DOCLMYworks - Jerome Joy website

B I U S link image code HTML list	Show page Syntax
!!! The Second Dream Of The High Tension Line Stepdown Transformer From the Four Dreams of China (1962) ---- {cap}'''The Tortoise, His Dreams and Journeys'''{/cap} day of the unquiet grave smoke of the shore (December 10 - 11, 1962). Performed by The Theatre of Eternal Music Brass Ensemble . Live at Merkin Hall, New York City, New York April 1993. 8 Trumpets with Harmon Mutes :{br}Trumpet -- Ben Neill (leader), Gary Trosclair, (Chuck Olsen), James Donato, James O'Connor, Pamela Fleming, Rich Clymer, Rich Kelley, Stephen Burns {html} <small>(La vidéo documentaire n'est plus accessible sur Youtube / <i>The video document is not yet available on Youtube</i>)</small><br><br> <!-- <iframe width="420" height="315" src="//www.youtube.com/embed/vOFFh3my5J0?rel=0" frameborder="0" allowfullscreen></iframe> --> {/html} \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1993_LMY_seconddream_1.jpg\|../files/articles/lamonteyoung/1993_LMY_seconddream_1b.jpg]\|t \|t \|t \|t [../files/articles/lamonteyoung/1993_LMY_seconddream_2.jpg\|../files/articles/lamonteyoung/1993_LMY_seconddream_2b.jpg]\| \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1993_LMY_seconddream_3a.jpg\|../files/articles/lamonteyoung/1993_LMY_seconddream_3ab.jpg]\|t \|t \|t \|t [../files/articles/lamonteyoung/1993_LMY_seconddream_3b.jpg\|../files/articles/lamonteyoung/1993_LMY_seconddream_3bb.jpg]\| \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1993_LMY_seconddream_4a.jpg\|../files/articles/lamonteyoung/1993_LMY_seconddream_4ab.jpg]\|t \|t \|t \|t [../files/articles/lamonteyoung/1993_LMY_seconddream_4b.jpg\|../files/articles/lamonteyoung/1993_LMY_seconddream_4bb.jpg]\| {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1962_TheatreEternalMusic_Ruth_Lee_Martin.jpg]\|t \|t \|t \|t {small}{cap}Ruth Lee Martin,, 'La Monte Young'. In Music of the avant-garde. New York : Greenwood Press, 2002{/cap}{/small}\| {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1965_TheatreEternalMusic_Tortoise1.jpg\|../files/articles/lamonteyoung/1965_TheatreEternalMusic_Tortoise1b.jpg] [../files/articles/lamonteyoung/1965_TheatreEternalMusic_Tortoise2.jpg\|../files/articles/lamonteyoung/1965_TheatreEternalMusic_Tortoise2b.jpg]{br}{br}[../files/articles/lamonteyoung/1965_TheatreEternalMusic_Tortoise4.jpg\|../files/articles/lamonteyoung/1965_TheatreEternalMusic_Tortoise4b.jpg]{br}{br} [../files/articles/lamonteyoung/1965_TheatreEternalMusic_Tortoise6.jpg\|../files/articles/lamonteyoung/1965_TheatreEternalMusic_Tortoise6b.jpg]{br}{br}\|t \|t \|t \|t {small}{cap}Theatre of Eternal Music{br}The Tortoise, His Dreams and Journeys{br}or The Obsidian Ocelot, The Sawmill, and the Blue Sawtooth High-Tension Line Stepdown Transformer Refracting the Legend of the Dream of the Tortoise Transversing the 189/98 Lost Ancestral Lake Region Illuminating Quotients from the Black Tiger Tapestries of the Drone of the Holy Numbers{br}{br}Programme concert 25 Feb 1965 (rather : performances of the end of November and beginning of December 1964){br}The East End Theatre NYC{br}{br}La Monte Young (Voice Drone){br}Marian Zazeela (Voice Drone, Stage and Set Designer){br}Tony Conrad (Violin){br}John Cale (4 String Drone){/cap}{/small}{br}{br}{small}— Source : http://pastelegram.org/features/282/event/692{/small}{br}{br}{br}{br}[../files/articles/lamonteyoung/1965_TheatreEternalMusic_Tortoise3.jpg\|../files/articles/lamonteyoung/1965_TheatreEternalMusic_Tortoise3b.jpg]{br}{br}[../files/articles/lamonteyoung/1965_TheatreEternalMusic_Tortoise5.jpg\|../files/articles/lamonteyoung/1965_TheatreEternalMusic_Tortoise5b.jpg]{br}{br}[../files/articles/lamonteyoung/1965_TheatreEternalMusic.jpg\|../files/articles/lamonteyoung/1965_TheatreEternalMusicb.jpg]\| * '''{small}^[[La Monte Young, Notes on The Theatre of Eternal Music and The Tortoise, His Dreams and Journeys\|http://melafoundation.org/theatre.pdf]^]'''{/small} {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {cap}The American Theatre for Poets, Inc.{br}presents{br}The Theatre of Eternal Music{br}at The East End Theatre{br}85 East 4th Street{br}New York City{br}25 Feb. 1965 — ''(rather : 21&22&23 Nov. 1964 and 12&13 Dec. 1964)''{br}{br}The Theatre of Eternal Music{br}La Monte Young, voice drone ; Marian Zazeela, voice drone, design & stage ; Tony Conrad, violin ; John Cale, 4 string drone{/cap}{br}{br}Welcome to this presentation of Dream Music. We are pleased to be continuing our performance of "The Tortoise, His Dreams and Journeys".{br}{br}In "The Obsidian Ocelot, The Sawmill, and The Blue Sawtooth High-Tension LIne Stepdown Transformer Refracting The Legend of The Dream of The Tortoise Traversing the 189/98 Lost Ancestral Lake Region Illuminating Quotients from The Black Tiger Tapestries of The Drone of The Holy Numbers, " we have chosen to demonstrate only a select group of pitches which are found in the structure of the overtone series of bowed strings and vocal cords.{br}{br}In Dream Music there is a radical departure from European and even much Eastern music in that the basis of musical relationship is entirely harmony. Not European harmony as textbooks have outlined it, but the intervallic proportions and acoustical consequences of the particular ratios which sound concomitantly in the overtone series when any simple fundamental is produced. Melody does not exist at all (The Disappearance of Melody) unless one is forced to hear the movement from group to group of various simultaneously sounded frequencies derived from the overtone series as melodic because of previous musical conditioning. Even before the first man moved successively from one frequency to another (melody if you like) a pattern for this movement, that is the relationship of the second frequency was already predetermined (harmonically) by the overtone structure of the fundamental of the first sound. And in the life of the Tortoise the drone is the first sound. It lasts forever and cannot have begun but is taken up again from time to time until it lasts forever as continuous sound in Dream Houses where many musicians and students will live and execute a musical work. Dream Houses will allow music which, after a year, ten years, a hundred years or more of constant sound, would not only be a real living organism with a life and tradition all its own but one with a capacity to propel itself by its own momentum. This music may play without stopping for thousands of years, just as the Tortoise has continued for millions of years past, and perhaps only after the Tortoise has again continued for as many million years as all of the tortoises in the past will it be able to sleep and dream of the next order of tortoises to come and of ancient tigers with black fur and omens the 189/98 whirlwind in the Ancestral Lake Region only now that our species has had this much time to hear music that has lasted so long because we have just come out of a long quiet period and we are Just remembering how long sounds can last and only now becoming civilized enough again that we want to hear sounds continuously. It will become easier as we move further into this period of sound. We will become more attached to sound. We will be able to have precisely the right sounds in every dreamroom playroom and workroom, further reinforcing the whole numer integer (integral) proportions resonating through structure (re: earlier Architectural Music), Dream Houses (shrines, etc.) at which performers, students, and listeners may visit even from long distances away or at which they may spend long periods of Dreamtime weaving the ageless quotients of the Tortoise in the tapestry of Eternal Music.{br}{br}We recall from the performances of "The Tortoise Droning Selected Pitches from The Holy Numbers for the Two, Black Tigers, The Green Tiger, and the Hermit" and "The Tortoise Recalling the Drone of the Holy Numbers As They Were Revealed in The Dreams of the Whirlwind and The Obsidian Gong and Illuminated by the Sawmil, The Green Sawtooth Ocelot and The High-Tension Line Stepdown Transformer" that in order to produce convincing textures exemplary of more complex rational frequency ratios than are used in almost any other music and at the same time to maintain the forcefulness of just intonation as found occasionnaly in Oriental, Country and Western, or pre-Baroque music and often in sounds of electrical equipment and machinery, the performers avoid vibrato or other rythmic changes and employ intonation tolerances closer than two cents, which is ordinarily the smallest pitch change considered audible.{br}{br}This particularly high intonation accuracy has further led the group to amplify each sound source, so as to make the presence of partials and combination tones accessible to the listener. Normal intonation standards have resulted in the currently customary amplification and recording techniques, which eliminate or de-emphasize these delicate tones.{br}{br}All of this, however, should not be taken as an indication that the listener cannot expect to appreciate these subtleties, since the effect of this degree of control is clearly audible and vividly immediate. This is to be expected, since the physical basis of this harmonic pitch usage lies close to the very nature of musical perception by the ear. The production of closely in-tune intervals is at least a nominal objective in most musical styles. But it is rarely concentrated in so pure and audible as state as in the static form and drifting quiet of The Tortoise since the performers allow harmonic tension to absorb all the nervous impetus usually found in formal musical structure, and retire to the sedate motionlessness of complete sensory involvement in the sound.{br}{br}If one is listening consciously to many frequencies concomittantly, it is understandable that more time is desirable to properly appraise and work with the situation. Given a 3/2 interval produced by bowed strings or voices, over a period of few hours we begin to know the upper partials engendered by the particular combination of instruments at hand and then gradually we develop techniques for controlling these partials. To be caught up in the simple game of organizing or permuting fundamentals is almost as archaic as being involved in the now rather popular world-wide game of permuting rhythms slower than pitches, although this is a sport that most of the fundamental-organizers are engaged in anyway. But we can concsider this a folly of only a few hundred or at worst a few thousand years, and as long as we are willing to learn from it we should be able to move on, thus allowing the continuation of several thousand years of careful development in the world of sound, maintaining ancient tradition while exploring new formulations and equations which can be held within the realm of consciousness only now that the species has had this much time to experience the tradition.\| {br}{br} {br}{br} ----
Password Summary of changes		↓ ↑

[Edit] [History] [UP] [List of all pages] [Create page] [Erase cookies]