Sound and Light: La Monte Young, Marian Zazeela

Front Cover
William Duckworth, Richard Fleming
Bucknell University Press, 1996 - Biography & Autobiography - 231 pages
La Monte Young and Marian Zazeela have been pursuing their art for more than three decades. Together, they have created large-scale works for light and sound of many hours' duration - full of slow-moving microtonal sounds bathed in magenta hues and shadows - that have influenced styles as diverse as the Velvet Underground and Minimalism. Yet many people outside the experimental circles in music and art are unfamiliar with their work. This issue of the Bucknell Review is the first full-length book on their work. It introduces Young and Zazeela to those unfamiliar with them, as well as providing the more acquainted reader with new and useful insights and analyses of the fundamental issues in their life and work. The book explores the recurring themes that have influenced and organized Young and Zazeela's ongoing engagement with sound and light. These themes include the appreciation of nature and its natural shapes and sounds; the importance of mathematics and organized tuning systems based on natural harmonics; enhanced attention spans and increased sensitivity to differences within apparent sameness; extensions of time, and alterations of space.

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Contents

La Monte Young Marian Zazeela
La Monte and Marian 1967
3
Who Is La Monte Young?
7
La Monte Young in New York 196062
26
The Trinity of Eternal Music
80
The Lightworks of Marian Zazeela
86
Language and Light in Marian Zazeelas Art
108
Some Correspondences between Bai Juyis Qin and La Monte Youngs Composition 1960 5
114
La Monte Young and The Forever Bad Blues Band
177
Time Light Symmetry
185
The Romantic Symmetry over a 60 cycle base from The Symmetries in Prime Time from 144 to 112 with 119 89 I 30 NYC
192
words not words
204
The Soul of the Word
207
Ornamental Lightyears Tracery
208
Notes on Contributors
211
Copyright

Pure Resonance
173

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Popular passages

Page 27 - bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. The piece is over after the piano has been fed, or after the piano eats or decides not to.
Page 193 - The unconscious is rather that immortal sea which brought us hither; intimations of which are given in moments of "oceanic feeling"; one sea of energy or instinct; embracing all mankind, without distinction of race, language, or culture; and embracing all the generations
Page 140 - Turn a butterfly (or any number of butterflies) loose in the performance area. When the composition is over, be sure to allow the butterfly to fly away outside. the butterfly is turned loose and the composition may be considered finished when the butterfly flies away.
Page 16 - years. Originally begun as a harmonically complex set of drones in their loft in the early sixties, Dream House evolved, first, into a series of short-term performance/installations in which Young's Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery
Page 96 - Manifesto on feeble love and bitter love," in The Dada Painters and Poets: An Anthology, ed. Robert Motherwell (New York: Wittenborn, Schultz, 1951),
Page 137 - was anciently made of tung wood, but afterwards of stones, by which its sounds, under the influence of the wind,
Page 189 - Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery,
Page 212 - Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery
Page 227 - Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery.
Page 40 - of The Second Dream of The High-Tension Line Stepdown Transformer from The Four Dreams of China (1962),

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