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!!!Dream House (1973) ---- '''13 I 73 5:35 - 6:14:03 PM NYC''' est une partie de "Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery" , elle-même une section d'un travail encore plus vaste appelé "The Tortoise, His Dreams and Journeys" (la tortue, ses rêves et voyages). Dans ce document, trois générateurs d'ondes sinusoïdales et les membres du Théâtre de Eternal Music jouent ensemble. \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}'''13 1 73 5:35 - 6:14:03 PM NYC''' — sub-section of "Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery", begun in 1966 as a section of the even longer work: "The Tortoise, His Dreams And Journeys" which was begun in 1964 with The Theatre Of Eternal Music. Performed 13 January 1973 at La Monte Young's private studio.{br}{small}Personnel: The Theater of Eternal Music ; La Monte Young - Voice and Sine Waves ; Marian Zazeela - Voice ; Jon Hassell - Trumpet ; Garrett List - Trombone — Source : released on the French label Shandar (1974) {/small}\| {html} <TABLE BORDER=0" WIDTH="100%" style="background-color:#CCCCCC;"> <TR> <TD> <small>13 I 73 5:35 - 6:14:03 PM NYC</small><br> <object type="application/x-shockwave-flash" data="webs/dewplayer-vol.swf" width="350" height="20" id="dewplayer" name="dewplayer"> <param name="wmode" value="transparent" /> <param name="movie" value="webs/dewplayer-vol.swf" /> <param name="flashvars" value="mp3=https://jeromejoy.org/files/articles/lamonteyoung/1973_LMY_Dreamhouse.mp3&bgcolor=FFFFFF&showtime=1&autoplay=0&autoreplay=0&volume=100" /> </object> <br><br> <small>Drift Study 14 VII 73 9:27:27-10:06:41 PM NYC</small><br> <object type="application/x-shockwave-flash" data="webs/dewplayer-vol.swf" width="350" height="20" id="dewplayer" name="dewplayer"> <param name="wmode" value="transparent" /> <param name="movie" value="webs/dewplayer-vol.swf" /> <param name="flashvars" value="mp3=https://jeromejoy.org/files/articles/lamonteyoung/1973_DriftStudy.mp3&bgcolor=FFFFFF&showtime=1&autoplay=0&autoreplay=0&volume=100" /> </object> </TD> </TR> </TABLE> {/html} \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1974_shandar1.jpg\|../files/articles/lamonteyoung/1974_shandar1b.jpg]\|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1974_shandar2.jpg\|../files/articles/lamonteyoung/1974_shandar2b.jpg]\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1974_shandar3.jpg\|../files/articles/lamonteyoung/1974_shandar3b.jpg]\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1974_shandar4.jpg\|../files/articles/lamonteyoung/1974_shandar4b.jpg]\|t \|t \|t \|t \|t [../files/articles/lamonteyoung/1974_shandar5.jpg\|../files/articles/lamonteyoung/1974_shandar5b.jpg]\| '''Drift Study 14 VII 73 9:27:27-10:06:41 PM NYC''', se joue entièrement sur des générateurs d'ondes sinusoïdales. La fréquence et la tension électrique des ondes sinusoïdales ont été déterminées et accordées par La Monte Young utilisant pour cela des oscillateurs sur mesure conçus par l'ingénieur du son Robert Adler pour générer des fréquences spécifiques et des tensions électriques de grande stabilité. Les ondes sinusoïdales produites sont telles qu'elles interfèrent les unes avec les autres, créant ainsi des changements de volume à la fois dans le temps et dans l'espace qui peuvent être expérimentés soit en marchant dans la salle ou en restant sur place. Si l'on choisit de marcher, on va changer l'expérience sonore des autres personnes dans la pièce. \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}On B-side on the vinyl :{br}'''Drift Study 14 VII 73 9:27:27 - 10:06:41 PM NYC''' — Three sine waves. Frequencies and voltages of the sine waves determined and tuned by La Monte Young using oscillators custom designed by Rober Adler to generate specific frequencies and voltages of great stability. Performed 14 July 1973 at La Monte Young's private studio.{br}''(See Drift Study 1969 below)''{/small}\| \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t {small}My drift studies are works made up entirely of two or more sine waves, the frequencies of which are tuned to relate to each other as whole number frequency ratios in order to produce composite sound waveforms of periodic structure. The frequency ratios are chosen to create specific intervals and chords selected from «The Two Systems of Eleven Categories» and sustained for the duration of each recording.{br}{br}Sine waves have the unique characteristic among sound wave forms of having only one frequency component. All other sound wave forms have more than one frequency component. When a continuous frequency is sounded in an enclosed space such as a room, the air in the room is arranged into high and low pressure areas. In the high pressure areas the sound is louder, and in the low pressure areas the sound is softer. Since a sine wave has only one frequency component, the pattern of high and low pressure areas is easy to locate in space. Further, concurrently sounding sine waves of different frequencies provide an environment in which the loudness of each frequency varies audibly at different points in the room. This phenomenon can rarely be appreciated in most musical situations and makes the listener's position and movement in the space an integral part of the sound composition.{br}{br}The frequency components of the sine waves are tuned on highly stable oscillators using oscilloscopes to achieve chords and intervals in which every pair of frequency components can be represented by some rational fraction. The ratios of the amplitude components of the sine waves are tuned with voltmeters to be reciprocal to the ratios of their corresponding frequency components. When the sine waves are amplified and reproduced acoustically by loudspeakers the ratios of their frequencies create a periodic composite waveform environment which allows the listener to actually experience sound structures in the natural course of exploring the space. In addition to the precise control over the intervallic ratios established among the sine waves, the control over the frequencies of the combination tones produced when more than one sine wave is sounded at a time is an important structural element of the work. This control over the frequencies of the combination tones is achieved though the choice of which ratios will exist between the frequency components of the sine waves composing the preselected chords and intervals. Only, those combinations of sine waves whose frequency ratios will produce acceptable combination frequencies, and avoid unacceptable combination frequencies, are chosen to be sounded concurrently. 60 Hertz AC (derived from 115 volt power line frequency) in the U.S., and 50 Hertz AC (derived from 220 volt power line frequency) in Europe, are used as the standards to which all other frequencies are related and tuned since each functions as the underlying drone of the city and all AC-powered equipment. The frequency ratios are monitored continuously as lissajous patterns on the oscilloscopes and, in spite of the great stability of the oscillators, the phase relationships of the sine waves gradually drift which causes their amplitudes to add and subtract algebraically. Not only does the sound become a bit louder and softer but at very loud levels one actually begins to have a sensation that parts of the body are somehow locked in sync with the sine waves and slowly drifting with them in space and time.{br}{br}There are two basic ways to listen to be the tones in the Dream Houses. The first way is to sit quietly in one fixed place in order to hear the phase relationships of the frequencies drift, The second way is to walk around in the space to observe the points in the room where the different frequencies are louder. Note: if you practice the second method while someone else is practicing the first method, their listening will be affected because your movement will change the structure of the air molecules in the room. — La Monte Young{/small}\| {br}{br} {br}{br} ----
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