Major Figures in American Music OHV 487
Henry Threadgill TABLE OF CONTENTS
a-e
Jeff Brooks OHV 487 a-e With Gregg Bendian January 22, 2016 New York, NY
Part a pp. 1 – 12
Role of the conductor in modern orchestras—differences between Western music and Indonesian music/kabuki—American music—hillbilly/folk music—listening to everything one can and not discriminating—exploring a subject completely—artists that keep growing through their careers— using Ulysses in his writing—writing longer pieces—bridges between genres—Ensemble Double Up—writing for piano and other keyboard instruments—music for three pianists—improvising in notated music
Part b pp. 13 – 28
Interpretation of his written music—performance of his music—harmonic system for Zooid—three note harmony—families/DNA of notes—organic tempos—live performance as the pinnacle— cultural information—Indian music—“rhythmic design:” Morse code-based longs and shorts
Part c pp. 28 – 40
Rhythm in Zooid versus Double Up—finding players for his music—rehearsal style of his groups— seeing music in Cuba—performance in a premiere as still developing—‘Chestra Fourteen or Fifteen—Made in Chicago with Muhal (Richard Abrams), DeJohnette, and Roscoe Mitchell, AACM reunion—The Great Lakes Suite with Wadada Leo Smith—distractions from main projects—entering the chamber music world—meeting and drawing inspiration from University of Chicago composers, Shapey and Blackwood—making music without a “school”
Part d pp. 40 – 55
Composition teacher, Stella Roberts—attitude as a music student—Roberts’ teaching style, making sure there is flow in the music—discipline in music—socializing aspect of music—military experience, good and bad—thoughts on war—story of Irish immigrant—overpopulation of music schools—origin of “Threadgill”
Part e pp. 55 – 69
People with name Threadgill coming to his shows—progenitor of the American Threadgill family— finding Threadgills all over the U.S.—citizenship for descendants of a country—Air with Fred
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Hopkins and Steve McCall—Hotel: 99 Rooms theater music spurred Joplin rag arrangements—writing for a trio—inspiration from pianists: Muhal (Richard Abrams), Thelonius Monk, Ahmad Jamal, Cecil Taylor—playing Latin music with Mario Bauzá—playing with Howard McGhee—tearing down boundaries between music genres, putting up bridges
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