M. Musick April 2008 “”

La Monte Young’s musical output between 1960 and 1991 has been important in the avant-garde community. However, his unwillingness to compromise any control over the musical product and the extreme nature of his musical ideas have kept his from reaching larger crowds then the New York underground avant-garde community. Although the distribution of his music has been hurt, La Monte Young’s music has explored new areas and created a product that will influence more composers as access continues to become available.

La Monte Young’s music is unique because of his desire to “get inside a sound.”1

Rather then listening to and like the rest of the western music world,

Young wants to listen to the sound and learn to understand it. Young was influenced by long sustained sounds when he was a kid, listening to the wind through his log cabin when he was very young, then step-down power transformers a few years later, the train yards across the Los Angeles river in high school, and the hum of turtle motors in the 60’s when “he kept turtles.”2 Young would spend time just listening to these sounds trying to hear everything about them. Young wants to listen to sounds that have the power of making him feel like he is leaving “this world” and “stepping into the world of the sound,” “viewing the current world from the sound.”3 This desire to “get inside the sound” has allowed Young to write music that explores and sounds over very long periods of time. Young feels that in order to really hear the sound, especially the

1 La Monte Young and , eds., Selected Writings (ubo.com: ubuclassics, 1969), 74, http://www.ubu.com/historical/young/index.html. 2 William Duckworth, Talking Music: Conversations with , , Laurie Anderson, and Five Generations of American Experimental Composers (New York, NY: Schirmer Books, 1995), 210. 3 Young and Zazeela, Selected Writings, 78 Writing Sample 2 “La Monte Young” M. Musick 2

tuning, overtones, and false frequencies created from his just-tuning system that the music must be played for a long time. Young compares this to astronomer’s measurement of orbits. The “degree of precision of measurement is proportional to the duration for which the measurement is made.”4 Young knows that in order to accurately hear and measure the fine-tuning aspects of his music the listener and musician must listen for a long time.

In addition to the length of Young’s compositions and the true minimalist nature of them, Young has a tendency to compose very loud music. He claims, that in order to accurately hear the high partials and the beats created, the music must be loud and allowed to interact in the room.5 It is like looking at the music under a microscope and therefore he tends to play the music on the “threshold of pain.”6

The and loud volume of La Monte Young’s music are two of the first examples where his unwillingness to compromise in ways that would make his music more consumer friendly have created compositions that are pushing the musical boundaries. In addition to his music being sparse and loud, the length is also a factor.

With one of his live performance pieces running more the six and a half hours, it is not surprising that concert presenters have a hard time putting his music on programs.

Because of this problem, La Monte charges other people who perform his piece inversely to its length.7 He charges more for a shorter work then a lengthy work because he does not enjoy composing short pieces. That is not his music, nor the scale of size and depth he likes to work on. Young also refuses to change the volume of a

4 Young and Zazeela, Selected Writings, 7 5 ibid., 40 6 Duckworth, Talking Music : Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers, 243-244 7 Young and Zazeela, Selected Writings, 19 Writing Sample 2 “La Monte Young” M. Musick 3

work once he has determined it. At a movie screening of four films that La

Monte composed for, the theatre director “demanded” the music be turned down to

“reasonable” levels. La Monte would not allow it and rather then compromise his music by changing the volume, he withdrew the music from the movies.8

The Dream House is one of La Monte Young’s major projects. This project is a space in New York where Young plays his composition:

The Base 9:7:4 in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119 (1991 - Present NYC).

Marian Zazeela also displays her light exhibits, in that space, which are intended to complement the composition. Young’s long title helps explains the that is created on a custom “Rayna” sin oscillator which is played over two “large white speaker[s] that look like giant refrigerator[s]” in a white room that houses the magenta light exhibit.9 The tones are produced loud enough to allow the listener to “get inside the sound” or get lost in the other world Young was always trying to step into. The harmony is a set of “35 tones tuned according to [Young’s] own system of .10 The idea for the Dream House and original composition for it come from a larger composition known as The Tortoise, His Dreams And Journeys. This music is

8 , "La Monte Young: Compositions 1961-," 21st Century Music 10, no. 4 (April 2003, 2003), 4. 9 Mela Foundation, "Dream House: Seven+Eight Years of Sound and Light," http://www.melafoundation.org/Howard_03.htm (accessed April, 2008). 10 Mela Foundation, "Dream House: Seven+Eight Years of Sound and Light," http://www.melafoundation.org/farneth.htm (accessed April, 2008). Writing Sample 2 “La Monte Young” M. Musick 4

true “minimalist” music, Young has stripped it down to its bare ingredients and unlike

Philip Glass or he does not introduce rhythm or changing pitch to the composition. The only variance that happens is from the movement of a listener around the room. The listener is able to “play” the room by finding different regions of “high and low pressure” which drastically change the pitch, volume and beats in the sound.11

The current Dream House in has been going since 1991. Young hopes that the project will be around long enough that it will become a “living organism with a life and tradition of its own.”12 Young’s original intention for this project was to have a place where music was always happening, this included plans for live musicians. It was to be a place where musicians could live, practice, study and whenever they were inspired join the performance. Young wanted to take the artificial time out of performing by providing a situation where, whenever the creative muse was in a musician, it could be expressed.13 He also planned on playing the music from the main room in all other parts of the house so residents and guests could always hear the performance. He eventually realized the cost of this environment was impossible and that is when Young decided to explore creating the music with electronics. Since

Young’s original intentions for the Dream House, there have been Dream House exhibits around the world but they would never last more then a few months at most.

Young’s dream was for a permanent set-up and that dream has come true in the most current exhibit in New York. The problem with this work is its ability to be distributed to the consumer. It is impossible to distribute through traditional means that exist today

11 Mela Foundation, "Dream House: Seven+Eight Years of Sound and Light," http://www.melafoundation.org/farneth.htm (accessed April, 2008). 12 Young and Zazeela, Selected Writings, 10 13 ibid., 14 Writing Sample 2 “La Monte Young” M. Musick 5

because the full impact of the work could not be experienced, therefore in order for an individual to experience this piece they must travel to the only existing Dream House in

New York City.

La Monte Young’s desire to create extended music from minimal ideas can be seen starting in his college years with the or his Composition 1960: #7, which simply showed the interval of a perfect fifth with the instruction underneath “to be held for a long time.”14 In New York, after Young left California and the rules of school, he assembled a group with which he could start to explore his long tones and the chords he conceived for the large work Four Dreams of China. The “Theatre of Eternal

Music” was an improvisational group that became this avenue. The Theatre of Eternal

Music played one song: The Map of 49's Dream The Two Systems of Eleven Sets of

Galactic Intervals Ornamental Lightyears Tracery which was from the larger work The

Tortoise, His Dreams And Journeys which was based on the same harmonies as the

Four Dreams of China. This group explored harmonic relationships with just-intonation by amplifying themselves to that “threshold of pain” and improvising within a single harmony for extended periods of time. This allowed them and the audience to hear the overtones and other frequencies created which Young was so interested in. This was the introduction to minimalism for New York art and avant-garde. La Monte Young’s ideas were so influencing that Andy Warhol used his minimalism ideas to film single objects or create sets of art that were the same.15

The is an example of music that was recorded and should be heard for inspiration from this period of avant-garde activity in New York.

14 Mark Alburger, "La Monte Young to 1960," 21st Century Music 10, no. 3 (March 2003, 2003), 11. 15 Young and Zazeela, Selected Writings, 74 Writing Sample 2 “La Monte Young” M. Musick 6

However, , and Young differ about whether the compositions were created as a group or whether all credit goes to Young.16 Until Young accepts that the compositions were collaborations with equal input from the whole group, or Cale and Conrad agree that the main ideas were Young’s, the recordings will not be released by any major or independent labels. This is an example that demonstrates the degree of control Young requires even over events that happened thirty years ago. But because of this debate, legal threats keep this recording from coming out and the only recording available is essentially a thirty-minute bootleg of (the

Theatre for Eternal Music’s other name). Although this recording at least gives people a chance to hear what was going on, the quality is poor and it is difficult to obtain. This is an example of just one of many recordings that could be released and help build La

Monte’s reputation and the general knowledge of that time.

Eventually, Young disbanded the group because the “performers ceased to perform to [Young’s] intentions” and went on to pursue the Dream House project.17 In the early 90’s, Young put together a new group under the name the Forever Bad Blues

Band which, although it will play all the chords of a standard blues progression, it still takes the group upwards of two hours to go through the progression once. After working on only the Dream House and Well-Tuned Piano, Young felt a need to return to playing with other people. They played Young’s Dorian Blues in G, which amazed audiences with “such wildly energetic music [that] moves so slowly.”18 The “grandfather

16 Potter, Four Musical Minimalists: La Monte Young, , Steve Reich, Philip Glass, 73 17 ibid., 76 18 Mela Foundation, "Dream House: Seven+Eight Years of Sound and Light," http://www.melafoundation.org/fbbpress.htm (accessed April, 2008). Writing Sample 2 “La Monte Young” M. Musick 7

of minimalism” has continually surprised and rocked the New York crowd and this was just another example.

Taking a look at Young’s earlier work, in particular his Composition 1960 and

1961 series, shows the influence of John Cage upon him, his influence on John Cage and , and the amount Young expected from his audience. He was impressed by

Cage’s work when he visited Darmstadt in 1959 to study with Stockhausen and when he came back he started to compose his Composition 1960 series. Cages ideas and processes for creation influenced Young toward his idea, the Theatre of a Singular

Event, as he called it.19 The 1960 and 1961 compositions are part of this idea. These compositions took Cage’s process driven way of composing and reduced it to focus on a single event rather then the combination of many. In addition to focusing on a single event La Monte Young started to combine music with the idea of theatre and general performing.20 La Monte’s compositions did not settle well with the University of

California, Berkley’s Hertz Hall. They would not allow him to perform his

Composition 1960: #5.

Turn a butterfly (or any number of butterflies) loose in the performance area.

When the composition is over, be sure to allow the butterfly to fly away outside.

The composition may be any length but if an unlimited amount of time is available, the doors and windows may be opened before the butterfly is turned loose and the composition may be considered finished when the butterfly flies away.21

19 Alburger, La Monte Young to 1960, 10 20 Richard Kostelanetz, The Theatre of Mixed Means; an Introduction to Happenings, Kinetic Environments, and Other Mixed-Means Performances (New York, NY: Dial Press, 1968), 6. 21 Alburger, La Monte Young to 1960, 7 Writing Sample 2 “La Monte Young” M. Musick 8

This composition was too radical for the University and many could not see the beauty in “listening to something [they] are ordinarily supposed to look at.”22 Young also challenged people with this piece by asking them to accept that, even though they could not hear the sound the butterfly made, it makes one and it “is very beautiful.”23 The ability to focus on a single event, whether it is his 1960-61 compositions or his long tone compositions, later influenced Cage. He stated that “La Monte Young’s music strikes me as being very important. Through the few pieces of his I’ve heard, I’ve had, actually, utterly different experiences of listening than I’ve had with any other music.”24 Young often admitted that his music partly came from Cage’s influence but also explained the major differences particularly in his use of single events made his music the balance to

Cage’s. Both were interested in constant sounds but “Cage would prefer to be enveloped in the sound of Grand Central Station” and Young in static harmonies.25

When La Monte moved to New York his ideas and compositions greatly influenced the Cage-inspired Fluxus movement that would happen. Young’s music at the time broke the barriers and allowed for more people to be artists, and it challenged the notions and walls of the arts, which was what Fluxus, thanks to ’ decree, would soon officially claim. Young’s involvement and impact on the group that would be Fluxus is evident in “the Fluxus Performance Workbook” where even though

22 Young and Zazeela, Selected Writings, 68 23 Duckworth, Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers, 234 24 Keith Potter, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (Cambridge; New York: Cambridge University Press, 2000), 53. 25 Young and Zazeela, Selected Writings, 36 Writing Sample 2 “La Monte Young” M. Musick 9

he bowed out before Fluxus became an official movement, there are three composers in this collection who dedicated pieces “to La Monte Young.”26

The compositions from this period like Composition 1960 #5, or the entire

Composition 1961 output which was simply 29 compositions that instructed the performer to “Draw a straight line and follow it,” challenged the audience a lot to accept these singular events.27 Although the avant-gardists of New York were ready for

Young, he is quite certain that the Berkeley community was happy to “get rid of [him]” after only two years.28

Another example of Young’s insistence for control comes from this period when he was performing in New York for his teacher, . Young’s requirement to perform, even for Maxfield, was always that he be allowed to do what he wanted.29

For one particular concert, Young felt Maxfield had assembled a rather boring group of performers. So, he bought a cheap violin, filled it with matches and burnt it during the performance of Richards' piece.30 Young insisted on performing his own Composition

1960 #2, “Build a Fire” within Maxfield’s composition.

La Monte Young cites his most important work as The Well-Tuned Piano.

Performed just over 65 times, Young considers this the work for which all of his other works should be measured.31 This work brings together Young’s entire background.

The work is for solo piano and the tuning of that piano is in a just-tuned system of La

26 , Owen Smith and Lauren Sawchyn, eds., The Fluxus Performance Workbook (a Performance Research e-publication, 2002). 27 Alburger, La Monte Young to 1960, 2 28 Duckworth, Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers, 236 29 Young and Zazeela, Selected Writings, 43 30 ibid., 43 31 The Well-Tuned Piano in the Magenta Lights, DVD, directed by La Monte Young (New York, NY: Just Dreams, 2000) Writing Sample 2 “La Monte Young” M. Musick 10

Monte’s making that uses only fractions reducible to rational ratios involving two, three, or seven.32 This work was started in the late 1960’s and was originally only 45 minutes in length. It has grown over the years to its current length in 1987 of six and a half hours.33 This piece best demonstrates Young’s compositional style, because the piece has no “score.” It has certain tonal areas and themes that Young improvises over.

Young also refuses to rehearse the piece unless he is preparing for a performance of it.

Every time he rehearses the piece he revises, extends, adds new sections, and finds what themes resonate with him the most and work particularly well in the location of the performance. It is a huge undertaking and essentially took Young thirty years to compose and he still considers it unfinished. This is the best example of Young refusing to make concessions that might affect his art. He refuses to practice between confirmed performances so that when he does practice he can invest himself in the piece. Young insists that he has at least one month, preferably three, in the performance space to prepare for a series of performances. Also, he maintains that the space be entirely “his” during that time so that; the tuning of the piano can be achieved, a Dream House can be built, and Marian can create her light sculptures.34 These conditions must be met as a minimum before Young will consider performing the work.

The Well-Tuned Piano composition draws on all of Young’s work. The just- intonation has been a fascination of Young’s since he was young, though he did not start to perfect the ratios until working with Tony Conrad in the Theatre of Eternal Music.

This has allowed him to take his favorite chord, from The Four Dreams of China, and

32 , "MINIMALISM FORUM: La Monte Young's "Well-Tuned Piano", Perspectives of New Music 31, no. 1 (Winter 1993, 1993), 135. 33 Young, The Well-Tuned Piano in the Magenta Lights 34 ibid. Writing Sample 2 “La Monte Young” M. Musick 11

create an entire tuning system based off of it. Although, many scholars have cited the difficulty with modulating in a justly-tuned piano, Young found harmonies that he can move to and does so throughout the piece.35 The piece also includes the long notes he is famous for. The long tones appear as “clouds” in which Young uses a technique to play very fast on sustained chords, his articulations of the keys actually match the beats created by his tuning system allowing for even stronger sounding overtones. The effect is said to create sound that hovers in the air like clouds.36 The fast “cloud” playing and fast harmonic permutations are attributed to Young’s work as a soprano saxophonist, when he would play very fast outlining a chord for extended intervals. Young also has places in this piece where he plays a single note and casually takes his hands away from the keyboard to just listen until the sound completely dies away, when he will then repeat the procedure. Young’s improvisation style for this piece can be attributed to his studies with Pandit . Similarly to a traditional Indian raga, Young introduces only a few notes at the beginning and explores their relationship. Then, over time, he starts to add pitches in the set of possible notes.

Because of the debate about composer title with the Theatre of Eternal Music,

Young has become cautious of his work. This is why he refused to release the tuning system he devised for the piano until Kyle Gann worked it out by ear and convinced him to publicly release the information. Because the piece is a large improvisation over themes and chord centers, he will not officially release a score. He insists that if a person wants to perform the work, they come study with him just as one would with traditional Indian music. Even in the one performance he has allowed by another

35 Gann, MINIMALISM FORUM: La Monte Young's "Well-Tuned Piano", 143 36 ibid., 148 Writing Sample 2 “La Monte Young” M. Musick 12

person, Young insisted he sign a contract agreeing not to claim any part of the composing process.37

This is the only major work of La Monte Young’s that is currently commercially available in an ‘in-print’ consumer format. It is, however, only available as a DVD so that it may be enjoyed with Zazeela’s light sculpture. The performance is from one of the last times Young performed the work which was 1987 and the DVD did not become available until 2000. Also, even though it is commercially available, it is hard to find and costs upwards of $150, making it a difficult purchase for those wishing to absorb La

Monte Young’s pinnacle work. This has further contributed to Young’s inability to introduce his music to those outside of New York.

La Monte Young has stayed at the forefront of the musical avant-garde scene in

New York. He helped inspire Fluxism, minimalism, and encouraged working in the just- tuning system. He would not have been able to stay as creative if he had made compromises to his music for any person. This has unfortunately hurt his ability to gain exposure to more people, especially younger audiences that were not around when he was still actively performing. Young composes what he finds important, and in a way that “carries people off to heaven.”38 But until he compromises his situation slightly, the rest off the world will never be able to appreciate his gift of music.

37 Gann, MINIMALISM FORUM: La Monte Young's "Well-Tuned Piano", 160 38 Young and Zazeela, Selected Writings, 63 Writing Sample 2 “La Monte Young” M. Musick 13

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