorowskys film The Holy Mountain, together with Ronald Frangipane, during the 1980s, he released the recording El Corazon, a 1982 duet album with Ed Blackwell. He also made two albums as bandleader, Home Boy in 1985 and Art Deco in 1988, in 1994, Cherry appeared on the Red Hot Organizations compilation CD, Stolen Moments, Red Hot + Cool, on a track titled Apprehension, alongside The Watts Prophets. The album, meant to raise awareness of the AIDS epidemic in African-American society, was named Album of the Year by Time Magazine, Cherry died on October 19,1995, at the age of 58 from liver cancer in Málaga, Spain. Cherry was inducted into the Oklahoma Jazz Hall of Fame in 2011 and his stepdaughters Neneh Cherry and Titiyo and his sons David Ornette Cherry, Christian Cherry and Eagle-Eye Cherry are also musicians
28.
Billy Higgins
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Billy Higgins was an American jazz drummer. He played mainly free jazz and hard bop. Higgins was born in Los Angeles, Higgins played on Ornette Colemans first records, beginning in 1958. He was one of the house drummers for Blue Note Records, on a whole, he played on over 700 recordings, including recordings of rock and funk. He appeared as a drummer in the 2001 movie Southlander. In 1989, Higgins cofounded a cultural center, The World Stage, in Los Angeles to encourage, the center provides workshops in performance and writing, as well as concerts and recordings. Higgins also taught in the studies program at the University of California. He was divorced from wife Mauricina Altier Higgins and had three sons, William, Joseph, and David, as well as a stepson Jody and his youngest son Benjamin resides in Los Angeles. He also had two daughters, Rickie Wade and Heidi and he died of kidney and liver failure on May 3,2001 at a hospital in Inglewood, California. 1979, Soweto 1979, The Soldier 1980 Once More 1984, with Eddie Harris The In Sound Mean Greens The Tender Storm Excursions How Can You Live Like That. With Jimmy Heath Love and Understanding The Time and the Place Picture of Heath With Joe Henderson Mirror Mirror With Andrew Hill Dance with Death With Richard Groove Holmes Get Up & Get It, with Mal Waldron Up Popped the Devil One Entrance, Many Exits With Cedar Walton Cedar. With David Williams Up Front With Jack Wilson Easterly Winds Billy Higgins at Allmusic Paean by Tony Gieske
29.
University of California, Los Angeles
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The University of California, Los Angeles is a public research university in the Westwood district of Los Angeles, California, United States. It became the Southern Branch of the University of California in 1919 and it offers 337 undergraduate and graduate degree programs in a wide range of disciplines. UCLA enrolls about 31,000 undergraduate and 13,000 graduate students, and had 119,000 applicants for Fall 2016, including transfer applicants, the university is organized into six undergraduate colleges, seven professional schools, and four professional health science schools. Fourteen Nobel laureates, three Fields Medalists, two Chief Scientists of the U. S. Air Force and three Turing Award winners have been faculty, researchers, or alumni, the university was elected to the Association of American Universities in 1974. The Times Higher Education World University Rankings for 2015–2016 ranked UCLA 16th in the world for academics, in 2015-2016, UCLA ranked 12th in the world by the Academic Ranking of World Universities and 31st in the 2016/17 QS World University Rankings. UCLA student-athletes compete as the Bruins in the Pac-12 Conference, the Bruins won 126 national championships, including 113 NCAA team championships, more than any other university. UCLA student-athletes, coaches and staff won 251 Olympic medals,126 gold,65 silver and 60 bronze, UCLA student-athletes competed in every Olympics since 1920 with one exception, and won a gold medal in every Olympics that the United States participated in since 1932. The State Normal School at Los Angeles opened on August 29,1882, the facility included an elementary school where teachers-in-training could practice their technique with children. That elementary school is related to the present day version, UCLA Lab School, in 1887, the school became known as the Los Angeles State Normal School. In 1914, the moved to a new campus on Vermont Avenue in East Hollywood. However, David Prescott Barrows, the new President of the University of California, the same legislation added its general undergraduate program, the College of Letters and Science. After the athletic teams entered the Pacific Coast conference in 1926, the Southern Branch student council adopted the nickname Bruins, in 1927, the Regents renamed the Southern Branch the University of California at Los Angeles. In the same year, the state broke ground in Westwood on land sold for $1 million, less than one-third its value, by real estate developers Edwin and Harold Janss, the campus in Westwood opened to students in 1929. The original four buildings were the College Library, Royce Hall, the Physics-Biology Building, the first undergraduate classes on the new campus were held in 1929 with 5,500 students. A timeline of the history can be found on its website, during its first 32 years, UCLA was treated as an off-site department of UC. As such, its presiding officer was called a provost, in 1951, UCLA was formally elevated to co-equal status with UC Berkeley, and its presiding officer Raymond B. Allen was the first chief executive to be granted the title of chancellor. The appointment of Franklin David Murphy to the position of Chancellor in 1960 helped spark an era of growth of facilities. By the end of the decade, UCLA had achieved distinction in a range of subjects
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University of California, Berkeley
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The University of California, Berkeley, is a public research university located in Berkeley, California. In 1960s, UC Berkeley was particularly noted for the Free Speech Movement as well as the Anti-Vietnam War Movement led by its students. S, Department of Energy, and is home to many world-renowned research institutes and organizations including Mathematical Sciences Research Institute and Space Sciences Laboratory. Faculty member J. R. Oppenheimer, the father of the atomic bomb, Lawrence Livermore Lab also discovered or co-discovered six chemical elements. The Academic Ranking of World Universities also ranks the University of California, Berkeley, third in the world overall, in 1866, the private College of California purchased the land comprising the current Berkeley campus. Ten faculty members and almost 40 students made up the new University of California when it opened in Oakland in 1869, billings was a trustee of the College of California and suggested that the college be named in honor of the Anglo-Irish philosopher George Berkeley. In 1870, Henry Durant, the founder of the College of California, with the completion of North and South Halls in 1873, the university relocated to its Berkeley location with 167 male and 22 female students and held its first classes. In 1905, the University Farm was established near Sacramento, ultimately becoming the University of California, by the 1920s, the number of campus buildings had grown substantially, and included twenty structures designed by architect John Galen Howard. Robert Gordon Sproul served as president from 1930 to 1958, by 1942, the American Council on Education ranked UC Berkeley second only to Harvard University in the number of distinguished departments. During World War II, following Glenn Seaborgs then-secret discovery of plutonium, UC Berkeley physics professor J. Robert Oppenheimer was named scientific head of the Manhattan Project in 1942. Along with the Lawrence Berkeley National Laboratory, Berkeley is now a partner in managing two other labs, Los Alamos National Laboratory and Lawrence Livermore National Laboratory, originally, military training was compulsory for male undergraduates, and Berkeley housed an armory for that purpose. In 1917, Berkeleys ROTC program was established, and its School of Military Aeronautics trained future pilots, including Jimmy Doolittle, both Robert McNamara and Frederick C. Weyand graduated from UC Berkeleys ROTC program, earning B. A. degrees in 1937 and 1938, in 1926, future fleet admiral Chester W. Nimitz established the first Naval Reserve Officers Training Corps unit at Berkeley. The Board of Regents ended compulsory military training at Berkeley in 1962, during the McCarthy era in 1949, the Board of Regents adopted an anti-communist loyalty oath. A number of faculty members objected and were dismissed, ten years passed before they were reinstated with back pay, in 1952, the University of California became an entity separate from the Berkeley campus. Each campus was given autonomy and its own Chancellor. Then-president Sproul assumed presidency of the entire University of California system, Berkeley gained a reputation for student activism in the 1960s with the Free Speech Movement of 1964 and opposition to the Vietnam War. In the highly publicized Peoples Park protest in 1969, students and the school conflicted over use of a plot of land, then governor of California Ronald Reagan called the Berkeley campus a haven for communist sympathizers, protesters, and sex deviants. Modern students at Berkeley are less active, with a greater percentage of moderates and conservatives
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Darmstadt School
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Darmstadt School refers to a group of composers who attended the Darmstadt International Summer Courses for New Music from the early 1950s to the early 1960s in Darmstadt, Germany. After Steineckes death in 1961, the courses were run by Ernst Thomas, Friedrich Ferdinand Hommel, Solf Schaefer, thanks to these courses, Darmstadt is now a major centre of modern music, particularly for German composers. Two years later the Darmstadt School effectively dissolved due to musical differences, many distinguished lecturers appeared at Darmstadt. Amongst them are Theodor W. However, according to one source, although Messiaen paid a visit to the courses in 1949. Key influences on the Darmstadt School were the works of Webern and Varèse—who visited Darmstadt only once, in 1950 and this led to the use of the phrase Darmstadt School as a pejorative term, implying a mathematical, rule-based music. In his collected writings, Henze recalls student composers rewriting their works on the train to Darmstadt in order to comply with Boulezs expectations. Nor am I, for one, familiar with one Ferienwoche schedule, let alone concert programme, besides, one might ask, what species of seriality is supposed to have reached such pre-eminence. It did, after all, vary from composer to composer, “The Sanctification of Misapprehension into a Doctrine, Darmstadt Epigones and Xenophobes”. English translation by Sonia Prescod Jokel, luigi Nono and the Darmstadt School. Grove Music Online ed. L. Macy, Music and Politics, Collected Writings, 1953–1981. New Music at Darmstadt, Nono, Stockhausen, Cage, Cambridge and New York, Cambridge University Press. Orchestral Thoughts, Jazz Composition in Europe and America, An Interview with Composer-Director Giorgio Gaslini, in Eurojazzland, Jazz and European Sources, Dynamics, and Contexts, edited by Luca Cerchiari, Laurent Cugny, Franz Kerschbaumer, 235–52. Music for the People, The Pleasures and Pitfalls of Classical Music, Cambridge and Malden, MA, Polity Press. Texte, Studien zu seiner Musik Edited by J. Stenzl, zürich and Freiburg im Breisgau, Atlantis-Verlag. Pierre Boulez, Le maître et son marteau, paris, Hermann Éditeurs des Sciences et des Artes. “Vestiges of Twelve-tone Practice as Compositional Process in Berio’s Sequenza I for Solo Flute”, in Berios Sequenzas, Essays on Composition Performance Analysis and Analysis, edited by Janet K. Halfyard, with an introduction by David Osmond-Smith, 191–208. 2000. in booklet for Piano Music of the Darmstadt School, vol, english translation by Susan Marie Praeder, 4–7, French translation by Sylvie Gomez, 9–16. CD recording,1 disc, stereo, digital,2004. in booklet for Piano Music of the Darmstadt School, vol
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Karlheinz Stockhausen
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Karlheinz Stockhausen was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. Another critic calls him one of the visionaries of 20th-century music. He is known for his work in electronic music, aleatory in serial composition. He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. One of the figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music. His works, composed over a period of sixty years. His theoretical and other writings comprise ten large volumes and he received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company. He died of heart failure at the age of 79, on 5 December 2007 at his home in Kürten. Stockhausen was born in Burg Mödrath, the castle of the village of Mödrath, the village, located near Kerpen in the Cologne region, was displaced in 1956 to make way for lignite strip mining, but the castle itself still stands. Despite its name, the building is not actually a castle at all, because of its imposing size, locals began calling it Burg Mödrath. From 1925 to 1932 it was the maternity home of the Bergheim district, in 1950, the owners, the Düsseldorf chapter of the Knights of Malta, turned it into an orphanage, but it has subsequently returned to private ownership and is today a private residence again. His father, Simon Stockhausen, was a schoolteacher, and his mother Gertrud was the daughter of a family of farmers in Neurath in the Cologne Bight. A daughter, Katherina, was born the year after Karlheinz, from the age of seven, Stockhausen lived in Altenberg, where he received his first piano lessons from the Protestant organist of the Altenberg Cathedral, Franz-Josef Kloth. His new wife, Luzia, had been the familys housekeeper, in 1941 he learned that his mother had died, ostensibly from leukemia, although everyone at the same hospital had supposedly died of the same disease. It was generally understood that she had been a victim of the Nazi policy of killing useless eaters, Stockhausen dramatized his mothers death in hospital by lethal injection, in Act 1 scene 2 of the opera Donnerstag aus Licht. In the autumn of 1944, he was conscripted to serve as a bearer in Bedburg. In February 1945, he met his father for the last time in Altenberg, Simon, who was on leave from the front, told his son, Im not coming back. By the end of the war, his father was regarded as missing in action, a comrade later reported to Karlheinz that he saw his father wounded in action
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Electronic music
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In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them
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New School for Social Research
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The New School for Social Research, also known by the abbreviation NSSR, is an educational institution that is part of The New School. The schools dedication to freedom and intellectual inquiry reaches back to the university’s founding in 1919 as a home for progressive thinkers. The New School for Social Research explores and promotes peace and justice as more than theoretical ideals. The New School for Social Research, enrolls more than 1,000 students from all regions of the United States, the program was founded with the start of the college in 1919. In 1933, what became known as the University in Exile, had become a haven for scholars who had dismissed from teaching positions by the Italian fascists or had to flee Nazi Germany. The University in Exile was initially founded by the director of the New School, Alvin Johnson, through the financial contributions of Hiram Halle. The University in Exile and its subsequent incarnations have been the heart of the New School. Following the collapse of totalitarian regimes in Europe, the University in Exile was renamed the Graduate Faculty of Political and Social Science and it was renamed the New School for Social Research in 2005 this time taking the original name of the university. It is worthwhile to note that The New School in its days in 1919 was actually known as The New School for Social Research. This name continued until 1997, when the university adopted a new name and this continued until 2005, when a big new rebranding occurred, with the school in general turning to The New School, its present name. Its various colleges were regrouped under various names like College of Performing Arts, Eugene Lang College of Liberal Arts, Parsons School of Design, the university also continued with a separate new institution The New School for Social Research under the general banner of The New School
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Anton Webern
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Anton Friedrich Wilhelm von Webern was an Austrian composer and conductor. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Křenek, Weberns music was among the most radical of its milieu, both in its concision and in its rigorous and resolute apprehension of twelve-tone technique. Webern was born in Vienna, then Austria-Hungary, as Anton Friedrich Wilhelm von Webern and he was the only surviving son of Carl von Webern, a civil servant, and Amelie who was a competent pianist and accomplished singer—possibly the only obvious source of the future composers talent. He never used his middle names and dropped the von in 1918 as directed by the Austrian governments reforms after World War I and he lived in Graz and Klagenfurt for much of his youth. Webern memorialized the Preglhof in a diary poem An der Preglhof and in the tone poem Im Sommerwind, once Weberns father sold the estate in 1912, Webern referred to it nostalgically as a lost paradise. Art historian Ernst Dietz, Weberns cousin and at time a student at Graz, may have introduced Webern to the work of Arnold Böcklin and Giovanni Segantini. Segantinis work was an inspiration for Weberns 1905 single-movement string quartet. In 1902 Webern began attending classes at Vienna University, there he studied musicology with Guido Adler, writing his thesis on the Choralis Constantinus of Heinrich Isaac. He studied composition under Arnold Schoenberg, writing his Passacaglia, op.1 as his piece in 1908. He met Alban Berg, who was also a pupil of Schoenberg and these two relationships would be the most important in his life in shaping his own musical direction. After graduating, he took a series of conducting posts at theatres in Ischl, Teplitz, Danzig, Stettin, there he helped run Schoenbergs Society for Private Musical Performances from 1918 through 1922 and conducted the Vienna Workers Symphony Orchestra from 1922 to 1934. Letters document their correspondence in many subsequent years, and she would in turn provide him with facilities to private lessons as a convenience to Webern, his family. As early as 1933, an Austrian gauleiter on Bayerischer Rundfunk mistakenly and his familys financial situation deteriorated until, by August 1940, his personal records reflected no monthly income. It was thanks to the Swiss philanthropist Werner Reinhart that Webern was able to attend the premiere of his Variations for Orchestra, op.30 in Winterthur. Reinhart invested all the financial and diplomatic means at his disposal to enable Webern to travel to Switzerland, in return for this support, Webern dedicated the work to him. On the other, some private correspondence attests to his Nazi sympathies, Weberns patriotism led him to endorse the Nazi regime in a series of letters to Joseph Hueber, who was serving in the army and himself held such views. Webern described Hitler on May 2,1940 as this man who created the new state of Germany. Only later did Krasner himself realize how self-admittedly foolhardy he had been and in danger he had placed himself
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Gregorian chant
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Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song of the western Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, although popular legend credits Pope St. Gregory the Great with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, the scale patterns are organized against a background pattern formed of conjunct and disjunct tetrachords, producing a larger pitch system called the gamut. The chants can be sung by using six-note patterns called hexachords, Gregorian melodies are traditionally written using neumes, an early form of musical notation from which the modern four-line and five-line staff developed. Multi-voice elaborations of Gregorian chant, known as organum, were a stage in the development of Western polyphony. Gregorian chant was sung by choirs of men and boys in churches. It is the music of the Roman Rite, performed in the Mass, although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship. During the 20th century, Gregorian chant underwent a musicological and popular resurgence, singing has been part of the Christian liturgy since the earliest days of the Church. Until the mid-1990s, it was accepted that the psalmody of ancient Jewish worship significantly influenced and contributed to early Christian ritual. However, early Christian rites did incorporate elements of Jewish worship that survived in later chant tradition, canonical hours have their roots in Jewish prayer hours. Amen and alleluia come from Hebrew, and the threefold sanctus derives from the threefold kadosh of the Kedushah, the New Testament mentions singing hymns during the Last Supper, When they had sung the hymn, they went out to the Mount of Olives Matthew 26.30. The 3rd-century Greek Oxyrhynchus hymn survived with musical notation, but the connection between this hymn and the plainchant tradition is uncertain, musical elements that would later be used in the Roman Rite began to appear in the 3rd century. The Apostolic Tradition, attributed to the theologian Hippolytus, attests the singing of Hallel psalms with Alleluia as the refrain in early Christian agape feasts, around 375, antiphonal psalmody became popular in the Christian East, in 386, St. Ambrose introduced this practice to the West. In the fifth century, a school, the Schola Cantorum, was founded at Rome to provide training in church musicianship. Scholars are still debating how plainchant developed during the 5th through the 9th centuries, around 410, St. Augustine described the responsorial singing of a Gradual psalm at Mass. 520, Benedict of Nursia established what is called the rule of St. Benedict, around 678, Roman chant was taught at York. Distinctive regional traditions of Western plainchant arose during this period, notably in the British Isles, Spain, Gaul and these traditions may have evolved from a hypothetical year-round repertory of 5th-century plainchant after the western Roman Empire collapsed. John the Deacon, biographer of Pope Gregory I, modestly claimed that the saint compiled a patchwork antiphonary, unsurprisingly and he reorganized the Schola Cantorum and established a more uniform standard in church services, gathering chants from among the regional traditions as widely as he could manage
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