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SOURCE L SOURCE Article Return to SOURCE Contemporary Composers Discuss the Sociopolitical Implications of Their Work A ly C e S A n T o R o During the heat of the fraught political climate of 1969, the orchestral manuscript paper shot through with bullet holes. editors of SOURCE: Music of the Avant Garde invited 20 innovative The image is a still from the creation of Dick Higgins’s “Sym- composers and musicians to respond to a single question: “Have phony #585.” A single page of the gunshot-riddled score, a you, or has anyone, ever used your work for political or social ABSTRACT ends?” Forty-five years later the author posed the same question one-of-a-kind artifact, is bound into the magazine as its to 20 unconventional composers working today, resulting in first leaf. a provocative contemporary update to the original 1969 According to the introduction to the first article in Is- SOURCE article. sue No. 6 (released in July 1969), the editors of SOURCE had been struck by the overwhelming number of submis- sions influenced by the political and social conditions of the Between 1967 and 1973, over the course of just 11 issues, day, and as a result decided to dedicate the issue to explo- multimedia magazine SOURCE: Music of the Avant Garde rations of the subject. As a feature of SOURCE No. 6, the established itself as a wellspring of information and inspi- editors invited composers to expound upon the question: ration for those engaged in sound-oriented arts. Edited by “Have you, or has anyone, ever used your music for political a consortium of practitioners with ties to the University of or social ends?” California, Davis, each issue—published in an edition of The resulting article features responses by 20 composers: 2,000 copies—consisted of an oversized spiral-bound bundle Harold Budd, Robert Ashley, Robert Moran, Daniel Lentz, of graphic scores, vinyl records [1], articles and artworks by David Tudor, Jerry Hunt, Barney Childs, Dick Higgins, Phil pioneering musicians and composers of the day. Winsor, Roger Reynolds, Terry Riley, John Cage, David Original copies of SOURCE are rare, but its spirit lives on Behrman, Charlotte Moorman, Steve Reich, James Tenney, in many forms (including Leonardo Music Journal, in print Andrew Stiller and Lukas Foss provided their responses via since 1991 [2]). A SOURCE anthology edited by Larry Austin phone interviews; Morton Feldman and Frederic Rzewski and Douglas Kahn was published in 2011 [3], but a “live” responded by way of previously written essays—Feldman encounter with an original issue of SOURCE is a multime- with his essay “Neither/Nor” and Rzewski with “Parma dia phenomenon unto itself: Among the memorable features Manifesto” [4]. Replies varied in length from a few sentences were Jon Hassell’s MAP2, a 6-inch square of recorded cas- to several paragraphs and fell along the spectrum between sette tape to be “realized” with a handheld magnetic playback “no, not at all” (Barney Childs and David Tudor) and “yes, head in Issue No. 5; John Cage’s Not Wanting to Say Anything absolutely” (Daniel Lentz, Charlotte Moorman and James About Marcel, Plexigram IV, consisting of word fragments Tenney) [5]. silkscreened on eight sheets of acetate in Issue No. 7; and In response to the Leonardo Music Journal’s call for papers Nelson Howe’s “Fur Music,” a piece in four “movements” for The Politics of Sound Art special issue, I was inspired to for fingertips on patterns of faux fur glued to the pages of pose the question once again to unconventional compos- Issue No. 9. ers working today, two of whom—Terry Riley and Frederic The cover of Issue No. 6 features a photograph of a ma- Rzews ki—answered the question 45 years ago, and six more chine gun resting atop a bucket stuffed with reams of blank of whom—Pauline Oliveros, Alvin Curran, Annea Lock- wood, Jon Hassell, Christian Wolff and Larry Austin (an Alyce Santoro (artist), 1407 N 9th Street, Alpine, TX 79830, U.S.A. editor of SOURCE and an instigator of the original article)— Email: <[email protected]>. Website: <www.alycesantoro.com>. had works published in SOURCE on other occasions. I con- See <mitpressjournals.org/toc/lmj/-/25> for audio, video and other supplementary tacted these composers first, along with artists with whom files associated with this issue of LMJ. I have personal relationships. Several of the initial round of 100 LEONARDO MUSIC JOURNAL, Vol. 25, pp. 100–101, 2015 ©2015 ISAST Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/LMJ_a_00948 by guest on 26 September 2021 respondents generously suggested colleagues, whom I subse- Larry Austin replied to the question on behalf of SOURCE quently invited to contribute to the project. The new article, as a whole: inspired by the original 1969 one in SOURCE and featuring SOURCE came into being as a statement, political and so- the responses of 20 contemporary composers [6], is available cial, and most of the pieces and articles that were included in full online at <mitpressjournals.mit.edu/toc/lmj/-/25>. in every issue had such a bias. So, Yes! References and Notes Oliveros, Terry Riley, Annea Lockwood, Kristin Norderval, Rinde Eckert, Billy Martin, Jon Hassell, Anne LeBaron, Elliot Sharp, Brenda 1 An archive of SOURCE sound files is available at <www.ubu.com/ Hutchinson, Stuart Dempster, John King, Rhys Chatham, Pamela Z, sound/source.html>. Ben Neill, Alvin Curran, Frederic Rzewski, Ben Barson, Christian Wolff, and Laurie Spiegel. 2 Of particular relevance here is Leonardo Music Journal 9 (1999), “Power and Responsibility: Politics, Identity and Technology in Music.” Frederic Rzewski’s 1969 “Parma Manifesto” was published Manuscript received 2 January 2015. in this issue, pp. 77–78. Alyce SAntoro 3 Larry Austin and Douglas Kahn, eds., SOURCE: Music of the Avant- is a conceptual artist whose work often garde, 1966–1973, (UC Press, 2011). mixes the sonic and visual. Her “philosoprops”—multimedia devices used to illustrate an idea—include Sonic Fabric, an 4 Rzewski [2]. audible textile woven from cassette tape recorded with intricate 5 The original SOURCE article is available online in its entirety at collages of sound, and Graphic Charts of the Modes Commonly <www.alycesantoro.com/politics_of_sound_art.html>. Used in Western Music. More information is available at 6 The 20 contemporary composers featured in the article are Pauline <alycesantoro.com>. Santoro, Return to SOURCE 101 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/LMJ_a_00948 by guest on 26 September 2021.
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