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Downtown Music and Its Misrepresentations

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Downtown Music and Its Misrepresentations an ARTSJOURNAL weblog | ArtsJournal Home | AJ Blog Central A B O U T . « Music that Aspires to the Condition of Baseball | Main | A Tune a Day » March 08, 2005 Kyle Gann I'm a composer (since I was 13), a music critic (since I was 27), a Downtown Music and its Misrepresentations musicologist (since I was 32), and a music professor (since I was After every article I write about the Uptown/Downtown issue, I receive at 39).... more least one e-mail telling me my views on the subject are bullshit. All of these READ ME IN THE VOICE Read Kyle Gann's columns from messages have one thing in common: the writer knows the music of John the Village Voice back to Zorn and the Bang on a Can festival. This acquaintance, in his estimation, September 1998 clearly outweighs my 28 years of involvement with the Downtown scene and Kyle Gann's Home Page More than you ever wanted to makes the writer an authority on Downtown music. This is like reading the know about me at www.kylegann.com speeches of Hillary Clinton and Joe Lieberman and then announcing, "Now PostClassic Radio I'm an expert on Leftist political thought." The radio station that goes with the blog, all postclassical music, all the time; see the playlist at Allow me to detail what?s wrong with this formulation. First: Bang on a Can. kylegann.com Speaking as someone who personally knows a few hundred Downtown Archive 539 entries and counting composers, I can tell you that there is a lot of resentment within the Contact Downtown community against Bang on a Can, and that dozens of my [email protected] composer friends would be horrified to think that the Bang on a Can festival was anyone's image of Downtown music. There are large swaths of Syndicate this site Downtown music that Bang on a Can has ignored, and major Downtown figures to whom BoaC has barely paid attention. In the festival's early years S E A R C H it seemed a little oriented toward Downtown composers, but there is a widespread perception that as the festival became more famous and starting Search this site: associating with Lincoln Center, the curators - David Lang, Julia Wolfe, Michael Gordon - started abandoning younger Downtown composers, Search associating with famous composers like Louis Andriessen and Steve Reich, and keeping their own music at center stage. Furthermore, there is a lot of S I T E S T O S E E feeling that Lang, Wolfe, and Gordon, who studied at Yale with Martin Some sites I like... Bresnick, are not themselves Downtown composers at all; although Gordon, Postclassic Radio! - Kyle who has more of a garage-band background and more minimalist tendencies, Gann's internet radio station that accompanies the blog; see the is sometimes exempted from this charge. playlist at kylegann.com American Mavericks - the Now is not the moment to assess the accuracy of these perceptions - I sort Minnesota Public radio program about American music (scripted of agree, sort of don't, but I merely report them to note how unfortunate this by Kyle Gann with Tom Voegeli) assumed equivalence of BoaC = Downtown is. In their defense, BoaC has Kalvos & Damian's New Music Bazaar - a cornucopia never particularly claimed to represent Downtown. There is nothing about of music, interviews, information Downtown music in their mission statement, and the only thing they?ll say by, with, and on hundreds of intriguing composers who are not publicly is that they're not really interested in the Uptown/Downtown the Usual Suspects distinction. They always chose the composers they wanted, some from Iridian Radio - an intelligently mellow new-music station Europe, many from across the country, and many who were new to the New New Music Box - the York scene altogether. If I have to think back to how they became identified premiere site for keeping up with what American composers are with Downtown, the biggest culprit may be my own reviews in the Village doing and thinking Voice, for in their early years I was enthusiastic about the new energy they Voice, for in their early years I was enthusiastic about the new energy they The Rest Is Noise - The fine brought in and the new kinds of music they gave voice to. blog of critic Alex Ross William Duckworth's Meanwhile, there were and are music festivals that do claim to represent Cathedral - the first interactive web composition and home page Downtown music, most famously New Music America, which was a traveling of a great postminimalist Downtown music schowcase for eleven years, from 1979 to 1989. Last composer October's Sounds Like Now festival explicitly featured the Downtown scene, Mikel Rouse's Home Page - the greatest opera composer of and there are periodically others, none of them nearly as visible or well- my generation funded as Bang on a Can. Follow any of these festivals and you'll have every Eve Beglarian's Home Page - great Downtown right to voice your opinions on Downtown music. But draw conclusions about compsoer Downtown from Bang on a Can, and you'll insult hundreds of Downtown Just Intonation Network - composers without particularly gratifying the BoaC people. a meeting place for people interested in alternative tunings Erling Wold's Web Site - a The issue of John Zorn I've addressed elsewhere here. Before Zorn, the fine San Francisco composer of Downtown scene could pretty well be characterized by the large roster of deceptively simple-seeming music, and a model web site composers who comprised the New Music New York festival of 1979: Rhys The Dane Rudhyar Archive Chatham, Laurie Anderson, Steve Reich, Philip Glass, Meredith Monk, - the complete site for the music, poetry, painting, and ideas of a Charlemagne Palestine, Charles Amirkhanian, Alvin Lucier, Annea Lockwood, greatly underrated composer who became America's greatest Tony Conrad, Phill Niblock, Richard Teitelbaum, and many others. It was a astrologer scene characterized by conceptualism and minimalism, music of intense focus Utopian Turtletop, John Shaw's thoughtful blog about new on sound, made by people who were outcasts from the classical music world. music and other issues This was not at all Zorn's type of music: his models in the classical world A J B L O G S were Kagel, Stockhausen, and Carter, he was antiminimalist, he thought John AJBlog Central Cage was overrated. He put together a scene of performers mostly from jazz backgrounds, and created an alternative to the minimalist Downtown scene, Architecture Pixel Points one couched in postmodern style mixing and maximalist chaos. It wasn't that Nancy Levinson on Architecture Downtown had never had free improv before - Oliveros, Terry Riley, and Culture Richard Teitelbaum had been experimenting with it, though with emphasis About Last Night Terry Teachout on the arts in New more on sound than virtuosity, more on meditation than chaos. To the horror York City of many veteran Downtowners, Zorn brought Downtown music back toward Artful Manager Andrew Taylor on the business of the modernism, chaos, and complexity from which the minimalists and Arts & Culture conceptualists had already escaped once. blog riley rock culture approximately Straight Up | With heavy irony, minimalist Tony Conrad once participated in a late '80s Jan Herman - Arts, Media & Culture News with 'tude performance of John Cage?s Songbooks by chanting, "No more Cage! Zorn is the rage!" It did seem for a few years that free improvisers from the jazz Dance Seeing Things world had infiltrated and wiped out the minimalist brand of Downtown music. Tobi Tobias on dance et al... Zorn created a parallel Downtown scene that took over in the late 1980s, Media partly through tremendous energy and organizational skills - but also partly Serious Popcorn because the free improvisers were generally ready to go onstage and Martha Bayles on Film... perform without rehearsal, and the improvising ideology entailed a belief that Music Adaptistration anything that resulted was fine. [UPDATE: To his everlasting credit, Zorn has Drew McManus on orchestra redeemed himself in recent years with Tzadik, a record label 30 times more management Sandow inclusive than the scene he dominated in the late '80s.] Eventually, after Greg Sandow on the future of 1990, free improvisation fell back into being only one component of the Classical Music Rifftides scene, ensconced at the Knitting Factory and Tonic, but again just one Doug Ramsey on Jazz and other matters... Downtown strand among many. PostClassic Kyle Gann on music after the fact Meanwhile, the Downtown scene that had started in 1960, when Yoko Ono Visual Arts opened her loft for La Monte Young and Richard Maxfield to give concerts at, Artopia survived and continued. The aesthetics of conceptualists like Robert Ashley, John Perreault's art diary survived and continued. The aesthetics of conceptualists like Robert Ashley, Modern Art Notes Pauline Oliveros, Alvin Lucier, David Behrman, Nam June Paik, Alison Tyler Green's modern & contemporary art blog Knowles, Yoshi Wada, Dick Higgins, and Phil Corner, and of early minimalists like Young, Terry Jennings, Angus Maclise, Charlemagne Palestine, Phill Niblock, Tom Johnson, Tony Conrad, Jon Gibson, Dennis Johnson, and John Special AJBlogs Cale, were inherited by further generations: Meredith Monk, Elodie Lauten, The Future of Classical Music? Brenda Hutchinson, Joshua Fried, Bernadette Speach, Daniel Goode (perhaps Greg Sandow performs a book-in- the most hardcore Downtowner of all), Barbara Benary, David First, Ben progress Neill, Skip LaPlante, Mikel Rouse, Tom Hamilton, Joshua Fried, Eve Beglarian, Critical Edge William Duckworth, Mary Jane Leach, Linda Fisher, David Borden, Guy critics in a critical age May 14-17, 2006 Klucevsek, Raphael Mostel, Lois V.
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