Source: Music of the Avant-Garde, 1966-1973

and#147;Source: Music of the Avant-garde, 1966-1973 brings its extraordinary, historical explorations and experimentations to a new audience of contemporary music devotees, researchers, composers, students, and educators. This welcome volume reproduces Source's original, provocative issues in an unparalleled repository of articles, scores, graphics, photos, editorials, and reviews, featuring contributions by some of the 20th centuryand#8217;s leading experimental and pioneering composers and performers. Larry Austin and Douglas Kahn have provided us with a true gem and an invaluable resource for future study.and#8221;

and#151;Elainie Lillios, Associate Professor of Composition at Bowling Green State University

and#147;Source was an audacious piece of new music entrepreneurship that could only have happened in the 1960s. I well recall discovering it in the stacks at the university library, flipping the pages and learning that you could just jump right off the edge of the known musical world. This was not a journal that provided information or mere perspectives on new music: it showed you the music itself. It brought you into direct contact with the excitement, provocation, beauty, audacity, ingenuity, and insight of the leading experimental musicians of the day. You might be offended, intrigued, inspired, amused, baffled, but the point was that you were right in there, seeing what was going on and deciding for yourself what you wanted to make out of it. How wonderful it is for this liberating historical moment to be reincarnated; who knows what musical adventures this re-publication will inspire.and#8221;

and#151;James Pritchett, author of The Music of John Cage

and#147;This long awaited reissue of important documents from the late 1960s, including graphic scores, essays, and articles, is an indispensable anthology of cross-disciplinary ideas about music and composition. This is a fascinating treasure trove of musical counterculture, absolutely relevant today.and#8221;

and#151;Christian Marclay, visual artist and composer

and#147;Source was an essential document of its time, a music magazine that made beautiful musicand#151;and beautiful art. This was one of the reasons why I was delighted to be able to reissue all the recordings on a three CD set on Pogus. This book now puts all the print issues in oneand#8217;s hand, bringing us as close to having Source again as we are ever likely to get."

and#151;Al Margolis, Pogus Productions (www.pogus.com)

and#147;There was a glorious moment at the cusp of the 1970s when all our musical road maps became obsolete overnight. Young composers relied instead on the accounts of voyageurs, many of which were printed in the pages of Source. Austin and Kahnand#8217;s meticulous compendium carries us back to that heady, pre-Web time when anything seemed possible.and#8221;

and#151;Nicolas Collins, Editor-in-Chief, Leonardo Music Journal

“Many unexpected delights.” Gramophone

and#8220;Source was there to document all the crazy changes in . . . art-music that we're always trying to one-up one another in our purported and#8216;vast knowledge ofand#8217; here in the TMT office. Score.and#8221;

and#8220;Fascinating. . . . A healthy collection of prose descriptions trying to account for what was going on at the time.and#8221;

and#8220;Remarkable. . . . The book is a delight to hold and view. . . . Highly recommended.and#8221;

and#8220;Many unexpected delights.and#8221;

Source: Music of the Avant Garde was and remains a seminal source for materials on the heyday of experimental music and arts. Published from 1967-1973, it included some of the most important composers and artists of the time: John Cage, Harry Partch, David Tudor, Morton Feldman, Robert Ashley, Pauline Oliveros, Dick Higgins, Alvin Lucier, Annea Lockwood, Anthony Braxton, Cornelius Cardew, Karlheinz Stockhausen, Nam June Paik, Steve Reich, Gordon Mumma, Max Neuhaus, Jerry Hunt and many others. Source documented crucial changes in performance practice and live electronics, computer music, notation and event scores, theatre and installations, intermedia and technology, politics and the social roles of composers and performers, and innovations in the sound of music. Source founding editor-composer Larry Austin and historian Douglas Kahn have revived this path-breaking publication to spotlight the period and allow it to inspire new generations of musicians and artists.

The journal Source: Music of the Avant-garde was and remains a seminal source for materials on the heyday of experimental music and arts. Conceived in 1966 and published to 1973, it included some of the most important composers and artists of the time: John Cage, Harry Partch, David Tudor, Morton Feldman, Robert Ashley, Pauline Oliveros, Dick Higgins, Nam June Paik, Steve Reich, and many others. A pathbreaking publication, Source documented crucial changes in performance practice and live electronics, computer music, notation and event scores, theater and installations, intermedia and technology, politics and the social roles of composers and performers, and innovations in the sound of music.

Larry Austin was the founding editor of Source and is Emeritus Professor of Music at the University of North Texas. Douglas Kahn is the author of Noise Water, Meat: A History of Sound in the Arts, and a Research Professor at the National Institute for Experimental Arts, University of New South Wales, Sydney.

Preface: Source in the Cause of New Music, by Douglas Kahn

Introduction: Larry Austin on Source, from an interview by Douglas Kahn

ISSUE NO. 1

The Editors | Preface

Giuseppe Chiari | Quel che volete

Robert Ashley

and#149; in memoriam...Esteban Gand#243;mez (quartet)

and#149; in memoriam...John Smith (concerto)

and#149; in memoriam...Crazy Horse (symphony)

and#149; in memoriam...Kit Carson (opera)

plus Letter to the Editor

Earle Brown | Form in New Music

Harry Partch | Lecture

Harry Partch | And on the Seventh Day Petals Fell in Petaluma

Robert Ashley, Larry Austin, and Karlheinz Stockhausen | Conversation

ISSUE NO. 2

The Editors | Is the Composer Anonymous?

Toshi Ichiyanagi | Appearance, for 3 Instruments, 2 Oscillators, 2 Ring Modulators

Morton Feldman | Conversations Without Stravinsky

John Cage | 4'33"

plus correspondence and telephone conversation with the Editor

Gordon Mumma | Alvin Lucierand#8217;s Music for Solo Performer 1965

Jerry Hunt | Sur (Doctor) John Dee and Tabulatura Soyga

ISSUE NO. 3

Larry Austin, Stanley Lunetta, John Mizelle, and Arthur Woodbury | Groups Section

and#149; Gordon Mumma and Larry Austin | Sonic Arts Group

and#149; Robert Ashley | The ONCE Group

and#149; Musica Elettronica Viva | WORDS . . .

David Behrman | Wave Train

Will Johnson | First Festival of Live-Electronic Music 1967

John Mizelle | Radial Energy I

Frederic Rzewski | Plan for Spacecraft

Pauline Oliveros | Some Sound Observations

Robert Moran | Titus Number 1 for Amplified Automobile

The Editors | Comment

ISSUE NO. 4

Robert Ashley | The Wolfman

John Cage and Lejaren Hiller | HPSCHD, interview by Larry Austin

Larry Austin | Accidents

ISSUE NO. 5

Anna [Annea] Lockwood | Glass Concert 2

Christian Wolff | Edges

Dick Higgins | Boredom and Danger

Stanley Lunetta | Spider-Song

Max Neuhaus | A Max Sampler: Six sound oriented pieces for situations other than that of the concert hall

Larry Austin | Events/Comments

ISSUE NO. 6

Dick Higgins | The Thousand Symphonies

Philip Corner | Anti-personnel Bomb

Editors and Respondents | Events/Comments: Is new music being used for political or social ends?

Jani Christou | Enantiodromia

Frederic Rzewski | Street Music and Symphony

ISSUE NO. 7

John Cage and Calvin Sumsion | Plexigram IV: Not Wanting to Say Anything about Marcel

and#149; Barbara Rose | Not Wanting to Say Anything about Marcel

John Dinwiddie | MEWANTEMOOSEICDAY: John Cage in Davis, 1969

Dick Higgins | Towards the and#8217;70s

Arthur Woodbury | Velox

Pauline Oliveros | The Indefinite Integral of Psi Star Psi d Tau Equals One

Mark Riener | Phlegethon

Alvin Lucier | I Am Sitting In A Room and Vespers

Ben Johnston | How to Cook an Albatross

Jocy de Oliveira | Polinteraand#231;and#245;es

ISSUE NO. 8

Sven Hansell and Harvey Matusow | Fylkingen 1970

and#149; and#197;ke Hodell, Mr. Smith in Rhodesia

and#149; Bob Cobbing, Chamber Music

and#149; Ferdinand Kriwet, Rundscheibe XIII

Lowell Cross | Audio/Video/Laser

Morton Feldman | Boola Boola

Larry Austin | Caritas and Transmission One

Stanley Lunetta | Moosack Machine

Peter Garland | and#147;Sea Feverand#8221;

Larry Austin | Editorial

ISSUE NO. 9

David Rosenboom | Noise Abatement Resolution

Anna [Annea] Lockwood | Piano Burning and Tiger Balm

Nelson Howe | Fur Music

Nicolas Slonimsky, Mand#246;bius Strip-Tease

Stanley Lunetta | Events/Comments

and#149; Donald Buchla | On the Desirability of Distinguishing between Sound and Structure

The Editors | International Carnival of Experimental Sound

ISSUE NO. 10

Alvin Lucier | Gentle Fire and Queen of the South

and#147;Naked Softwareand#8221;

and#149; Harvey Matusow | Naked Software: 12-Cassette Spatial Sound System

and#149; Anna [Annea] Lockwood: River Archive

and#149; John Lifton | Project: International Concert of Public Noise

and#149; John Lifton | Interface 3A

Stuart Marshall | and#147;Exhibition on 3 Hillsand#8221;

Steve Reich | and#147;Music as a Gradual Processand#8221; and Pendulum Music

Anthony Braxton | 8KN-(J-6)

1

R10

Cornelius Cardew | The Great Learning

Cornelius Cardew | The Scratch Orchestra: Draft Constitution

George Brecht | Land Mass Translocation

Christopher Hobbs | The Friesian Cow

a.d.r. | Portsmouth Sinfonia

Gavin Bryars | Verbal Pieces

Pauline Oliveros | Sonic Meditations

ISSUE NO. 11

Ken Friedman and Stanley Lunetta | Editorial

and#149; Ken Friedman | International Sources: Notes on the Exhibition

Ken Friedman | NYCS Weekly Breeder

Max Neuhaus | Water Whistle

Robert Filliou | Telepathic Music

Image Bank | New York Corres-Sponge Dance School of Vancouver

Nam June Paik | and#147;My Symphoniesand#8221; and and#147;Postmusicand#8221;

Charles Amirkhanian | and#147;xvurtand#8221; and and#147;bcuhlaand#8221;

John Paul Rhinehart and Stanley Marsh 3 | Chromatic Tree Harp

Appendix: Complete Contents of Source

Credits