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4-20-2017

Zappa and Zappa: California in the 1960s

The Performance Practice Institute at Utah State University

Caine Jazz Combo

Andrea DeHaan

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Recommended Citation The Performance Practice Institute at Utah State University, Caine Jazz Combo, and Andrea DeHaan, "Zappa and Zappa: Counterculture California in the 1960s" (2017). All Music Department Programs. 99. https://digitalcommons.usu.edu/music_programs/99

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Zappa and Zappa: Counterculture California in the 1960s

) PROGRAM

Trio Sonata Op.4 No.1 Francesco Zappa Andantino-Allegro Assai (1717-1803) PPI Ensemble

Blessed Relief Caine Jazz Combo (1940-1993)

Poem: Upon Taking Hold Robert Duncan Andrea DeHaan, Reciter (1919-1988) Accompanied by Frank Zappa's recording of FrancescoZappa with the Barking Pumpkin Digital Gratification Consort

Trio Sonata Op.4 No.2 Francesco Zappa Largo non tanto-Allegro Assai PPI Ensemble

More Trouble Every Day Frank Zappa Caine Jazz Combo

Poem: Light Song Robert Duncan Andrea DeHaan, Reciter Accompanied by Frank Zappa's recording of Francesco Zappa with the Barking Pumpkin Digital Gratification Consort

Trio Sonata Op.4 No.3 Francesco Zappa Andantino-Tempo di Minuetto PPI Ensemble Essay Before a Concert: works from their period of composition . The actual aspect of Califo rnia counterculture --- the place attracted all who result , though , was quite the opposite . Rather than felt t hemselves at odds with the mainstream and to varying degrees Countercul tur e and Californ ia recreating the past, a goal which is impossible to accommodated t hem all within the social and ~ultural geography of realize especially with such an evanescent medium the state . Today's concert takes a broad look at the as music, these musicians created an avant-garde concept of "counterculture " by considering three approach to classical music (at complete odds Dr. Christopher M. Scheer, Associate Professor of Musicology , Utah manifestations that flourished in California from with the aesthetic goals of the Beats), which was State University the 1950s to the 70s. After the second world thoroughly modern in its rejection of subjective war, the so-called 'left coast ' was increasingly interpretation and romantic excess. attractive to artists , musicians, and intellectuals LYRICS And I'm watchin' and I'm waitin' Even think /'II go to prayin' who became alienated by the metropoles of the Meanwhile , south of San Francisco, first in San Hopin' for the best Every time I hear 'em sayin' Even think I'llgo to prayin' That there's no way to delay Eastern seaboard , especially New York . As a result Diego, then in the barren deserts of Southern Every time I hear 'em sayin' That trouble comin' every day California developed a reputation as a haven for California , a young musical iconoclast was Trouble Every Day exploring the experimental electronic compositions That there's no way to delay No way to delay those individuals and movements that sought That trouble comin' every day That trouble comin' every day of Edgard Varese while playing drums in an Well I'm about to get sick to define themselves in reaction to mainstream , No way to delay R&B band. By the 1960s Frank Zappa and his From watch in' my TV middlebrow , American culture. One of the first That trouble comin' every day Hey, you know something people? group were producing Been checkin' out the news of these movements was the Beats whose focus I'm not black Until my eyeballs fail to see moved from New York City to San Francisco in the cross-genre music that shared with the Beats a Well, you can cool it, But there's a whole lots a times I mean to say that every day late 1950s. These espoused spiritua l and disdain for authority while praising idiosyncrasy. You can heat it . .. I wish I could say I'm not white Is just another rotten mess sexual liberation , reveled in experimenting w ith While 1960s San Francisco was dominated 'Cause, baby, I don't need it ... Well, I seen the fires burnin' And when it's gonna change, my illicit drugs like cannabis and LSD, so adopting by the (many of whom were former Take your TV tube and eat it And the local people turnin' friend a lifestyle at odds with societal mores of the beatniks), in Los Angeles the "Freak scene," an 'Nall that phony stuff on sports On the merchants and the shops Is anybody's guess time. In reveling in experimentation and excess, intensification of the anti-establishment ethos of 'Nall the unconfirmedreports Who used to sell their brooms and hippy , flourished , and their soundtrack You know I watched that rotten box mops their artworks and literature tended to shock, So I'm watchin' and I'm waitin ' was the music of Frank Zappa. Throughout the Until my head begin to hurt And every other household item but they fought any attempts at censorship , Hopin' for the best 1970s Zappa experimented with a number of Fromcheckin ' out the way Watched the mob just turn and bite celebrating idiosyncrasy. During the 1960s as Even think I'll go to prayin' The newsman say they get the dirt 'em beatniks were transforming into hippies as civil differe nt styles and genres while maintaining his Every time I hear 'em sayin' Before the guys on channel so-and-so And they say it served 'em right rights and anti-war protests took center stage, anti-establishment credentials while developing That there's no way to delay Because a few of them are white, another subtle countercultural movement took a growing reputation in the field of avant-garde That trouble comin' every day And further they assert And it's the same across the nation root in the Bay Area . Based in Berkeley in and classical music. In his 1984 album Francesco Zappa, No way to delay That any show they'll interrupt Black and white discrimination around the University of California , this was a Zappa turned his roving musical mind to the early That trouble comin' every day To bring you news if it comes up Yellin'" You can't understand me!" movement interested in the performance of music music movement , recording an entire album of the They say that if the place blows up 'N all that other jazz they hand me 18t h century Italian musician Francesco Zappa (no Wednesday I watched the riot .. . written before 1750 , specifically in performing They will be the first to tell, In the papers and TV and relation ). However , true to style , Zappa rejected Seen the cops out on the street such music "authentically ." Defined against the Because the boys they got downtown All that mass stupidity the ethos of the early music movement , evoking Watched 'em throwin' rocks and romantic ideology that governed the mainstream Are workin'hard and doin' swell, That seems to grow more every day stuff performance of classical music in the United States the ir objective style by performing the works on And if anybody gets the news Each time you hear some nitwit say And chokin' in the heat and Europe, these musicians attempted to recover his synclavier (an early digital synthesizer) rather Before it hits the street, He wants to go and do you in Listened to reports the performance style of the 18th century and than early instruments. They say that no one blabs it faster Because the color of your skin About the whisky passin' 'round earlier through the resurrection of forgotten or Their coveragecan't be beat Just don't appeal to him Seen the smoke and fire neglected instruments like the harpsichord and The point of this evening 's juxtaposition of visual (No matter if it's black or white) lute and the use of period treatises and other art and music is not to draw a direct line from the And if another woman driver Because he's out for blood tonight And the market burnin' down Beats and Early Music to Frank Zappa (though this Gets machine-gunned from her seat historical sources to govern performance decisions. Watched while everybody can be done, circumstantially), but rather to note They'llsend some joker with a You know we got to sit around at Quite the opposite of the Beats, this movement On his street would take a turn that all share a common countercultural identity brownie home grew to value utmost fealty to the musical score To stomp and smash and bash and And you'll see it all complete And watch this thing begin and carefully crafted interpretations that were despite a variety of aesthetic viewpoints. This crash So I'm watchin' and I'm waitin' But I bet there won't be many live presented as recreating the performance of such variety was, in itself , perhaps the most important And slash and bust and burn Hopin' for the best To see it reallyend 'Cause th e fire in the street The Performance Practice Institute at Ain 't like the fire in the heart And in the eyes of all th ese people Utah State University Don't you know that this could start On any str eet in any town Amy Thacker, Violin In any sta te if any clown Estelle Carr-Rhodes, Violin Decides th at now 's the time to fight JosiahCordes , Violoncello For some ideal he thinks is right Samantha Bunderson,H arpsichord And if a million more agree There ain 't no Great Society The Performance Practice Institute (PPI) at the As it applies to you and me Caine College of the Arts embodies a project­ Our country isn't free based approach to the study of the history of And the law refuses to see performance, which enriches the intellectual and If all that you can ever be artistic life of the students involved while making Is just a lousy jan itor accessible to Utah audiences exciting concerts of Unless your uncle owns a stor e lesser known repertoires , especially those from the You know that five in every four pre-1750 period. Events in this series are held in Just won 't amount to nothin ' more the spring, with a yearly alternation between larger Gonna watch the rats go across the floo r projects and more modest events that build upon And make up songs about being poor the previous year's activities. Blow your harmonica , son! Andrea DeHaan, Reciter

And rea DeHaan earned her MA in Creative ) PERFORMERS Writing , Poetry emphasis, from Boston University in 1999, where her instructors included Robert The Caine Jazz Combo Pinsky and the late Derek Walcott . She is also credited with found ing the Creative Writing BransonBell, Saxophone program at Bridgeprep Academy of Arts & Minds Bridger Bush,Trump et Charter High School (formerly Academy of Arts Carolee Beck, Vocals & Minds) in Miami , Florida. Upon moving to Utah Aaron Walker, Trombone in 2011 , Andrea left teaching to pursue a career Lance Ruby,G uitar and Vocals in arts administration and currently serves as the Sean Hebner, Piano/ Keyboards Adm inistrative & Events Coordinator for the Nora Whitney Eliason,B ass Eccles Harrison Museum of Art. Justice Ferguson,D rums @nehma_usu Significant and long-time supporters of the artmuseum.usu.edu arts at Utah State Univeristy , the Marie Eccles Caine Foundation--Russell Family sponsors cotlECiE Utah Divisionof annual student scholarship stipends awarded to .f*ARTS Arts & Museums outstanding student musicians who participate in .__,.,iversity. the Caine Chamber Ensembles. Caine ensembles are comprised of dedicated students and musicians, The Museum & Music Series is guest curated by Associate Professor Christopher Scheer and suppo rted by the Caine College of the Arts who study and perform literature for small Visiting Artis ts and Scholars Series. underwr itten by the Marie Eccles ensembles at the highest levels. Scholarship awards Caine Foundation - Russell Family, the Tanner Charitable Trust and the are determined within each instrument area. Differential Tuition provided by the stud ents of the College.