FROM the EDITOR Triumphs and Tests Which Seem to Bombard All of Us
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Charlotte Moorman's New York Avant Garde Festival, Experimentalism, and U.S
"If You're in the Avant Garde, You're in the Wrong War": Charlotte Moorman's New York Avant Garde Festival, Experimentalism, and U.S. Politics of the 1960s The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Schmid, Caitlin Rose. 2019. "If You're in the Avant Garde, You're in the Wrong War": Charlotte Moorman's New York Avant Garde Festival, Experimentalism, and U.S. Politics of the 1960s. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42029835 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “If You’re in the Avant Garde, You’re in the Wrong War”: Charlotte Moorman’s New York Avant Garde Festival, Experimentalism, and U.S. Politics of the 1960s A dissertation presented by Caitlin Rose Schmid to The Department of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Music Harvard University Cambridge, Massachusetts April, 2019 ! 2019, Caitlin Rose Schmid All rights reserved Professor Carol J. Oja, Advisor Caitlin Rose Schmid “If You’re in the Avant Garde, You’re in the Wrong War”: Charlotte Moorman’s New York Avant Garde Festival, Experimentalism, and U.S. Politics of the 1960s Abstract “‘If You’re in the Avant Garde, You’re in the Wrong War’: Charlotte Moorman’s New York Avant Garde Festival, Experimentalism, and U.S. -
Leonardo Electronic Almanac Volume 8, No
/ ____ / / /\ / /-- /__\ /______/____ / \ ============================================================= Leonardo Electronic Almanac Volume 8, No. 11 November, 2000 Craig Harris, Executive Editor Patrick Maun, Gallery Editor/Curator Craig Arko, Coordinating Editor Michael Punt, LDR Editor-in Chief Roger Malina, LDR Executive Editor Editorial Advisory Board: Roy Ascott, Michael Naimark, Simon Penny, Greg Garvey, Joan Truckenbrod ISSN #1071-4391 ============================================================= ____________ | | | CONTENTS | |____________| ============================================================= INTRODUCTION < This Issue > Craig Harris FEATURE ARTICLES < Computer Music Experiences, 1961-1964 > by James Tenney < James Tenney: an Interview > interviewed by Douglas Kahn < Editorial: A Life Connecting Art and Science: The Connectivity of Lives Makepeace Tsao (1918--2000) > by Karen Tsao LEONARDO DIGITAL REVIEWS < This Month’s Reviews > Michael Punt OPPORTUNITIES < Northwestern University - music technology faculty > < Graduate Teaching Fellow - Electroacoustic Music at the University of Oregon > < Music Department at Mills College > ANNOUNCEMENTS < 2000 Leonardo New Horizons Award > < The Eighth Brazilian Symposium > < ICMC 2001 -- Call for Musical Submissions > ACKNOWLEDGMENTS LEA WORLD WIDE WEB ACCESS LEA PUBLISHING & SUBSCRIPTION INFORMATION 1 LEONARDOELECTRONICALMANAC VOL 8 NO 11 ISSN 1071-4391 ISBN 978-0-9833571-0-0 ============================================================= ________________ | | | INTRODUCTION | |________________| -
Mills Music Now 2014-‐2015
The Mills College Music Department and the Center for Contemporary Music present Mills Music Now 2014-2015 In Celebration of Robert Ashley Jeannik Méquet Littlefield Concert Hall November 1, 2014 8:00 pm In Celebration of Robert Ashley Soundtrack Selections Composed by ROBERT ASHLEY with “BLUE” GENE TYRANNY and COSTANZO from SHOOT THE WHALE (1971), a Film by Philip Makanna in memoriam … CRAZY HORSE (symphony) (1963) for twenty or more wind or string or other sustaining instruments Fred Frith: conductor; Music Improvisation Ensemble II, and guests She Was A Visitor (1966-1967) for speaker and chorus Steed Cowart: speaker; Contemporary Performance Ensemble, with members of the Cornelius Cardew Choir and other guests Intermission Title Withdrawn (1976) excerpt, Music theater on video tape Robert Ashley: voice, electronics, and Polymoog; Mimi Johnson: voice; David Peterson and Donald Renzulli: signers; Philip Makanna: Director and Camera; Jerry Pearsall: Video Recordist and Technical Director String Quartet Describing the Motions of Large Real Bodies (1971-1972) for string quartet with electronics Katharine Austin (Kathy Morton) and Wendy Reid: violins; Chris Brown: viola; Maggi Payne: cello; John Bischoff and James Fei: electronics The Wolfman (1964) for amplified voice, tape and electronics Laetitia Sonami: voice; James Fei: electronics Please turn off cell phones, electronic pagers, and alarm watches. No unauthorized recording or photography. Seating only during breaks in the performance. Please take a moment to look around for the nearest -
ONCE and Again: the Evolution of a Legendary Festival by Leta E. Miller Ann Arbor, Michigan, Seems an Unlikely Site for the Esta
ONCE and Again: The Evolution of a Legendary Festival by Leta E. Miller Ann Arbor, Michigan, seems an unlikely site for the establishment of a major avant-garde festival that would shake the new-music community. Tucked away in America’s heartland, the city is equally removed from the Eastern metropolises whose artists pride themselves on sensing the pulse of the times, and from the nonconformist West Coast. Yet during the 1960s Ann Arbor played host to one of the most extraordinary adventures in American music history: the annual ONCE Festival and its nexus of related activities. In part ONCE was fostered by the cultural richness in Michigan: For instance, Gordon Mumma, one of its founders, played French horn in five amateur and semi-professional orchestras while he was still in high school. ONCE also benefited from its proximity to the University of Michigan, which offered a reservoir of talented performers and composers—although the Festival operated throughout its history independently of (and at times in opposition to) various constituencies within the School of Music. But mainly ONCE arose from the fortuitous and coincidental intersection of a group of enterprising young composers—Mumma, Robert Ashley, George Cacioppo, Roger Reynolds, and Donald Scavarda—who joined forces with an innovative community of visual artists. The ONCE Festivals—four to seven performances per year in February and March—formed the centerpiece of the group’s activities (see Table 1, page 34). Programs for the first five years (1961–65) list 170 works by 92 composers, most on the cutting edge of the national and international new- music scene.