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This Life of Sounds : Evenings for New Music in Buffalo, Hardcover by Packer,...
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Parametry przedmiotu
- Stan
- Book Title
- This Life of Sounds : Evenings for New Music in Buffalo
- ISBN
- 9780199730773
- Subject Area
- Music, Education
- Publication Name
- This Life of Sounds
- Publisher
- Oxford University Press, Incorporated
- Item Length
- 6.1 in
- Subject
- History & Criticism, General, Higher
- Publication Year
- 2010
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 0.8 in
- Item Weight
- 17.6 Oz
- Item Width
- 9.3 in
- Number of Pages
- 256 Pages
O tym produkcie
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0199730776
ISBN-13
9780199730773
eBay Product ID (ePID)
80146387
Product Key Features
Number of Pages
256 Pages
Publication Name
This Life of Sounds
Language
English
Subject
History & Criticism, General, Higher
Publication Year
2010
Type
Textbook
Subject Area
Music, Education
Format
Hardcover
Dimensions
Item Height
0.8 in
Item Weight
17.6 Oz
Item Length
6.1 in
Item Width
9.3 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2009-034967
Reviews
"One of the cardinal books in the astounding Buffalo Bookshelf we've seen accrete in the past 15 years...A glorious celebration of the other Buffalo, the aristocratic, innovative city in which a cultural miracle took place whose inspiring residue is still with us, even in an era of decline." --Jeff Simon, Buffalo News"In the 1960s a lively New Music scene began at the State University of New York at Buffalo which culminated with the appointment of Morton Feldman as director in the 1970s. He began the June in Buffalo festival which continues to this day. Renée Levine was there at the very beginning as Managing Director and her highly informative book is undoubtedly the best primary source we will ever have about New Music in Buffalo and its offshoots during this tumultuous period."-Steve Reich"I had long known that the Creative Associates at Buffalo in the 1960s and '70s were an unprecedented hothouse of wild musical exploration, but Renée Levine Packer's insightful and eye-opening eye-witness account makes me realize that I had underestimated the case."-Kyle Gann, author of Music Downtown: Writings from the Village Voice and No Such Thing as Silence: John Cage's 4'33""Renée Levine Packer has written a compelling and valuable account of an important moment in the history of modernism in America and the many worlds of the avant-garde. It is an indispensable document for students of the history of twentieth-century music."-Leon Botstein, President of Bard College, Music Director of the American Symphony Orchestra and the Jerusalem Symphony Orchestra, "One of the cardinal books in the astounding Buffalo Bookshelf we've seen accrete in the past 15 years...A glorious celebration of the other Buffalo, the aristocratic, innovative city in which a cultural miracle took place whose inspiring residue is still with us, even in an era of decline." --Jeff Simon,Buffalo News "In the 1960s a lively New Music scene began at the State University of New York at Buffalo which culminated with the appointment of Morton Feldman as director in the 1970s. He began the June in Buffalo festival which continues to this day. Ren e Levine was there at the very beginning as Managing Director and her highly informative book is undoubtedly the best primary source we will ever have about New Music in Buffalo and its offshoots during this tumultuous period."-Steve Reich "I had long known that the Creative Associates at Buffalo in the 1960s and '70s were an unprecedented hothouse of wild musical exploration, but Ren e Levine Packer's insightful and eye-opening eye-witness account makes me realize that I had underestimated the case."-Kyle Gann, author ofMusicDowntown: Writings from the Village VoiceandNo Such Thing as Silence: John Cage's 4'33" "Ren e Levine Packer has written a compelling and valuable account of an important moment in the history of modernism in America and the many worlds of the avant-garde. It is an indispensable document for students of the history of twentieth-century music."-Leon Botstein, President of Bard College, Music Director of the American Symphony Orchestra and the Jerusalem Symphony Orchestra, "One of the cardinal books in the astounding Buffalo Bookshelf we've seen accrete in the past 15 years...A glorious celebration of the other Buffalo, the aristocratic, innovative city in which a cultural miracle took place whose inspiring residue is still with us, even in an era of decline." --Jeff Simon, Buffalo News "In the 1960s a lively New Music scene began at the State University of New York at Buffalo which culminated with the appointment of Morton Feldman as director in the 1970s. He began the June in Buffalo festival which continues to this day. Rene Levine was there at the very beginning as Managing Director and her highly informative book is undoubtedly the best primary source we will ever have about New Music in Buffalo and its offshoots during this tumultuous period."-Steve Reich "I had long known that the Creative Associates at Buffalo in the 1960s and '70s were an unprecedented hothouse of wild musical exploration, but Rene Levine Packer's insightful and eye-opening eye-witness account makes me realize that I had underestimated the case."-Kyle Gann, author of Music Downtown: Writings from the Village Voice and No Such Thing as Silence: John Cage's 4'33" "Rene Levine Packer has written a compelling and valuable account of an important moment in the history of modernism in America and the many worlds of the avant-garde. It is an indispensable document for students of the history of twentieth-century music."-Leon Botstein, President of Bard College, Music Director of the American Symphony Orchestra and the Jerusalem Symphony Orchestra "The first in-depth account of the history of the Center and the Buffalo scene, and the factual aspects alone of her account make it invaluable...Anyone interested in new music, American art movements, or the history of the 1960s and its art institutions stands to benefit richly from this thoughtfully crafted research." --American Music, "In the 1960s a lively New Music scene began at the State University of New York at Buffalo which culminated with the appointment of Morton Feldman as director in the 1970s. He began the June in Buffalo festival which continues to this day. Renée Levine was there at the very beginning as Managing Director and her highly informative book is undoubtedly the best primary source we will ever have about New Music in Buffalo and its offshoots during this tumultuous period."-Steve Reich "I had long known that the Creative Associates at Buffalo in the 1960s and '70s were an unprecedented hothouse of wild musical exploration, but Renée Levine Packer's insightful and eye-opening eye-witness account makes me realize that I had underestimated the case."-Kyle Gann, author of Music Downtown: Writings from the Village Voice and No Such Thing as Silence: John Cage's 4'33" "Renée Levine Packer has written a compelling and valuable account of an important moment in the history of modernism in America and the many worlds of the avant-garde. It is an indispensable document for students of the history of twentieth-century music."-Leon Botstein, President of Bard College, Music Director of the American Symphony Orchestra and the Jerusalem Symphony Orchestra, "One of the cardinal books in the astounding Buffalo Bookshelf we've seen accrete in the past 15 years...A glorious celebration of the other Buffalo, the aristocratic, innovative city in which a cultural miracle took place whose inspiring residue is still with us, even in an era of decline." --Jeff Simon,Buffalo News "In the 1960s a lively New Music scene began at the State University of New York at Buffalo which culminated with the appointment of Morton Feldman as director in the 1970s. He began the June in Buffalo festival which continues to this day. Renée Levine was there at the very beginning as Managing Director and her highly informative book is undoubtedly the best primary source we will ever have about New Music in Buffalo and its offshoots during this tumultuous period."-Steve Reich "I had long known that the Creative Associates at Buffalo in the 1960s and '70s were an unprecedented hothouse of wild musical exploration, but Renée Levine Packer's insightful and eye-opening eye-witness account makes me realize that I had underestimated the case."-Kyle Gann, author ofMusicDowntown: Writings from the Village VoiceandNo Such Thing as Silence: John Cage's 4'33" "Renée Levine Packer has written a compelling and valuable account of an important moment in the history of modernism in America and the many worlds of the avant-garde. It is an indispensable document for students of the history of twentieth-century music."-Leon Botstein, President of Bard College, Music Director of the American Symphony Orchestra and the Jerusalem Symphony Orchestra, "One of the cardinal books in the astounding Buffalo Bookshelf we've seen accrete in the past 15 years...A glorious celebration of the other Buffalo, the aristocratic, innovative city in which a cultural miracle took place whose inspiring residue is still with us, even in an era of decline." --Jeff Simon, Buffalo News "In the 1960s a lively New Music scene began at the State University of New York at Buffalo which culminated with the appointment of Morton Feldman as director in the 1970s. He began the June in Buffalo festival which continues to this day. Renée Levine was there at the very beginning as Managing Director and her highly informative book is undoubtedly the best primary source we will ever have about New Music in Buffalo and its offshoots during this tumultuous period."-Steve Reich "I had long known that the Creative Associates at Buffalo in the 1960s and '70s were an unprecedented hothouse of wild musical exploration, but Renée Levine Packer's insightful and eye-opening eye-witness account makes me realize that I had underestimated the case."-Kyle Gann, author of Music Downtown: Writings from the Village Voice and No Such Thing as Silence: John Cage's 4'33" "Renée Levine Packer has written a compelling and valuable account of an important moment in the history of modernism in America and the many worlds of the avant-garde. It is an indispensable document for students of the history of twentieth-century music."-Leon Botstein, President of Bard College, Music Director of the American Symphony Orchestra and the Jerusalem Symphony Orchestra "The first in-depth account of the history of the Center and the Buffalo scene, and the factual aspects alone of her account make it invaluable...Anyone interested in new music, American art movements, or the history of the 1960s and its art institutions stands to benefit richly from this thoughtfully crafted research." --American Music
Dewey Edition
22
Number of Volumes
1 vol.
Illustrated
Yes
Dewey Decimal
780.78/74797
Table Of Content
AcknowledgementsIntroductionPrelude: A Study in Sonority1. The Rockefeller Years, 1964-Spring 1968Creating the centerGetting Their Gongs WetSettling In"Can This Be Buffalo?""Adagio" and "Canto"David TudorNews For YouExcavating RichesComposer-PerformersRenewal and International InfluenceThe Berkeley of the EastDiamonds and MudAquarium2. Make It New, Fall 1968-1972Technology RisingContinuanceIlliacs and OscillatorsMusic and TheaterA Holiday AngelJulius EastmanFusionCornucopiaTurmoilEarly SeventiesMad Kings and Making Do3. Feldman in Buffalo, Fall 1972The Tenth YearCloser To HomeShakeupThe Continuous PresentJune In BuffaloBoston HarborUltrasonics, Subliminal Light and SoundA Lecture on the WeatherLate January 19774. The Final Years, 1977-1980Music of ChangesA Critical Fall"It's Like the Love Canal"HPSCHD and BeyondNon-ContinuanceAfter Image5. PostscriptAppendix 1: ChronologyAppendix 2: List of InterviewsAppendix 3: List of Creative AssociatesAppendix 4: List of Creative Associate Graduate FellowsAppendix 5: Selected DiscographyEndnotesBibliographyIndex
Synopsis
This Life of Sounds portrays an important and previously unexplored corner of the history of new music in America: the Center of the Creative and Performing Arts in the State University of New York at Buffalo. Composers Lukas Foss (the Center's founder), Lejaren Hiller, and Morton Feldman were the music directors over the life of "the Buffalo group," during the years 1964-1980. Based on Foss's plan, the Rockefeller Foundation provided annual fellowships for young composers and virtuoso instrumentalists to live in Buffalo for up to two years, thus creating a cadre of like-minded musicians who would spend their time studying, creating, and performing difficult - often controversial - new work. The now legendary group of musicians (some would say "musical outlaws") who participated in the Buffalo group included Pulitzer Prize winner George Crumb, Terry Riley, Cornelius Cardew, Maryanne Amacher, Frederic Rzewski, David Tudor, Julius Eastman, and many more. Composers John Cage, Jim Tenney, Iannis Xenakis and others all figure in the story as well. The book provides valuable accounts of the Center's influential concert series, Evenings for New Music, performed in Buffalo, New York and throughout Europe; its famous recording of Terry Riley's In C; the political activism of the time; and the intersection of academic, private, and institutional funding for the arts. Life magazine declared in an article about the 1965 Festival of the Arts Today titled, "Can This Be Buffalo?", "Buffalo exploded last month in a two-week avant garde festival that was bigger and hipper than anything ever held in Paris or New York..." The concerts, the festivals, and the adventurous musical climate attracted filmmakers and young visual artists resulting in what one person called "one of those kinds of places the way people talk about Vienna in 1900-1910.", This book is an invaluable chronicle of an exuberant time of artistic exploration and experimentation populated by now legendary figures such as John Cage, Morton Feldman, Cornelius Cardew, Terry Riley, Julius Eastman, David Tudor, and many others who were part of this under-known chapter of late 20th century music history. Levine Packer brings it to life once again., This Life of Sounds portrays an important and previously unexplored corner of the history of new music in America: the Center of the Creative and Performing Arts int eh State University of New York at Buffalo. Composers Lukas Foss (the Center's founder), Lejaren Hiller, and Morton Feldman were the music directors over the life of "the Buffalo group," during the years 1964-1980. Based on Foss's plan, the Rockefeller Foundation provided annual fellowships for young composers and virtuoso instrumentalists to live in Buffalo for up to two years, thus creating a cadre of like-minded musicians who would spend their time studying, creating, and performing difficult - often controversial - new work. The new legendary group of musicians (some would say "musical outlows") who participated in the Buffalo group included Pulitzer Prize winner George Crumb, Terry Riley, Cornelius Cardew, Maryanne Amacher, Frederic Rzewski, David Tudor, Julius Eastman, and many more. Composers John Cage, Jim Tenney, Iannis Xenakis and others all figure int he story as well. The book provides valuable accounts of the Center's influential concert series, Evenings for New Music, performed in Buffalo, New York and throughout Europe; its famous recording of Terry Riley's In C; the political activism of the time; and the intersection of academic, private, and institutional funding for the arts. Life magazine declared in an article about the 1965 Fest of the Arts Today titled, "Can This Be Buffalo?", "Buffalo exploded last month in a two-week avant garde festival that was bigger and hipper than anything ever held in Paris or New York..." The concerts, the festivals, and the adventurous musical climate attracted filmmakers and young visual arts resulting in what one person called "one of those kinds of places the way people talk about Vienna in 1900-1910.", This Life of Sounds portrays an important and previously unexplored corner of the history of new music in America: the Center of the Creative and Performing Arts int eh State University of New York at Buffalo. Composers Lukas Foss (the Center's founder), Lejaren Hiller, and Morton Feldman were the music directors over the life of "the Buffalo group," during the years 1964-1980. Based on Foss's plan, the Rockefeller Foundation provided annual fellowships for young composers and virtuoso instrumentalists to live in Buffalo for up to two years, thus creating a cadre of like-minded musicians who would spend their time studying, creating, and performing difficult - often controversial - new work. The new legendary group of musicians (some would say "musical outlows") who participated in the Buffalo group included Pulitzer Prize winner George Crumb, Terry Riley, Cornelius Cardew, Maryanne Amacher, Frederic Rzewski, David Tudor, Julius Eastman, and many more. Composers John Cage, Jim Tenney, Iannis Xenakis and others all figure int he story as well. The book provides valuable accounts of the Center's influential concer series, Evenings for New Music, performed in Buffalo, New York and throughout Europe; its famous recording of Terry Riley's In C; the political activism of the time; and the intersection of academic, private, and institutional funding for the arts. Life magazine declared in an article about the 1965 Fest of the Arts Today titled, "Can This Be Buffalo?", "Buffalo exploded last month in a two-week avant garde festival that was bigger and hipper than anything ever held in Paris or New York..." The concerts, the festivals, and the adventurous musical climate attracted filmmakers and young visual arts resulting in what one person called "one of those kinds of places the way people talk about Vienna in 1900-1910."
LC Classification Number
ML200.8.B8L48 2010
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