T is for Trainwreck (short version)

The fifth volume, Music in the Late Twentieth Century, of Richard Taruskin's The Oxford History of Western Music.  

(A long version of this item will follow, but for now, let's get on with this alphabet.)

Comments

Post a Comment

Popular posts from this blog

Between Style and Invention

Horizontal, nursing a summer cold, I've plowed my way through Daniel Heartz's Music in European Capitals: The Galant Style, 1720-1780 .  It has a lot of contextual data (especially of the who-met-whom-and-when-and-where-they-met variety) and usefully covers repertoire and composers and locales that have been slighted by the standard classical musical history survey course (which tends to jump straight from Sebastian Bach to Haydn).  Useful, but jeez, it is anything but a pleasure to read, with too little analysis of the music itself and an organization by capital cities and then by composers which often requires the author to do some awkward jumping.  (Fortunately, we have Robert Gjerdingen's delightful Music in the Galant Style to make up for some of the theoretical deficits.) Moreover, it's in a graceless writing style that refuses to invite the reader into repertoire that is often, very much inviting, especially when one considers a cast of composers including Vival...
Read more

Dead-Dropped Music?

Artist Aram Bartholl is embedding usb drives into walls, buildings and curbs for public but anonymous data up- and downloads. Not surprisingly, the comments focus in on the risks of acquiring viruses or having your equipment sabotaged, making this media equivalent of anonymous sex or sharing used needles; sad how modern public life gets stuck with such risks. In any case, it's certainly one way to try to get your music out there via sound files and sound-playing applications.
Read more

Harley Gaber (1943-2011)

News comes that Harley Gaber has died, too early. By the time I was a musical adult, Gaber had cleared out of Newmusictown and his career was already something of a legend, the guy who worked all the mainstream new music institutions in New York for a while then wrote and recorded a very long, very slow, and at-the-time-very-controversial piece for strings ( The Winds Rise in the North ), his adé to new music, after which he was said to have given it all up to be a tennis pro in Southern California. Of course the story is more complex than that, with a parallel visual arts career and a late shift from tennis to 9-ball pool playing, but his music remains an interesting road not-quite taken, a student of Kenneth Gaburo who worked through one form of serialism to its own radical end, which the composer insisted had a directionality not shared with drone-based minimal music. One historical footnote: it is entirely possible that Gaber's 1965 Omaggio a Feldman for two pianos was t...
Read more