Stoicism In Early Christianity eStuff in this chapter but I must admit and maybe it s my own prejudices as well but this chapter felt like it was imported from another book A book I d like to read to be sure but it was the only one of the four that approached things from a mostly cultural and monetary standpoint Tied with Flynt s work with labor groups the middle two sections form a core ofconomic and uality of life concerns while being framed by two chapters dealing with Cage which mostly cover aestheticsChapter four is about Charlotte Moorman and specifically about her many performances of John Cage s 26 11449 For A String Player a chance generated piece that reuires unimaginable mental and physical dexterity to play As noted Cage often asked his player to play in a manner that goes against classical cello training in which the pressure and angle of attack of the bow and fingering goes against decades of neural programming that is the results of decades of classical cello practice Moorman approaches the piece with great difficulty and of her first performance of it Cage analogized her performance to a murder of his composition If that first performance was murder Moorman spent the next 10 years rubbing her crotch on the composition s grave In collaboration with her partner in crime Nam June Paik Moorman incorporated many other lement s into Cage s piece that were not only counter to the original intentions but deeply distasteful to the composer s rather puritanical approach to the world There s an old story about how Cage harshly disciplined Julius Eastman after his young student ruined one of his performances one of the text pieces by reading a piece about undressing a man and having homosexual sex The freedom in my music is not the freedom to be irresponsible was Cage s supposed scold to Eastman Similarly Moorman began disregarding aspects of Cage s score which included non musical sounds like garbage can lids tin whistles gravel shouts and radio lengthening certain lements and including her own ideas As the piece grew and morphed Moorman began reading texts involving sexual assault contraception tapes of her having an orgasm and talk of menstruation as well as long snippets from the Beatles and other Diagnosis And Treatment Of Dissociative Disorders emerging rock bands Cage felt the politicized work to be not in the tradition as he had created it Piekut initially sides with Moorman rightly pointing out that the white males of the traditional avant garde pretty much dispensed with the idea ofxperimentation as shock around the same time that women minorities and homosexuals began getting a foothold in society General And Industrial Management effectively slamming the door of shock value in their face before they could have their turn But then Piekut does an interesting thing He takes the turnaround and turns it around again In a later turn ofvents Moorman was arrested for performing Nam June Paik s Opera Sextroniue which involved Moorman stripping down to partial nudity during the performance which led to an arrest for violating indecency laws Though she claimed that she and Paik were in all way collaborators on the composition in previous interviews and though she claimed her modifications to Cage s piece were in the spirit of collaboration she disavowed all of this when upon the witness stand It was
Paik s composition I just did what I was told I d never s composition I just did what I was told I d never of tampering with the composer s intention Of all the chapters this one is the most contradictory at the nd as it seems to argue both sides of the coin It s a fascinating discussion thoughThe pilogue which barely cracks into the confluence of Iggy Pop and the Ann Arbor based ONCE discussion thoughThe pilogue which barely cracks into the confluence of Iggy Pop and the Ann Arbor based ONCE and his subseuent rock based xperimentation is very interesting but reads like a trailer for the seuel in the closing credits of the movie you finished watching He suggests that someone needs to write the book about the confluence of rock and Cultural Anthropology experimentalism before saying outright that it would be very difficult IndeedLike No Such Thing As Silence Experimentalism Otherwise succeeds so handily because it focuses tightly on pinpointvents and precise moments rather than trying to Grassroots Leaders For A New Economy explainverything verywhere Although it gets pretty heavy with the academic jargon and theoretical constructs it passes the smell test for me because after all the critical theory terminology is stripped away I can boil ach chapter down to a core sentence or two that makes sense As such it s a big success It changed my thoughts not only about music I care strongly about but also about the ways it can be discussed Highest possible recommendation Really interesting study on the limits of xperimentalism through a series of case studies into
different happenings in New York throughout 1964 What I found refreshing about this book is the way Piekut instilled happenings in New York throughout 1964 What I found refreshing about this book is the way Piekut instilled reality into the New York avant garde through actually xisting Private Pilot Test Prep 2020 experimentalism which is far from the idealistic accounts often given I particularlynjoyed the chapter on the Jazz Composers Guild because it highlighted the often overlooked avant garde jazz scene review of Benjamin Piekut s Experimentalism Otherwise The New York Avant Garde and Its Limits by tENTATIVELY a cONVENIENCE Dec 29 2015 Jan 6 2016 This is just the beginning of my review Read the full thing or nothing will The Tammy Wynette Southern Cookbook ever change in this worldver again no one will Poems Prose Amp Short Stories ever be immortal full review Experimental Ism Other Wise s a good thing I have off work for another 6 days or I d have a very hard timeven beginning to approach writing a review of this The subject of Mindscapes experimentalavant garde music is so near dear to yrs truly that any bk on the subject is bound to stimulate a detailed response from me Themphasis on New York is of considerably lesser importance but then the author has this to say in his Introduction This study is situated in New York City during 1964 That means that other important formations of Lateral Dna Transfer experimentalism most important those in San Francisco and Ann Arbor come up only tangentially here There is no deep reason for this my book is about New York not those other places In fact I maintain that there is nothing special about the New York stories that I discuss in this project they are simply a way in a collection of opportunities toxplore xperiment. Hn Cage’s Atlas Eclipticalis; Henry Flynt’s demonstrations against the downtown avant garde; Charlotte Moorman’s Avant Garde Festival; the founding of the Jazz Composers Guild; and the mergence of Iggy Pop Drawing together a colorful array of personalities Piekut argues The subtitle The New York Avant Garde and its Limits gave me a bit of pause at first Was this going to be a broadside about how Why Kimba Saved The World Cats In The Mirror 1 experimental music fans are worshipping a dead god of fake innovation It s not Limits here is an opennded term As Piekut notes in the intro the limits are not just walls that you crash into but learning The Rise Amp Fall Of The Plantation Complex experiences and opportunities to reconsider your options and your limitations John Cage loves talking about how upon being told by Schoenberg the concept of harmony is a wall that you will never be able to break through replied then I shall spend the rest of my life beating my head against that wall implying that limitations could also be strengths Piekutxamines four moments of seeming disaster in Un Dolar Doi Dolari Valetul De Trefla experimentalism as he calls it which he attempts to open up with rigorous research interviews and what he calls reshuffling the deck with regard to which facts and aspects count as the dominant story tellers inach narrativeTake the opening piece about John Cage s disastrous Bought encounter with the New York Philharmonic Orchestra under the direction of Leonard Bernstein As part of his series on New Music Bernstein conducted Cage s Atlas Eclipticalis along with pieces by Feldman Brown and Wolff and others for the benefit of a member crowd that was none too interested The dominant narrative is that the Philharmonic players intentionally sabotaged Cage s work he likened them not to spoilt children but rather to deliberately malicious mafiosi In what isasily the most theory heavy portion of the book a bit of a slog for me and my little ant brain Piekut breaks down several mitigating circumstances that prevent such a clear cut I m the good guy they re the bad guys approach Looking at interviews and reports of the time we find that Bernstein was less than Heroic Leadership enthusiastic about presenting this New Music which he didn t like or respect The performers saw it as a threat to their talent and the work a day discipline the score called for long stretches of non playing Cage was seen asffeminate and not able to interact with the band or play with them But through all of these mitigating circumstances which may or may not add up to Piekut s verdict in your mind the author comes up with a pretty new point one that had floated in the back of my head for some time Cage though brilliant though amazing isn t the freedom loving free spirit he s often portrayed as but is of an authoritarian didact in the way he likes his works performed As such he depended upon a performer who had already internalized the Fallout expectations of the composer rather than a young upstart who might want to put his own ideas inferior ones it s implied into the work It s no wonder that Cage had a stable of stock performers who got him and who could reproduce his seemingly anarchic scores with an almost clockwork regularity whether it s David Tudor or Malcolm Goldstein or others It sort ofxplains why Cage s pieces often have a certain inbound rhythm or sound or feel to them specially the canonical pieces or at least allows us to think about his processes in a different way Piekut doesn t xcuse the Philharmonic or Bernstein but does help us to get a different look at why the Mediterranean Cook event might have unfolded the way it didThe book follows this path taking anvent with an assumed set of reasons and uncovering mitigating circumstances Henry Flynt s public boycott of Stockhausen s Originale feels to me like the circumstances Henry Flynt s public boycott of Stockhausen s Originale feels to me like the of the four pieces maybe because I with my in inbound prejudices find Henry Flynt to be a bit of a twerp I m not opposed to anyone protesting an injustice if they see it as truly damaging and Piekut goes
Into His Involvement With his involvement with American musics and his work with the Workers World Party and related political movements to The Heart Of A Tender Warrior explain why his view of Stockhausen is seen through the crimson lenses of perceived Imperialism and the dominance of Eurocentric thinking in the Avant Garde I can see his pointthe avant garde was assuredly uite lily white at the time as the next chapter notes and Stockhausen was pretty clear about his taste in high art vs peasant musics Fine so Stockhausen wasn t someone I d want to spend a lot of time with But two things pop up here for me 1 high art of any kind doesn t change society as much as you d like to hope andven less does it reinforce The Book Of Signs existing standards If you want to go after Imperialism a worthy foe I d start with direct causes of the injustice 2 trying to stop something from happening brings about less positive change of the time you seek than creating something new Affective counter protest might have been some jazz or roots music coming from across the street 3 the carnival like nature of the Stockhausen piece insured that most people would think this was part of the show and 4 this is a bit dickish of me to say but I d rather listen to Stockhausen s worst piece than Flynt s finest hour It s not English Unlimited Level 3 Workbook Special Edition Saudi Edition even a competition That s of course the conundrum of living in the world and trying to be moral The people on the side of the angels are often insufferable boors while the worst of them can play a mean ring modulator Part three takes us through the formation and uick flameout of the Jazz Composers Orchestra led by Bill Dixon Archie Shepp Amiri Baraka and others and their difficulty in creating a viable avant gardejazz sponsorship performance and distribution network As mentioned above the overbearing whitenessEurocentrism of the avant garde of the time not to mention the prevailing idea thatven the most out free jazz was not avant garde so much as some roots holler for drinkin and dancin made
for a steep climb for the jco despite a steep climb for the JCO Despite integrated organization Carla and Paul Bley Michael Mantler Roswell Rudd and others sat in meetings alongside Shepp Sun Ra Marion Brown Baraka and Dixon there was confusion over not only what the goals were but ven what obstacles they faced Piekut nicely dissects the two dominant approaches to understanding race after WWIIthe color blind idea favored by white musicians who basically called things the 60s uivalent of post racial and the race conscious approach favored by black musicians who knew the full You Are The Messiah And I Should Know extent of what was at stake There s a lot of interesting. In Experimental Otherwise Benjamin Piekut takes the reader into the heart of what we mean by “experimental” in avant garde music Focusing on one place and time New York City 1964 Piekutxamines five disparate vents the New York Philharmonic’s disastrous performance of Jo. Alism in the most ordinary fashion p 2 Such a narrow focus also nables Piekut to make a detailed Teri Ulfat Main Sanam examination wo having to get into the larger picture in too dissipating a way he does a trulyxcellent job of it At 1st I was a bit annoyed by his stance but it was hard not to be won over by his scholarliness When I m reading a bk I write pencilled notes inside the front cover referring to specific pages where I ve marked the passage to be uoted or otherwise mentioned If I take notes than the inside front can accommodate than I usually move to the inside back cover After that it s usually to the Speeding Ticket Naughty Tales 2 end page That was the case here These notes are the merest reminders of what s on my mind Another person reading them wdn t find much My note for the above uoted p2 is Cage rc vd well at Tudorfest What that has to do w New York City isn t immediately apparent What it does have to do w is that the 1st chapter in Experimentalism Otherwise isntitled When Orchestras Attack John Cage Meets the New York Philharmonic wch focuses nicely on deepening the historic record of the New York Philharmonic s negative response to performing Cage s Atlas Eclipticalis on February 9 1964 It s often the case that when I m reading a music related bk I also listen to relevant recordings read their liner notes That was the case here insofar as I was listening to the 3 disc collection called Music from the Tudorfest San Francisco Tape Music Center 1964 from the liner notes in wch it s written that San Francisco Chronicle s Alfred Frankenstein s insightful comments are Declaration Of A Heretic especially noteworthy if one considers the notorious performances of Atlas Eclipticalis also played simultaneously with Winter Music in itslectronic version by Leonard Bernstein and the New York Philharmonic at Lincoln Center two months Logic From Kant To Russell earlier as part of a series of concerts titled The Avant Garde In contrast to the performances at the Tape Music Center the reception of the same work was far from favorable As reported by Calvin Tomkins shortly after the first amplifed soundsmitted from the loudspeakers audience members muttered angrily and left their seats roughly half of the audience had left the hall by the time the work Character Animation Crash Course ended Taking his bows after the work s second performance Cage heard what he first thought was the sound ofscaping air which he uickly realized was hissing by mem Brilliantly detailed account of the meeting of free jazz Family Life Of A War Baby experimentalism Fluxus music with black activism feminism and sexual politics Absolute necessity for anyone wanting to understand the specific nexus of the avant garde that was New York in the 50s though 70s Fascinating social and artistic history of New York avant garde in thearly to mid 1960s The author Benjamin Piekut focuses on four projects or incidents involving John Cage who is the star of this book Leonard Bernstein Henry Flynt Carla Bley Charlotte Moorman Jazz Composers Guild and of course Iggy Pop The book is not about the limitations of art or artist but organizations for instance the Jazz Composers Guild or Henry Flynt s stance against the avant garde world of his time and the best chapter is Cage dealing with the New York Philharmonic the
of Atlas which was like a war zone between the classically trained musicians and the composer Although written for the academic audience the subject matter is uite large and Quarantine Star Trek Voyager Starfleet Academy 3 easy to get into In a nutshell brilliant personalities working within and outside a system to do their work Amazing subject matter for a book Just getting into it In 2012 the Cage cenntenial year I played in several concerts dedicated to Cage and his ideas Before that I had been an admirer of of Cage s writings andspecially Indeterminacy but never a full fledged acolyte Atlas Eclipticalis and Cartridge Music were among the pieces I took on for the concert stage which makes the first part of this book really interesting for me My approach to soundmaking has always been unprofessional that is not only amateur but personally opposed to making music as a career Piekut s analysis of the New York Philharmonic s infamously bad performance of Atlas Eclipticalis is deeply academic nuanced and above all revealing lots of personal anecdotes from those involved which makes it difficult to take sides ven with one s own personal xperience to add to the conversation After my centennial year with Mr Cage it occurred to me fully for the first time that he truly did not care about the outcome of performances of his music in terms of producing artistic sound objectsThanks to Piekut s work I find out that I am at least partially wrong in that assessment On the one hand Piekut pointsmaking of atlas
out that Cage had through xperience come to a or less improvisatory approach to his own music as practiced bythat Cage had through xperience come to a or less improvisatory approach to his own music as practiced by and his close associates like David Tudor Within that approach there was a definite aesthetic at work This was something he could not allow the players in the New York Phil as the author points out due to a number of artistic personal and The Dom With The Deviant Kittens Badass Brats 5 even socioeconomic differences with the musicians As Piekut points out the irony of the situation is that the disruptive musicians the professionals who supposedly didn t respect Cage s ideas were in truth concerned with pure sound than the one man in the room who d made himself famous as concerned with soundThe performance of Atlas I was involved in with San Francisco s sfSoundnsemble did not involve any amplification unlike the New York Phil performance which by all accounts was at a loudness level never before ncountered by most of those in the hall Our performance of Cartridge Music however was in that kind of sonic ballpark and it s amusing to me to consider the differences in not just audiences but performers then and now Allowing that I was not the only non professional in the mix A lot of our ars have caught up to Mr Cage who is uoted by Piekut I am certain that this piece will Neck Dissection eventuallyvoke gratitude since it Hapana embraces 20th century horror transforming itAnyway I can t wait to get into the October Revolution part of this book Velit voluptatem uia adipisci neue perferendis laborum velit Et voluptatem aperiam unde Nobis officiis aliuid Et ui soluta nisi neue uas. Hatach of these Ang Aso Ang Pulgas Ang Bonsai At Ang Kolorum examples points to a failure and marks a limit or boundary of canonicalxperimentalism What emerges from these marginal moments is an accurate picture of the avant garde not as a style or genre but as a network defined by disagreements struggles andxclusions.