kimberlyyeo010198

Around the middle of the 20th century, one cutting edge of American poetry found its theatre of operations* in the line, flexible in length (sometimes brief, sometimes extending so far past the edge of the page that it is graphically split and begins again at an indent, perhaps several indents for the long-winded), perhaps tied to a speaker's breath, certainly marking phrases and junctures in the poet's thought.  (See, certainly, Charles Olson's essay Projective Verse .) The line took over the weight which it had previously shared with couplet-ed pairs, stanzas, verses. At the same time, the line in this repertoire, generally speaking, was one without any of the traditional regulatory instruments of rhyme, metre, stress, and/or accent associated with lyric (but each available in principle as an optional local feature.) Similarly, in some music, particularly the most densely notated, the theatre has shifted from the phrase — usually identifiable by a thorough-going line of s...

Good news:   New World has released an album of works by Joseph Byrd , played with stylistic certainty by ACME, oka the American Contemporary Music Ensemble.  Byrd's music has long been an enthusiasm in these parts, and having these pieces from the early 1960s available goes some distance to recovering the diversity of the radical music of that era, particularly its west coast roots and branches.   Byrd connects to Young and Riley in the Bay area and later to Cage, Ono and Thomson in New York, but also to Douglas Leedy, but also should make us pay greater attention to the orbits around Barney Childs  (while we're at it, let's get some performances of Childs' Four Pieces for Six Winds , soon, with its desert-drawn gamut studies) and Harold Budd (Budd, of course, is the L.A. connection to both David Cope and James Tenney, from Budd and Childs, you also reach into the realm of Peter Garland's Soundings and Jim Fix's Cold Blue label.) In addition to the recovery o...

Overthe course of four decades at Wesleyan University, Alvin Lucier taught an open-enrollment undergraduate course, an Introduction to Experimental Music , coded for the catalog as Music 109.* Wesleyan University Press has just published a book titled just that, Music 109 , collecting Lucier's lecture notes for the course.  It's a highly personal guided tour through an exciting repertoire, with Lucier's notes more or less in their rough-but-ready-for-extemporaneous-elaboration original form, organized by a series of intriguing topics (from Indeterminacy and Graphic Notation to Repetition, Long String Instrument, and Words) and made more compelling for the lay reader by being told as much in the form of stories and anecdotes as in historical or analytical prose.  He doesn't attempt to analyses anything in great depth, but instead picks a feature or two from each work discussed, piquing curiosity and giving the new listener a handle onto music that might otherwise escape,...

One of the features of an overwhelmingly large share of tonal music is that pieces or, at least, movements of pieces, start and end in the same tonality — with some variations, i.e. starting in minor and ending in major or vice versa etc. — with a typical tonal narrative sense of being someplace, going someplace different — different, by degrees, of course, with going to the dominant or a parallel or relative tonality being relatively modest journeys, and tonalities more distant from the tonic suggesting journeys of more exotic or adventurous varieties — and then returning to the place from which you started.  (The late composer Robert Erickson was fond of a baseball metaphor, then ends of the piece marked by home plate, and the bases implying ever more distant tonalities relative to home.  (Under the Ericksonian system, hitting a homer is slick and efficient, but having to work one's way around the bases — through whatever combination of drives, flies, bunts, walks, and and s...