Report From The Front

,.
REPORT FROM
THE FRONT
· issues 1-9
June 1979
edited /published .by
Beth Anderson
Copyright Beth Anderson 1979
Guerrilla criticism concerned with The Kitchen's 1979 'New Music New
York' festival . th e Music Critics' Association meetings and the New Music
Conference of 1979.
REVIEWS FOR THE CRITICS: JUNE 8 at THE KITCHEN
by Beth Anderson
After all these years 9 Mro Reich is too fucking louda Men hitting thingsa I remember
hearing this piece in 1973 in a big church in Berkeley and it was voluptuous a His music
needs a hall with high ceilings and rugs o
Aside from the sound 8 the formality is reassuring .. =rather like having your parents
stay together for your sakea Comforting& but bad for the stomacha But, its fun for
the players==wearing black shirts and getting off beating skins a
*****
Sing only long tones .. Contribute
11 one of your own and then tune to someone else's. 11
Mso Oliveros disappeared and waves of pitches appeareda Power tripping by the
audience., Everyone wants everyone else to sing their pitcho It sounds like an
Orff-sound-alike=at=the=movies 9 just before the wife goes insaneo It really is
gorgeous.,
She wears red= .. looks red==has amulet and Indian overlay-~ looks comfortable without
shoes 0 She is pulling the sound out of us and we get offo Its like the Episcopal church
where everyone sings almost everything ......participation .. =but better, since its not
possible to be out of tuneo For this one, there is great admirationo
*****
Mra Glass got a haircuto He& with Mr. Reich 9 believes in the great spirit of amplitude .. ~
but he reminds me of Bacho Organists through the centuries., Electric organ with
beautiful pedals-=played with boots at a slanto That constant five ...finger techniquea lots
of notes flashing by- .. genuine harmonic and timbral alternations (to be 'changes I he'd
have to stop going round and .: round and round). The bass movement cannot make up
for the fact that the longer he does this to mea the louder it seemsa He and Mro Reich
resemble each other more than they knowo
If this is church, why has God sent this music to me 8 and if its pop music,, why can 1 t I
have a drink?
*****
11 Hey, Hey, Hey' to Mso Monk with the flower in her hairo The piano repeats sounding
like rhythm back-up for a folk ...rock band, but the singing over top is like nothing •
except Monka The second song (doo ..who=yin ) becomes echoes of 1 dyin 1 and seems
. to be what to sing if you're an ancient french laundry woman kvetching about work on
an expressive day.
The,, she gets going and just takes me away and whatever she's doing is so strong,
so tough, so real» so herself .....it makes people cry.. It's theatre in sound., She did
two slow ones and a fast number and did every kind of J;1inging in the top of the spectrum a
*****
The conc e rt presented: the loud, the beautiful, the very loudi& the amazing, and the
agomz1ngo Mr 0 Ashley 9 a truly wonderful composer on every other occassion, is the
representative for the last catagoryo Tonight he is like all the rest of the boys--too
fucking loud 0 The saving grace is that its an old piece and it us es the wretched
volume to endeavor to say somethingo Looking at his pained expression as he screams .,
I know how he feels a It may be important, but it sure is painful.,
Why does everyone like this freaked out violence number? With the planets lining up at
seventeen degrees,, we can hope for the end of the world and the rebirth of acoustic lifeo
Read Shelley Rice' ,s article IMAGE-MAKING in this week's SOHO NEWS and reply!!
REVIWS FOR THE CRITICS: June 9 at THE KITCHEN ( report from the front 11 # _2)
by Beth Anderson
Since the Institute on Contemporary Experimental Music (Music Critics Assdciation)

sessions are running simultaneously with this incorrectly named festival~"New Music 8
New York 11 it is important

11 to report that the sessions yesterday were DEADLYo
Michael Nyman explained about some festival in Europe that was sponso,:red by the
Ce I.Ao (see the summer issue of EAR MAgazine Po 10 for details)o He muttered 11
semi ...miked and getting softer 11 reading his own article as if he had not seen it beforeo
He spent a great deal of time creating catagories and battle lines between compos erso
He quoted other people out of context and even then, did not succeed in making any
pointo The trouble with this very friendly looking man is that he is very argumentative
while lacking any logical argumento
Tom Johnson· succeeded in being heard, but he spent something akin to an eternity,
reading his own reviews from 1972 and 19730 Mro Johnson appears to believe that
arts administration is more responsible for differences in music~! styles, than ~the
composers areo He also feels that the composer must duel to the death with the
performer for controlo One of the ways you can tell uptown music from downtown
music 11 according to Mro Johnson 8 is that uptown the performer is in controlo This
is just sillyo We were also informed that Phil Glass' music had become les ,s experi~ntc:
and more accessible beca,us e it had increased in speed. This was in contrast to
Phill Niblock's music which he claimed had continued to be idealistic because it was
still long and static• and therefore.,, extreme and truly experimentalo The fact that
one composer is changing and another one is not 9 does n:ot make one more idealistic than
anothero So much for the morning and afternoon sessions.,
By eight o'clock the people were gathering to find out what is happening first hand, from
the composerso Spencer Barefield performed an extended jazz solo on guitar, without -·
a bando It reminded me of all Liszt's grace notes strung together- .. without the tune etcc
The changes in timbre suggested various string instruments from around the world 9 but
at the end of his alotted time, he made a graceful little cadence and stopped.,
Marc Grafe performed an old piece of his, ,"Artlj; Artistry& and Artness"-•reading into
a handful of mikes creating loops of sound out of loops of thought concerning the "thingly
character" of art.. This piece extends Terry Riley's live-performance techniques intb
the area of text .. sound. It is f lullaby for the children of the age of communication
pverload.
Garrett List's A-1 Band did short versions of a variety of pieces and combined jazza
text-sound, and electronics in an entertaining and human sort of way. Everyone in the
group did interesting things and managed to be sexy while singi;tgp,bout getting a local
loan of up to $2, 500., They needed to have their drummer 9 but life is full of problems.
Peter Zummo I a very talented trombone player, played long tones and what sounded like
multiphonics while Stephanie Woodard did a kind of weighted swim-walk dance. Leo Smith
played horn in his piece -•something which closely resembled Mrc Zummo's work, minus
the dancer., He seemed to run out of things to do and deteriorated into dwaddle at the enda ,
Karl Berger brought all his students down from upstate and did a big ensemble pieceo The
flutes, violins, cello, reeds, even double reeds! 1 bass, and tuned and untuned percussion
created a nice 9 comfortable meadow of sound with rolling hills and water slideso You
know Karl isn't taking you anywhere, so you might as wellA~g sceneryo All the music
this evening was tied to jazz in some way- .. except Grafe,. Since many composers work
between new music and jazz, one wondelfshow curatorial decisions were madeo
.Kl'., v .1..t'.. VV.:J .l:' u.K .1 rt.I:'.. 1..J.KLL!vei: June 1u at THJ:<.; KlTCHJ:<.;N (report f r om the front, # 3)
by Beth Anderson
Since Eno fans filled the 52 White Street hall on Sunday 9 this reviewer was unable to
attend the festivities 9 but rumor has it that: 1) Eno believes Shamanism to be the basis
for fameb 2) Fripp hates cameraso 3)Fame .has not affected Glass since it came so latec
4) Jenkins works and dislikes the mediao 5} The editorof dCTOBER Magazine thought
no one on the panel was speaking to the announced issues and that the whole trip was
ridiculouso 9) Rockwell believes that the NEW YORK TIMES does not constitute mass
mediao 1) The audience didn't believe Rockwell and 9 reportedlye booooedo From in-
pers on interviews outside the hall 9 this reviewer discovered that Fripp has a repu t a t ior
for telling people what he thinks and that old rock records that sell for $1 are worth ito
As the full moon rose over The Kitchen/) Charles Amirkhanian's "Dutiful Ducks 1\ 1
beautiful dutiful ducks,, danced textily over the sound systemo The second piecell
11Audience 1 ' with visuals by Carol Law ,D was more interesting visually than aurallyo
Connie Beckley's 11 Tiptoe 11 consisted of the balancing of two speakers on their edges
with wedges while the poor speakers were busy playing and singing 16-beat phrases
of tonal mattero A woman moving large objects is a great image 11 but Mso Beckley
didn't d·elivero
Jon Deak portrayed a one-person band out to entertain a friendly crowd in straw-hat ...
weather. With percussion on his feet 9 harmonica around his neck, keyboard on
waist, and string bass everywhere else 9 he told the sentimental but energetic story
of a flatlander 1 s desire to move to Coloradoo Aside from the difficulties with the
speaking and the tuning 11 he had a great time and we did tooo If this is vaudeville 9
why do we have to go to the Kitchen to hear it?
pieces
A reincarnation nar r ative made up of parts of various theatre/ by Jill Kroesen came
next. The arias used to illustrate this amazing routine included, 'Broken Wing' e
'I Wanna Be Your Leader' and 'I'm Just A Human Being'o Mso Kroesen sang with
herself and her band on tape in a style so cool it might be called 'lethargic rock'.
There was also some 'hypoglycemic hysteria' concerning the need of a fascist for
a hurnan dog companiono The limited pitch range gave her work a quality of chant
or text-sound 11 especially when combined with inconsistent dictiono It represents
the o_nly truly experimental work included thus far in this festivalo
"Inv: .oluntary:.Variations #2, for electric guitars and pre-recorded male crying 11
was performed by the composere Scott Johnson 11 and Ned Sublette. As in Ms. Kroesen 1 s
work, there seemed to be a limited range 11 and the rhythm track came from the
CJ,"ying.,
David van Tieghem played with his toys and shared his favorite soundso At first it
sounded like an old Cage or Harrison piece from the 1930 1 s and then it moved on to
sound like Schneemann's multiple music box piece , Since it continued to wander
from plastic snake to beach ball to baby rattle to tube tapping to shamanistic light
percussion to starwars toys to aural-sex .. suggestive-vibrators to pink elephants that
played phase music to nervous duck puppets to trembling plastic hands to plastic
wrap with caps 11 it was clear that it was not a deliberate' hon'.lmage I to anyone in
particularo As Laurie Spiegel says 8 11 Every generation must discover beauty for
itself He went out with a gong.
0 "
Amirkhanian 1 s first piece was very strong and Deak 11 Kroes en and van Tieghem were
entertaining 0 And the beat goes on 8 disco-like, into the nighto Overheard in the
audience: 11Disco, punk, and minimalism were invented by the Nazis who escaped after
WWII. 11 Speak out 11 print it yourself- .. guerrilla criticism is good for you!!
OVERALL FESTIVAL REVIEW: June 10
by Michael Sahl
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HOMMAGE A RHYS
by David Feldman
Draw a straight line and shit on it.*
*Like Rhys' work, this piece combines a La Monte Young piece with the
implication of Punk.
IF YOU WOULD LIKE TO CONTRIBUTE YOUR WORK TO THIS PUBLICATION,

SEE BETH ANDERSON.
REVIEWS FOR THE CRITICS: June 11 at THE KITCHEN (report from the front#4)
by Beth Anderson
The morning Music Critics Association session on experimental mus .ic and rock gave
Mro Rockwell the opportunity to say : I) rock began as unselfconscious entertainment"'
2)by the end of the 1960 1 s people were making rockw ith artistic intent and experi=
mental composers were listening to it as some sort of art form .. 3)now both groups have
exaggerated respect for anduse of each other 1 s materialso One possible deduction frorr
this is that rock is no longer entertaining and experimental music no longer has artistic
intento Of course, this is not what he wished to implyo M:ro Nyman said that in Lond _on
the art ...composers are suspicious of and separate from, New WaveB or rock. New
music has taken from :rock the 48 ...track recording techniques /equipment 8 a restricted
time sense of 3 minutes, energy/aggression/physicality/rhythm/harmony, and the
possibility of entertainment as a compositional valueo Mro Eno described the differen ce
in compositional method by saying that rock is group produced (with the composer
providing a skeleton) ande I believe 11 that sensual success in music is more important
than proceedural successo Chris Stein said there is a music in France called Cold Wa ve 0
Mro Eno feels that rock and American music in general is sponge-like in that it abso rb s
other musics (experimental or research or country and other ethnic musics) easily
and if the rock or the American music is good 11 it transcends its influences and
becomes something greater than the sum of the parts. Something half way betweon
New Wave and experimental music cannot survive (based on evidence from genetics
concerning a 3 1 /2 toed creature) 11 so each of these musics must be themselves while
maintaining an attitude of musical imperialism , when it serves their purposes.
In defense of fashion 9 Mr. Rockwell argued that trendy excitement generates support
and energy for fashionable art .... and besides,g its amusingo The most peculiar thing
that he sa.id had to do with a responce to the question of why a larger geographic
and aesthetic area of new music was not being discussed. He said _that since 'this panel'
was connected with the Kitchen Festival 11 we should stick to the area of music being
performed there this weeko If this is trueill why is it legitimate for Mro Rockwell to
review the festival? If the festival were merely running simultaneously with this
conference, that would be one thing ......but if the critics who arranged the conference had
a deal to do with arranging the festival 11 there is something fishy in having them review
it. It is improbable that we will ever know their exact relationship., •·
In the afternoon we discussed improvisation in experimental music and George Lewis

was a big hita Mra Palmer, in white tennis shoes with summer suite began the
discussion with the question of risk in improvisation and the problem of developing
a language in which to improvise that perhaps no one will understand or like versus
the use of a cliche language that everyone will understand and no one will respect
you for inventing (because you didn't)o Mro Lewis felt that performance of any kind
is risky 11 but that in improvisation the performer /composer lives in three temporal areas
simultaneously: the present of music making, the past of the music after the first
sound has happened, and the eternity of aesthetic responsibility for that musico
"- .
Mso Perron, who comes out of a dance tradition ., voted for improvisation over compo ..
sition based on the idea that improvisation offers no time for reflection so, concentra=
tion is more intense, so th e mind is fully engaged and th e re is total involvement with
what to doe rather than how to do something best (which is composition).; She seemed
to believe that improvisation is more truly art because there is less time to think
about choices 1 implying that the creative right=brain is more involved and the logical
left.brain is more likely to short-cicuit.; An unnamed composer /pianist from California
asked: Why is composing supposed to be the same as thinking? That's a good oneo
JUNE 11 continued .....
On the other hand.s Bob Ashley said he thought it was hard to figure out what the
difference was between improvisation and composition when you are hearing the music 2
but that composition was more dangerous because it is not a res·pectable 1:hing to do
since its necessary to arrange things in a wierd way that no one really llkeso He
respects a great many improviserss but very few composerso
Peter Kotik replied that composition is composition and improvisation is improvisation

and they are very differenta They are only the same in that they result in some sort of
performanceo Another audience members Robert Rutman 9 in a further attempt to
define improvisation said that it is simply someone playing at home for hours and
hours on his instrument and hoping he can do as well in front of peoplea The attempt
to define the subject continued with various concepts being tossed in and then back out
again. Pauline Oliveros said that composition is slowed down improvisation and
improvisation is speeded up composition. To hers the most important thing is to get
risk into both and if risk is not present,, it is not worth doingc The problem is always
to discover where the risk is going to be.
And onward to the concert ......where Charlie Morrow with ocarina orchestra performed
a moving sound piece with a woodsy quality which was due to the cooing timbre of
the multitudinous ocarinas 0 Mr. Morrow vocalized a kind of chakra harmonization,
touching his forehead, lips and heart o Then.he performed trance singing and
told us his dream. Then there were two kinds of whisteling and rp.ore ocarinas. It
was lovely and gentle. Comments from the audience included: Nicea Its like the old
days. (and) He's sincerec
Philip Corner 1 s music was presented without the composer and was very mysterious
in that the musicians chose to play in another room. The photographers had nothing
to photograph so they went to look for the playerso In the hall we saw the reflected
flashes which contributed to the magic by resembling indoor lightning .;r,, It was a
minimal gamelan piece.,
Next, Malcolm Goldstein and Barbara Benary played Michael Byron's DUET for
violinso Mr. Goldstein approached the violin slowly 9 with determination 11 attacked
it suddenly resulting in sound and recovered from the sound in slow motion. This
activity repeated itself and Ms. Benary played a drone in contrast to ito Benary
speeded up her bow strokes and Goldstein used longer and longer bowing with less
and less recovery time until they stopped. It was a beautiful process primarily
because of the sound of the bowed strings and their lush, human qualitya
Mr. Goldstein returned to perform his own violin solo .....apparently an improvisation
of sensitivity and concentrated personal listeningo According to his notes., the rever ..
berations in his skull become his music 0 To me it res ·embled the imagined sound of
an ant climbing up (or down) a rain ...pipeo Put another way (more flattering ...•and there ..
fore better since its always good to see the brighter side) : 11 He listens and he has a
flair for timbre. It sounded like one long line with timbral variationsa 11
Bill Hellermann did what he called a virtuoso swivel=desk chair rock piece. It looked
very entertainingly fluxus, sounded like variations on a theme called 1 sqeak , and
1
seemed to have something to say about the connection between rock and experimental
musics 0 The obvious question is, will his next step be phase rocking?• will this concept
grow into an orchestral-size work? .. will the NYSCA go into the furniture business?
A very famous but unnamed c;:}tic said: 11! object. He has that chair tuned to a morning
raga and its time for an evening raga! 11
JUNE 11 continued Po 3 ! ! !
The final composition 9 MANY MANY WOMEN$ by Mro Petr Kotik was the most
beautiful and musical work on the festival to dateo An enormous work in many parts
and of vast durationl) of which we heard about 45 minutes in a version performed
by 4 pairs of musicians. Since Mro Kotik gave the audience permission to leave if
they felt the needl) they took advantage of his offer 9 especially after seeing the critic
for The VOICE leave. Stein 1 s text related to death 8 marriage 11 and the irregularity
of life after children 11 the satisfaction of one man, kissing and not kissing and needing
some kissing and so on, It sounds like intersecting organum.& Machaut 3 Gregorian
chant, Virgil Thompson, real music (I hope he doesn 1t get kicked out of experimental -
music for this), and Satie 1 s SOCRATEo Of course tt only really sounds like Mr. Kotik
but that should give you an idea of the sounding qua;lity. The continum was aurally
decorated with great care by both the composer and the performers. This work
represents one intelligent person's way out of the aesthetic convolution and confusion
in which we currently swim. Of coursel) everyone's attention comes and goes, but I
give .it a 10 (out of lO). , __
NOTES FROM THE TIN EAR

by Tin Ear (Merle Steir)
Head off; Charlie Morrow was #1 0 Hearing the clapping after Charlie 1 s final humane
silence was jarring. The audience was still unsettled. Maybe Charlie should have
ended the evening.
Michael Byron's DUET was new and perfectly bowed in the half light.
Malcohn Goldstein recalled some ear ache of youth and made it go away.
The low; the furthest from the new ' stage. the black draped windows, was the
1clammore' in the far Corner.
Someone squeaked a rosened chair and it formed a duet with those MANY MANY
WOMEN who left us. needing oxygen and a beer in the Earo:
,-
And a round for the dead heads thumping in the streets and the rollers overhead.
REVIEW FROM THE MORNING CRITICS' SESSION

by B. George
When Peter Gordon suggested that perhaps Rock and Roll is the Folk music of our
time and we only enjoy it, (or want to employ it in New Music) because we grew up
with it$ he made a great slip .. of-the•tongue that seemed to reinforce the geriatrics
of Rock., He meant to say that kids get the money to buy instruments from their
parents, but what he said was, 11 When kids buy their instruments off their parents'\
REVI E W OF MALCOLM GOLDSTEIN

by Eric Saltzman
The Paganini of Fiddle•Faddle
(Paganini in the Fun House Mirror)

REVIEWS FOR THE CRITICS: June 12 at THE KITCHEN
by Beth Anderson (report from the front #5)
Yesterday 1 s critics 1 session on jazz was a show! Garrett List said that his music
had been influenced by jazz 9 but that black jazz composers had als9 been influenced
by ito He said that he~ as well as the black jazz composers,, had been influenced by
Cage~ He said that he played jazz with new music players and new music with jazz
players and that a good player was a good player. Someone said that jazz was a
phenomen:on which existed from 1926 to 1933 and that after that 1 iti was not jazz 0
Stan.ley Crouch said that American culture is mulatto. Mahalia Jackson learned to
sing by listening to Bessie Smith and Caruso. He feels that white people can 1 t identify
with black creators and that white players who imitate black ones make more money
and are more respected- ...even though the black player was the innovator,, the model.
and a much better musiciano Mro Crouch also said that criticism before the critical
establishment in jazz consisted of: "It don't mean a thing if it ain't got that swing. 11
Mr. Palmer said something closely resembling the concept: consensus=criticism ...-
implying that musicians decide on the merit of other musician 1 s work (and imitation
is the highest praise) and the critics reflect that decision. Eric Saltzman believes
that it is a disease of the critics to attempt to find out what s new or what the next
1
new thing will be and that it's got to stop.; (All that in the last hour of the session ••• )
In the evening at the concert. Joe Celli played oboe. He played in a beautiful way
and developed his solo, breathing in an interesting way tht'oughout. He produced a sound
near the end that was new to me•=a kind of voiced ...tonestoppage" Mr. Celli took
his sound into the audience and faded away into the office area.
Barbara Benary's 1971 EXCHANGES had three violins on one pitch 8 then one slid up
and another slid down and the first note continued and was decorated, turned, trilleda
and some etheric tunes grew out of it • . The resulting triads were satisfying 4 The
formal unity of the piece resulted from the alternation between improvisatory
decoration and the steady droning. -
Don Cherry played African hunter's harp and talked/sang/disappeared/did s6mething

related to text-sound and knocked everyone out! He said:"There are so many possibili •
ties with the voice••say ah , not hah•-think about your belly button and say ah• 11
(and we all said ah ). The audience sang his chant and he decorated it and kept play ...
ing. Light metal and rhythmic strings. He said: And then they clap like this,; • .; clap. c.;
11
clap •• o (and we all clapped and he decorated that,, rhythmically). A good relationship ..
One audience comment that was repeated to me was: 11I guess they never heard a good
African hunter's harp player. 11 I guess that didn't matter ••even if it might be true.,
Tom Johnsonts Secret Songs was kind of soft most of the time. Since some of these
have been published in EAR MAGAZINE 8 we've had a chance to see them as process
pieces. Either Mr. Johnson has managed to memorize his phonemes or he was doing
an improvisatory version last night. He works in codes, but told us what they meant
so as not to be secretive. Once he did a tongue pop (I realize that a literal description
may give a sillier impression than the reality ·~des ·erves).; What took real guts was for
Mr. Johnson, who also writes criticism for The Voice 8. to stand in the spotlight and
repeat Dodo.; The pieces performed belong to the genra of text-sound.
Jeanne Lee collaborated with Gunter Hampel in what began as a prephonemic improvi s a ..
tion with key•clicking flute, grew into full voice and all•out flute with Ms .. Lee moving
to center floor reaching further and further out in body gesture and music., Mr. Hampel
moved to the corner and was a great deal more inwardly oriented., He eventually
played vibes and piano and Lee began to use words in an echoy way and to e x tend them.
\.&.'-"J:-"-'..L.""' .J..,!.V.1. ..L.L t...J.J.~ .L.L - VJ.J.L,J .r:-c,L-4 ~ .t-'o~
All in all it was a performance ritual of meaning 11 a give .. and 0 take between people
who understand each other, and a full 'dance of life 1 o
And now to Phill Niblock and .the -·simultaneaous performance of FOUR ARTHURS and
TWO OCTAVES AND A FIFTH (literal titles)o They were exactly as promised: 1four
channel tapes 1 with 1 the musicians playing acoustically in the space I o Mr o Stidfole
and Celli wandered about giving individuals a closer hearing" Perhaps in responce
to this reviewer 1 s cry for the continuation of hearing, the audience was warned to move
away from the speakers, but the amplitude never became painfulo This is very
clean, very plain music that some might call muscular and otj:iers might call muscle .. ·
bound. It gives you the chance to think of ways to entertain yourself and alternate ways
of listening /moving your ears /moving your whole body around the roomo You can 1 t
let yourself be passive with it or it will go right under you" Once you've got it 8 it 1 s
always 1 there 1 for you ,., _You ,can really count on it.
************************~~********more by Beth Anderson**********************
But what's really important is the necessity for more varietyo o .;And unnamed but
famous woman composer (uptown) is rumored to have said she was extremely unhappy
not to be included in downtown concerts and festivals.; Of course, some downtown
composers (the ones who are not separatists) are unhappy not to perform in Lincoln
Center. "Everyonell is unhappy that all the spaces aren't available to them and that
all the publishers aren't interested and most importantly that all tb:e funding groups
don't appredate their worko And thatis the obvious ...to•everyon~ problem: How to tnake
distinctions.; Also as everyone knows., where something is at stake there is usually
politicking .....the more at stake, the more vicious the efforts to catagorize and eliminate!
One · composer wanted to correct another composer as to the country of origin of a

particular form tlie second composer's piece had taken,, but was afraid to because
he says he 1 s new in town and doesn 1 t want to ruin his chances for success., I believe
that if he has something to say .....especially information which might help someone
to avoid futher errors in program notes or anything else••he should give it. And I
think that this fear of career destruction stops a lot of communicationc If th~ critics
had loud arguments with composers about the music, they both might learn something"
At least the energy might manifest some clarification, correction, change of belief
for one or both of theme If the critic runs out at the end of the concert and calls in
his aesthetic judgement before , or betweenv drinks 9 nothing happenso If the critic ,
loves you, you xerox 25 copies and send them to your relatives and grant agencieso
If he hates you, you cry 11 complain, drink, or say:llThe stupid bastarda He doesn 1 t
understand meo" Some people claim to not care--usually after receiving a good reviewo
People are to some extent, other ...directed and critics provide validation. In a culture
where art is not funded, except in very subtle and unpredictable ways, artistic
appreciation (socially, on a one-to-one basis, and publically from 9 theoretically,
intelligent, unbiased representatives of the cultural establishment) is terribly importanto
So, watch what you sayo (more about thisat the end of the conference)
Joseph D. McLellan:INTERVIEW (by th& editor)-•He 1 s from the Washington Posto o o

Q:What do you think of the music?
A: Tom Johnson's 'pokalockadukala' piece sounds like the opening scene in THE M.JSiC
MAN" Scott Johnson's crying track was the most interesting part of his pieceo
Q: What composers do you like?
A: Jo So Bach, Varese, Berioi the Rolling Stones before 'Let It Bleed', John Fahey
and on this series the music I'll remember most is the Oliveros pieceo And
Ashley s WOLFMAN 0
1
Q: What did you think of the S:i;i.nday session on fame and mystique?
A: It was a panel of butterflies with an audience of caterpillerso The caterpillers asked
Eno why he was a B., while they were a C 0 Sometimes they said: You re not a B., anywayq
11 1 1
(to be continued)••also comment from Larry Austin and other famous composers!!!
(report from the front) P.,3
A VANT .. GARDE INTIMIDATION
by Mi~ael Sahl .
When I was a stu~nt in the fifties 9 a young schm.uck from Washington Heights 1 writing
my strange hybridization of Copland, Shostakovich, and banjo music, at a certain point
I came in contact with some real members of what we called then "moderil music'\> and
they set me straight, to wit: they told me that I was not with it 9 and that I had better
shape up or ship out, and that the sound of music was not the sound that any really sophi ..
sticated people wanted to hearo Eventually, I gave in, and for a number of years wrote
the music that the VOICE critic regrets crocodilaciously that I no longer write 8 until -
one day I couldn't stand it anymore and went back to the old thing, not without fear and
trembling, for I knew that I would be an abomination in the ears of the justo
Nowii as a middle-aged crank, I am hearing from young composers their oft-repeated
versions of this story in their own lives; how they liked something terrible (romantic
music, popular music, opera) but took the purge painfully, and were born again into the
avant-garde and if they really keep abreast of what's happening and are careful not to let
any of the wrong sounds get into their work (and the rules for 16-century counterpoint
and Gedalge Fugue are permissive, compared to ~ rules) they can stay in, and may,
be so-and-so will say something nice about them in the paper ..
The question I am asking is- WHY? What will happen if everybody who feels like writini
their old licks writes them? What will happen if this community of fear dis solves? Will
the earth fall off its axis? Will the Russians come and send us to slave labour camps?
Will the Kitchen sink into the ground like Valhalla? The tradition of an avant-garde is
of a brave and diverse place, where whatever is unacceptable to the official community
is allowed to find a voiceo How did it become a crabbed, tradition-minded, academic
cloister, an orthodox synagogue,. a cultural Tibet? Is this really the sole legitimate
heir of Bach? of Schoenberg? of Coltrane? ·
Of course. the. real explanation lies with institutions and fundingo The performance insti-
tutions sit, like trolls, on the ' bridges of musical life, and they are the only game in towr.
because behind them stands the big mafia of arts funding 9 and unless you have the money
(plenty of it) to spend on yourself, you can't get heard, and even if you do spend it 9 you
can be bla .aked out by the TIMESi, the Supreme Court of the arts,, still pre _t.ty much the
only way out to a wider public., So everybody is scared to offend• and simultaneously
tries to attract attention by the right kind of_ sensationalism. so that they can be "launche ,
as they used to say in Pariso This creates a terrible climate of boosterism and don 1 t ..
rock•the•boat ...ism, which we are presently enduring. People mutter._ but they donrt
speak out. They still hope to put together that magic Exacta of the Kitchen, the Times 9
and the Colleges.; In the meantime 9 we listen to the concerts, in an attitude of something
less than messianic expectationo
If we are to have a rebirth of musical life 9 we need new performance institutions (and
diversity of them) and we need new media to propagndize and argue about ito A debate ...le
art i~ a dead art.
r****NA TIONAL PUBLIC RADIO is doing something about this 0 Planned for next year
is a nationwide series called RADIO VISIONS: MUSIC OF OUR TIME, which is going to
be thirteen one-hour programs of new music {"up to a year old 11 says Steve Rathe) and
is beamed at a diverse, everything audience, that can _hear what composers do instead
of making up their minds from the writings of taste•makerso FOR INFORMATION
WRITE : TOM BAR TUNIK WXXI 280 STA TE STREET ROCHESTER N. Y. 14614
\.LV.PK./..LL, -L.1.VJ..lJ. l,.1..L\,,., .1..LV.L.1.l, II--'} ..LG ..L
Uear tditor:
As Publicity Associate of The Kitchen, I would I ike to correct a misunderstanding about the
structure of these events which has cropped up in recent issues of report from the front. A
passage in issue #4 read, 11 ••• [John Rockwell) said that since 'this panel I was connected with
the Kitchen Festival, we should stick to the area of music being performed there this week.
If this is true, why is it legitimate for Mr. Rockwell to review the festival? If the festival
were merely running simultaneouslywifh this conference, that would be one thing--but if the
critics who· arranged the conference had a deal to do with arranging the festival, there is
something fishy in having them review it. It is improbable that we will ever know their
exact relationship. 11 I believe that report ••• has mis-paraphrased Rockwell several times,
but this is one case I can clarify. NEW MUSIC, NEW YORK is a concert series as its sub-
title indicates (11A Festival of Composers and their Music 11). The Institutes of the Music
Critics Association are sponsored by the MCA. The two events are funded and administered
separately. None of the MCA planners were consulted on programming decisions or ,otb ,er
aspects of the concert series. In fact, when w,e showed Rockwell our list of participating
composers (quite late in the planning stage), he refused to comment so as not to jeopardize
his critical distance. It is hardly a breach of ethics for Rockwell to review these concerts.
The Institutes and Festival were scheduled to run concurrently because we believed a con-
fluence of efforts would benefit the new music community as a whole.
A second matter: an earlier issue suggests that the festival's title is a misnomer. I am the
person responsible for titling NEW MUSIC, NEW YORK. The comma is included in the
title to stress the title's address-I ike quality: this is a new m~sic festival taking place in
New York. The merest glance at the publicity or program confirms that the festival is not
geocentric. Composers now living in Texas, Massachusetts, Michigan, Vermont, California,
1llinois, Washington State, various cities in Great Britain and other places are included. We
spent a good portion of our anemic budget on travel for composers. It annoys me to hear em-
bittered locals complain that this festival is parochial. · (
erII-
Sincere! y,
Joe Hannan
I
I
Don Cherry played the Du-: :p:
zon Goni (african hunter's ·1
guitar) and spoke sung cro-
uched ·over a hip high mike
in a posture to instruct elv-
es or infants. On the back-
drop wa.:l, 1 the hunched sha-
dow appeared wired to a
spade. A startling conbina-
tion of new old new old new
old new.
In compoarison, Tom John-
son's simple secret songs
was pale; Jeanne Lee's Col-
laboration was flowery; Joe
Celli 's Transofrmation was
basic breath; Barbara Bena-
Triads were trying; and Ph-
ill Niblock had the final note
to end all. . . , 1
· · )JON c t-H::--g.RV
,.g8-
When Don Cherry left the ,sta"" · , ' ! ·
ge, the audience forgot where
..... ...- ...... ~ ......... ..,_ ......,..._, . J...L.L...1--1 ...._.,,.J..'\...L.1..1.'-'U• tJU.J..lC:: .1.J d..l.. J.l. - .LJ..:J .L~.LJ.\.....ID..C.....!~
by Beth Ander son (report from the front .#6)

Yesterday the critics' conference talked about what it does and what its members are:
critics who criticize, critics who compose, critics who perform or usedto , ex .. critics,
e,x .. composers, etco Mro Rockwell discussed ·the best bacl<ground for critics, the
possibilities as to who actually read reviews and for whom they written, the functions
of the , critic, the possible ways of writing (descriptive, evocative 9 reportive, literal,
judgement ala a.), and the affect on the composers I and performers I lives of the review 0
Mr 0 Fahner felt that people don 1t pay attention to reviews anyway (which explains a lot
about what he writes}and that if he gives someone a rave that it won 1 t increase their
audience (at least in the Soho scene) but it might help with grants/records 0 Mr 0 Johnson
wished that people would not read reviews solely for their value judgements and that
they pay attention to WHY he liked something., He likes to use the word interesting 1 1
because it implies that the work kept his attention 0 His most interesting information
consisted of his explanation of what it means when he comes to your concert and doesn't
write about it: he thought it was a work ...in=progress and not together enough to review,
or he really thought the work was bad and he was embarrassed to say so, or the work
did not fit into any ideas he had on broad issues. Mr 0 Nyman began again to read to us
but stopped after a definition of criticism which included the words 11 1 normative 1,
'speculative\ 1 art , 'seience

9 1 8 'explanation's 1 ambiguous 19 1negative 10 and 'musical
journalism'o (Now .. swhat was that about?) Mr 0 Nyman,, however 0 endeared himself to
most by saying that one day (when he was a critic) he said to hims elf 11 "I can say I like
it 0 I can say I don't like ita Or, I can say it's okc. 11 He just couldn't decide 9 so he
stopped doing it and became a composer (instead o.f a critic ...composer) 0 Eric Sa1tzman
says : The troll!,ble with critics
11 is that they are forced to have opinions when in fact
most of the time they really don 'to 11 Since this is not a transcript 9 I'll proceed to the
point ......the musico .
Larry Austin's CATALOGO VOCE for bass ...baritone and tape was made up of short
phrases sung in Latin and English primarily using a text of terms dealing with odology.,
The tape had digital and vocoder portions o The singer had a moustache 0 a pitcher of
water• a piano 9 a lamp. a model of the vocal mechanisme and a push button for the
slides illustrating the terms. Very theatrical/entertainingo Doubtlessly it's been
done before, but it was good to see and it is .!!,2.tnecessary to be the first,. all the time.;
George Lewis improvised with Kim .. 1 Mic;ro ...computer on his tl'ombone.; He stood •·
listening to it,.looking very innocent 11 for awhile.; When he played there was a very
round sound 0 It was lovely to hear music with a melodic and contrapuntal orientation
again 0 At one point he had a phrase that he repeated and varied & but he did not do it
as though it were an obsession.; The gentleness and relaxation of the performance gave
an ambiance to the improvisation that was much appreciated and respected. Concerning
Mr.; Lewis' performance, Lucia Dlugaszewski said:"One of the nicest things that's
happe .ned on this festival 0 ''
CHA DABE REVIEWED TOMORROW •••
Laurie Spiegel's short improv on digital computer sounded like snowflakes bursting in
air with the r _aw materials dwiddeling down from a place high above. over a deep
wobbly volcano ...like sound 0 At the end it became calme streamy,, sensual» and then it
stopped 0 Both of her pieces tonight had an image ...p:roducing effect on this reviewer.
as well as a kind of narrative fee la VOICES WITHIN , a tape -composition made on the
Electrocomp(a fairly historic model) 0 was new and beautiful.; It evoked the feeling of
multitudes crying for help in the dark,, far away. with the wind blowing ci Lives were
flashing byo Again there was that quality I call 'streaming'.; It .faded and surged in
again., seethed 11 slid out, and came to rest on a second inversion tonic.; Carol Baron
(a musicologist) said:"This is straight out of the European romantic tradition and its
really nice.; It had · a real beginning 9 middle 9 and end ....-with a developmento And a
real coda 0 11 It was a beautiful extension of the idea of the character pieceo
Alvin Lu c ier's work ...in .. progress for amplified piano was the work of a patient man
who says he doesn't mind taking his chances (in the performance situation, I assume)o
The pianist played an excruciatingly slow scale (20 minutes for 8 pitches approximately),
Each tone \fas suppo _~ed to create a 'spacial shape' in feedback"" ·'='due to the electronic
set"'.'up. Mr. Lucier chose the scale so as to a:void implying a melody/other kinds of
musico The tempo was slow in order to hear the entire envelope of each noteo It
really didn't work last night, but he needed more set .. up time and he intends to modify
the electronicso The audience was impatient,and for good reasons but everyo_ne takes
their chances with music that is really an experiment 0 I am reminded to say: 11 Don't
laugh at the composerso You paid to get in 11
0
Charles Dodge set some Beckett text in synthetic voice apparently made from tritoneso
Some electronic music-type sounds were interjected between the machine""like voice
and the man=like voiceo The piece might have worked better had it not been at the end of
the programo It 1 s text kept saying it was going to stop ("And I closeo ") and then.it
would continue o After Mro Lucier's scale 8 this dated choice of text did not have
a chance, even if it is true that it was a sensitive setting 0Since it wasn 1t listed on the
program 8 it _was .jrnpossible ..to tell if it was possibly an old work!"''"'which would tend to
lend it a classic air, rather than a dated one 0
CONGER T REVIEW
by Alec Bernstein {Svexner}
Never before in my life (Baltimore) have I seen 6 such beautiful sunrises .and sunsets
from one kitchen wind,ow in only _one dayo
IN_TERVIEW WITH A CRITIC (Joseph D., McLellan of the 'Washington Post') .....by editoro
Q: Why do ' YOU write music criticism?
A: Dro Samuel Johnson said, "The only reason to write is moneyo 11
Q: Do you think I should be reviewing these concerts 11 or is it foolish?
A: Oh., it's different with youo You're an idealist 0
Q: What would you like to see in Soho?
A_:A monument to the unknown composer consisting of a speaker 8 amp, and about a
55 cycle toneo
Q: Are you a musician?
A: I'm a classical guitarist and I wrote some music ( a march,. a guitar and flute
sonatao o.;) to see how its done and go through the process•eso I would know what its ,
likeo
Q: What do you think about the Soho scene?
A: Everyone hates and envies Reich and . Glass who probably hate and envy Stockhausen
who probably hates and envies Bach.. Soho composers are supposed to not be driven
by greed and ambition, but I haven't noticed that to be trueo
Q: What about rock?
A: I like the idea of New Wave 8 but I haven't heard very much of ito Rock died in 1970
and New Wave is the reincarnation of Rocko
(At this point another critic., Ed Ward, said: It brought back an old way of having fun
in a new wayo}
Q: Did you like Don Cherry's piece?
A: He used less than 10% of his talento
Q: What about Charlie Moa-row's?
A: Charlie Morrow is a sweet person.,
Q: Hellermann's?
A: He didn't explore the possibilities of the chair as a percussion instrum.ent, nor did
he exploit the possibility of sustaining a note by swivelingo Minimal implies the lack
of a thorough investigation of the possibilitieso
Q: How about Phil Glass' performance?
A: I like Glass on principle, but not on this occassiono
treport 1rom the front 1/'b) 0 P 3
Q: .And everyone else?
A: Meredith is absolutely a genius ......and brillianto I love Garret List's music and
David van Tieghem was funo
(Yet , another critic_. who said he was from Texas but wouldn't give his name 9 · suggested
__to me that I needed a new typewriter and better spies .....at this pointo)
Q:What is your overall view of the festival?
A: The problem they had was how to get 50 compositions with no bad momentso I
believe in Theodore Sturgeon's Law: 95% of science ...fiction is shit and 95% of everything
is shito (CUE critic 9 Brad Balfour said he agreed with Sturgeon» but that 95% of the
festival was not shito What does this mean about his logic?) How do you pass judgeme n
on music that falls outside the range of critical judgement? If you compare Beethoven's
C# Minor Quartet to Soho music, Soho loseso But 8 put it in context and recreate the
memento If you just describe what happened, it seems sillier than it iso Experimental
music makes good copy, unless its completely seriouso There is an ambiance about
new music that makes it work- .. not a process 11 a proceedure, or a realityo
The composers are sitting duckso They ;'re easy to knocko John Simon at NEW YORK
MAGAZ}NE gets a reputation for being brillianto If I were oriented as he is, I'd get
a reputation for being brilliant by being brilliant and destructiveo
Q: . How do you decide what to write about?
A: I write about what I like, to try to use my time properlyo Sometimes I write about
something bad /negative just to be unpredictable and to flex my muscleso Once in a
while people need to be warned about famous artists who have reputations built 20
years ago who don't deserve current attentiono · But if so ...and .. so 9 who you've never
heard about, does something I don't think is good 11 I don't bothero It's not news when
someone performs as expectedo Serkin playing well is just not newso News is either
someone with no reputation doing sor;nething worthy of one ...""or someone famous doing
something unworthy of their reputationo The critic should function in the gap between
expectation and reality••to contribute somethingo
Q: Are you a music critic at the" 1 Post''? ·
A: I'm a general assignment reporter who does music and book reviews.. In the seas on 9
I wr.ite about 3 or 4 parties a week {Sept 0 .. June)o The 11Post 11 has one music critic
but it has a lot of criticso
Q: Why did you come to this conference?
A: I wanted to be more familiar with this musico I only go to conferences I'm paid to go
too ~
Q: What do you think about Mro Nyman 's ideas?
A: Soho is a reaction against Nyman's avant•guarde (the serialists)o The tradition of
Western music is being challenged in a few grubby blocks of lower Manhattano
(to be continued)
QUOTES FROM LARRY AUSTIN
''Experimental music" : is a euphemismo It covers everythingo In the l 960's the avant•
guarde fought the nee-classic/academic, · and won,, but they didn't get good treaty
agreemento Experimental music has a common practi~e nowo Samuel Adler says
..'isn't it wonderful that we're all writing music •, and_ thinks 'but I wouldn't come to
hear yourso' Tuesday's concert was very nice. A whpe back I asked people what do
you think about SOURCE coming out again and they said 1that 1 s nice 1o No one said that
when it was neW••SO it1s bullshit. But, I'm writing nice p·iecei=; tooo Wednesday'i=;
concert, on the other hand, was goodo
ENO TALKS ABOUT NIBLOCK
"I _w.3.sn 't ~oved a~d I wanted tC?_be becc11.1se I had heard _go()d Jperf@ :rma,.nc~s _) beforeo
lt 1 s more fun if you're lying down 0 11
MARY: 11,AQ;..RTHUR ON "REPORT FROM THE FRONT 11
250 people read each copy of this review.
AD TRADE: Subscribe to EAR MAGAZINE by sending a $10 check made out to
NEW WILDERNESS FOUNDATION to: 210 Sullivan St 08 #2C 9 NY NY 10012
lreport tron:i the front r/'b) P.4
REVIEW:
Tin Ear was teched out last evening. A Shure sign of the times not heard but
seen. No piano player just a column for a speaker.
Chadabe's Solo will soon be the sound track for a Draino commercial.
The black -head on the mike stand was a prop of prophecy. It follows if films
can replace actors, speakers will replace musicians; live is dead.
(drawing of Lucier's piece by Tin Ear)

REVIEWS FOR THE CRITICS: June 14 at THE KITCHEN
by Beth Anderson (re:eort from the front _#7)
Running simultaneously with the critics' conference and the music festival, there has
beenanotrer Kitchen related activity called a 111 New Music Conference~' Their .discussions
have centeredaround the development of access centers (getting the equipment to make
the art} 9 fundraising, and presenting organizations (spaces that put on events)o The
business of 'bureaucratizing' the aesthetico It 1 s called 1networking 1 at the meetingso
Bob Ashley says he believes in (another wonderful word} 1contemporanity'..,=the replacemer
of music that went before with 'our' musico He used the image of the importance of
having an orchestra to be able to hear your music in an earlier age 11 as being equivalent
to having studio access todayo (I personally want botho )There was a great deal more
saids ..and if you'd like to hear about it 11. subscribe to EAR Magazine and get it next
issue:(send $10 in check made to New Wilderness Foundation but mailed to: 210 Sullivan
St 09 #2C 11 NY NY 10012)0
Last evening's composers were a mixed baga Tony Conrad began . the concert by
banging on the pianot> attempting · without luck to play, to play something tonal in time
with a metronome. giving up and playing an ugly improvisation with two metronomeso
I suppose he thought it would double the funo (If you can 1t get along with one lover 8 maybe
what you need is twoo) He eventually found his way ,out of the aesthetic delimma by
mechanizing the pianoc It was untitled 8 a_s it should remaino
David Behrman made pretty curly sounds that moved lightly up 11 up and awayo 'Then .
1plop 1 , 1plbp', 1plop'. plops' came down and amplified sandpaper entered when the
curly sounds went back upo The sandpaper was live with Arthur Stidfoleo Frankie Marin
was announced as a performer 11 but it was tremendous~y unclear as to what she did 11
since she was off stage in the darko The touch-sensitive switches were visible on
the hanging image bf a hando A black box opened and was shuto A hairdryer and
drill made less effective entranceso It was a lovely work concerned with a counterpoint
between acoustic and electronic textures., It really waso
Next we heard Mro ...Piss-On-The ..Audience himself=o;oCharlemagne Palestine (a tremen ...

dously talented creature who is currently suffering from a 1Rite-Of-Spring 1 -complex- ...
but if he ever gets an orchestra to play his symphony-in-progress, we'll have some•
thing gorgeous ) He did a solo in the dark which consisted
0 of singing a grisly modal
chant (at which everyone laughed), laughter at the audience, and short lecture. He
brought up the significant question: 1 'I only come here to be on stageo Why do you? 11
He yelled HFuck you" at the audience and they yelled it back at himo This pleased him
and he hollared 11 "We agreeo 11 He definitely had something to say and said ito
Since intermission came at this point, I'll put Mro Chadabe here (who performed 6/13
and was not reviewed yesterday)o He has invented a melody-generating machine
which he conductedo His explanations both written and given orally,11 was thorough
and gave the performance a two•part formo The proximity sensitive antennas controlled
instrumentation and duration. In regard to these antennas 9 one wit said: "They're like
two girls that every time you put your hand near them, they screamo" It was dancy too.
Ivan Tcherepnin played the piano••two pieces in C-major and an uninvited encore
in C# 0 FETES was a choral and triple fugue based on HAPPY BIRTHDAY, using
retrograde, inversion, and various other 'perverted forms', as he says. (The most
interesting thing about this piece was the unstated fact that 2 sisters wrote HAPPY
BIRTHDAY and one is alive . aD:d living in Florida and sues people who use her tune• ..
so this composition is illegalo) He also played a jazzy waltz, but had some performance
difficultyo The good part about it was that it added some variety to the programo
.(report from the front #7) P. 2
Annea Lockwood did a trial run of an ; untitled new work including birds from the
rainforest, rumbling, a wolf-howling sounds water, a horn-sound that moved around /
the speakers, and live breathing by Ruth Andersono Asid~ from the simple reality of
the series of sounds, the only message I derived was that if you do your 1 pranayama 1
you will hear many sounds in your meditationo That mays on the other hand, have
nothing to do with Annea s intentions,
1 but that's what I-goto ·
Jon Gibson played 3 out of 5 sections of a new soprano sax pieceo The pitches were
pre .. determined, but the rhythm and phrasing were dependent on the breatho It was a
pentatonic permutation performance involving some degree of improvisationo What
struck me during the performance was not judgementalo Buts there have been too
many solos in this festivalo (I know it comes fro1n not having the fundingo) It reminds
me of going to -state music festivals where all the pianists play solos, then accompany
someone 1 s flute solo, play in a string trio, and then perform a secondary instrument
in a large ensemble such as band or cho:ruso The same people keep coming up to
play each other's pieceso (It's like Mills College speakers that bring all the electronic
music in the bay area to audiences in performance spaces in surrounding townso)
A solo is not necessarily the representative form of the composer and the parade
of repeating performers gives an isolated and insular feel to the festival, seen as a
wholeo
. I£ you have reviews to submit to this on-the - spot-report, see Beth Andersono All
contributions to this totally fi;nal,}Gi:cji.UY
+ unsupported publication, are gratefully
receivedo This is a service t~ the community and an opportunity to raise issueso
A NOTE ON TWO MEETINGS of the ]\ifUSIC CRITICS 1 ASSOCIATION
by Ned Sublette
In two of the critics' sessions, we heard Brian Eno proudly explain his (acknowledged)
expropriation of experimental musicians I ideas by the metaphor of scienceo It seems
that he's been reading a little about genetics, and feels that by taking ideas from
'experimental musicians' into the lucrative world of corporate rock, he's merely
participating in the formation of new specieso
(What could be less onerous to us than participating in evolution? After all, parasitism
is a part of natureo)
' .
Perhaps a more appropriate analogy would be the small company which has to turn its
invention over to a much larger one for want of capital to distribute and market ito Or
maybe the explorers who staked out the West so that John Jacob Astor could develop
a fur trade monopolyo Or maybe an undeveloped nation that sells its raw materials
back at much higher prices in the form of manufactured goodso In a word, exploitation.
In another; colonizationo
(In this metaphor, Eno figures not as a brother researcher but as a representative of
the United Fruit Company lecturing natives of the banana republico)
Frankie Mann said it: 11Hah ! I am genetics! 11

REVIEW OF VarEARity SHOW: AT EAR INN: -June 13, '79
by Charlie Morrow
Beth Anderson and Arleen Schloss rose over the din of the Ear Inn to bring extraordinar,i
energies into the room.
Beth performed text .. sound compositions (of hers 1) :IF I WERE A POET, LET IT,
I CAN'T STAND.IT, DIVORCE INCANTATION, and YES SIR .REEo She has a deep
chesty quality to her voice which rises and falls in patterns of accumulating intensity ..
A fusion between folk storytelling songs, auctioneering and what some call, postmodern
sensibility.
lreport rrom tne tront =f/' {) Po 3
It is her voice that has been speaking this week through daily reviews of the NEW
MUSIC, NEW YORK, MCA Conference and the New Music Conference o The same bite
and wit flew through her semisinging o In the last tune, she had the crowd stomp and
clap as she took things even highero Smiles filled the roomo Mine tooo
Arleen Schloss, better known for her alphabets and longlist•of":'words poems» played
the piano o She is a visual artist whose interest in performance has grown over the
last few years and has carried her from gymnasts stretching with large rubber bands
to her current Performance Art Workshop a
Her piano playing began relaxed and rhythmic with two fingers (one on each hand)
playing steady medium tempo eighth notes a Later on she made light long smears.
Her conce.nti-ationheld the li�te.nero _ Focus_ed, cle.ar. unwilled _playinga One long tune
and it was overa
REVIEW FROM LAST NIGHT (and drawing too)
Charlemagne Palestine rubbed his light stick in the darkness and it was one of the
brighter moments o
As the nights go on8 it all begins to blend together o Even the trucks on Broome Street
come to have an identifiable style and fit into the schemes of soundo
·1ttl;!.; �.Kl'l!Gb: June l!:> at THE KITCHEN
.t\.bV.Ltvv.:, .t'U.K
by Beth Anderson {report from the front #8)

Richard Teitelbaum did a solo tha� in�aural way, resembled aso� It had an
orchestral crn.racter in that massive sections seemed to enter and disperse 0( He
had tables full of electronics o ) I have a partial bias against using a pure electronic
signal as the source material for composition, but Mr o Teitelbaum used what he
chose to work with in an interesting way .. ,;,,very ripply, very glossy a He is the
live .. electronics Berlioz of the Kitchen o
Gordon Mumma is 1970 SCHOOLWORK was created by the juxtaposition · af textures"'�

solo11 trio, solo8 trio 11 solo 0 Mr o Mumma's performance on the bowed saw was
delicate and inventive. and included slithery slides11 aural after .. images 9 1 martellato t
'bowing 11 'col legno\ vibrato, and pitch-bending. Ned Sublette and Joe Hannan were
the 'schoolboys' who apparently attempted to play like their teacher •. by listening to
his solo and then playing along. making a trio o An aural essay on educationo
And in the middle. there was Michael Nyman o He composed a big sound for a'sma.11 1
band consisting of piano, reeds. trombone8 guitar11 violins ll and piccolo o Not since
Petr Kotik and Karl Berger had the Kitchen hosted such forcesa Mr o Nyman credited
Mr o Webern with providing research .rnate:rlal and made a startling beginningo In
fact. his starts and stops resembled overdoses and withdrawals .... or having a mountain
smash into you versus being pushed off a cliff o His harmonies had that movie-land
quality 11 · but there is nothing inherently wrong politically or aesthetically with
7th and 9th chords o The 2nd part was a triple trip 1 a closet waltz'o The 4th part
00 ...
had an intense sweetness, during which composer David Feldman said 3 "Incredibly
well rehearsed o"" And they were o The 5th section was a kind of space .. rock with
the continuation of the driving beat we had heard throughout o Hot and heavy o
The programsaid' that Jon Hassell and Bob Ostertag played synthesizers in Mr. HasselF
FOUR TH WORLD SKETCHES 11 but someone played trumpet and I believe it was J on o
It was a lush sound with a softly attacked pulse that gave the simultaneous perception
of movement and anticipation 0 The trun1pet player looked as though he were creek .. side
with his feet over the edge (of the stage, or the 'bank', depending on your fantasy) .,
David Mahle.r gave'•

a short 'adios to John Wayne' and then played his work for piano11
ONLY MUSIC CAN SAVE ME NOW It had an eternal-movement-rhythm and a
O ,.
harmonic language centered around added sixth chords in the minor mode o He played
with a great deal of inner concentration and resultant continuity and succes So
THE WHITE NIGHT RIOT by "Blue" Gene Tyranny ended the concert with a recording
(mixed and unmixed 9 said the composer) of screams9 whistles9 horns, sirens,
clapping, and broadcasters I speeches concerning a riot protesting "the voluntary
manslaughter v.erdict,in the trial of Dan White for the slayings of tr a mayor and a
supervisor .. This was a character piece depicting 'violence and meanness 1 o Frankie
Mann and "Blue" Gene stood still and walked in a mc;1.nner that suggested- proximity
but not interaction 0 The last words on the tape said• ·11 Demonstration of the spirit of
love" and if that's what this was11 it was an argument for a kind of Aquarian love
(friendship) 0 And to think8 I thought he was going to figure out a way of playing the
piano while 'fast-dancing' with Frankie! Always a surprise, with Mr. Tyranny.
Mr. Eno 1 s discussion of the recording studio as a compositional tool in yesterday's

critics' conference included a history and description of the st'll,dio with various
technical and aesthetic considerations of popular/commercial/accessible musicso
His points were very exciting, but the recorded. illustrations were semi-lost in the room.
(report from ' the front #$)
REPLY 'TO NED SUBLETTE
by Joe McLellan (of the 'Washington . Post') ;
(In 'report from the front #7) Paragraph 3., line 4., 4th word from the ., right f;!hould be
1buys', not 1 sells 1 a This is not the only problem in the statement; the worst problem
is that it seeks to challenge a community for the free exchange and development of
artistic ideas into a rat•race of copyright•monopoliesa Yes 8 anyone who uses the
HAPPY BIRTHDAY song should pay royalties to the composero No 8 people who use
tone-clusters or piuck the strings of the piano should not pay royalties to the estate
of Henry Cowell; people who use a centuries-old raga owe nothing but gratitude to the
musicians of Indiaa
If you follow Sublette's logic., you have to bel .ieve that Ba~h ripped off Vivaldi, Beethoven
ripped off Mozart 8 and Arnold Schoenberg has been mugged by hundreds of composers
who thought they admired hima Also, every' experimental' composer in this festival
would have to pay royalties to somebody 8 because every 1new idea I have heard has
1
an ancestryo
Brian Eno 1 s big offense to Soho artists is that he is a successa Anyone else is free
to do what he has done- .. take the disjointed ideas floating around here and integrate
,·jl them into something coherent that a lot of people will want to hear more than oncea
Some people don't do this because they don't want to 9 some because they lack the
talent., and some because they prefer self-indulgence to self-disciplinea Only
those in the first group are in a good position to criticize Eno., and even they are
wasting their timeo They are also undermining the effort to :-:-get a large audience
interested in'experimental' styles and techniqueso And they are gratuitously
attacking one of their few influential friends-= but that is part of the fine old tradition
in this kind of arto
IF YOU WOULD LIKE A COMPLETE SET OF BACK ISSUES FROM #ONE TO #NINE,
SEND $10 (or whatever contribution you feel it is worth beyond the cost of 7c;./page
for zerox plus mailing) to: Beth Anderson, 26-.Second Aveo apto 2B, NY NY 10003a
Please include your name/address to avoid all possibility of confusion!
ON THE 3RD WORLD .MUSIC MEETING OF THE MCA .
by Alain Middleton (a composer from France--now living in NYC)
Robert Palmer desc .ribed how in various western musics, ethnic musical material i's
borrowed, and he asked · whether this is a positive aspect of creativity to which Brian
Eno later answered '·'Imitating is a creathre act1'o Also, Mra Palmer insisted on the
necessity for a critic to recognize when ethnic material is borrowed in a:worka
Tom Johnson stated that the third world infleunce represents a Futuristic aspect of the
musical culture, when American music will no longer express domination and coloni-
alism() but rather a spirit of a world confrontation: "where America will not be number
one anymore but number ten a ii II So Mra Johnson asked whether in this respect
0 the
Kitchen Festival and its music would not be ,)already an old fashioned statement as
far as: the aesthetic of the third world music is going to be the bigger aesthetic
challenge probably American Culture has ever faceda
Barbara Benary, after Gordon Mumms introduced three South American composers
a nd af?;reed with th e idea of influence and assi m ilation of third world musica P hil
Gl ass s a id th a t I n di an rythmic system had m ore i nfl u e nc e on hi m th an We st e rn tr a di -
tional studies a but acknowledged . later that he started again in 197 4 to incorporate
W~stern elements in his music (such as harm~.mies)., but he insisted'in a much different
waylla than it was introduced ·to him in his studiesa Mro G lass then adde d that
W e st e.rn tradition was not enou g h to h.elp him to dis c0 ve r who he was .
(repor .t from the front)#8 P. 3
REVIEW FROM LAST NIGHT

by Bonnie Jean with oc;:casional comments from Bill (the audience) Duncan
Mr. Teitelbaum played rich., orgasmic electronic tidal music, ie. begin at low ebb,.
climax, and . hear the tide flow out. Lovely rich texture so
Gordon played the perfect Arian instrument--the quarter sawo Bill wanted to hear it
electrified, but the acoustic sound was niceo Spare and beautiful.
Michael Nymane I first thought, threw Webern right back to the 19th century. However
as this was the first piece .I ever heard that gave me hope for music, great prejudice
exists. The 4th movement was so beautiful., I was won over.
(In relation to the program in general) Many, many long pieces with too many repititi,~us
ideas- ...a precious loto David Behrman plaied one of the most satisfying pieces
vis•a•vis content/length. The piece which never closedo
One thing that has impressed us is the polite audience-~WHATEVER.
Hassell: what is in a name? Floaty horn sounds with quavers. Pretty moans.
Quavers have an unsettling effecto
David-what is in a name-Mahler. Why, David, why? QUACK: Bill likes this. Kid's
got rhythm 0Reminded me . of many ill-favored moments (the piano at age 6). I
agree with Bill though-<!'tone and .feeling were pretty and tender. Bittersweet. Musical
prejudices are vicious and limiting, like many otherso
Frankie and ''Blue 11 Geneo
(drawing on the back of their review)
old music-new mu~ic

i
To subscribe to THE GRACKLE: Imp;t'.ovised Music Iri Transition, send $1. 35/
issue ($2/abroad) to: Ron Welburn, P.O. Box 244, Vanderveer Station, Brooklyn,
NY 11210. One issue I have has 54 pages and covers Steve Lacy, _ Herbie Nichols,
and Paul Bley, among others.
Read next week's SOHO WEEKLY NEWS to see who wrote letters to the editor
concerning Shelley Rice's last "Image-Making" article--condemning violence and
sensationalism in current art, as well as the fear peopl e feel in e x pressing
negativity toward sadism. It should be a very interesting issue and the deadline for
letters to that editor is next Monday. Participate. If you don't, who in the world will?
Tomorrow: The question will be answered concerning the true wording of Mr. Rockwell'E
review of SIMPLE SIMON by Michael Sahl and Eric Salzman. At this point, I believe
it to be more accurate to say that he said th a t they were dishonest about their writ in g
in light of th ei r edu c a tional b a ckgr ound . "Se lling out" was th e implied interpret a tion
of the word, 'dishonest'. This is still from memory, since . the review is hiding. See it
for yourself in 'NY Times between 2 / 1-2 /11 /79. This question arose in a ~iscus sion
today of the , problem both young a nd old composers face when they change aesthetics,
materials, mediums--or whatev er . Young com p osers who ch a nge are s a id to be
ecle ctic and to not have found their own voic es-- Old co mposers a r e said to sell out.
I b elie v e th a t change is one possi bl e symptom of li fe. Stra v insk y b elie v ed in it too!
REVIEWS '.F'OR THE CRITICS: June 16 at THE KITCHEN
by Beth Anderson (report from the front #9)
Saturday's 'Young Co:r:posers' panel of the music critics' conference had Peter Gordon,
Frankie Mann, Michael Byron, and Rhys Chatham up front 0 Rhys said that. a loop of
video with a conpos er lip-synching to a radio is music, and so is a silent video.
Mr. Rockwell. said that you can call silent video 1music 1 , but that music is sound
(Editor's note: according to me, music is the combination of sound and silence) and
you can also call a cow music • Mr. Johnson
1 1 believes that video is performance
and votes for a new catagory. Mr. Chatham said that everything was music and that
cage said, as a co:r:poser, you can do anything you want. Mr. Gordon added that a
composer can even make a discipline of not making any music and call that music.
Mr. Rockwell's responce was that of course you can do that, but everyone doesn't
have to agree with youo Someone made the point that a composer who doesn't make any
nusic is probably not living · a very artistically .. rich life.
Peter Gordon said a wonderful thing when he explained why he combines his love of ·
rock with his love of experimental . music: If you go THUMP THUMP THUMP THUMP
in a rock barid all night til 4 ~making a living, and at 9~ you go to school and
work in the electronic music studio and go HMMMMMMMMMMMMMMMMMMM,
eventually you go HMMMMMMMMMMMM when the THUMP THUMP THUMP THUMP
is going on. This is a desperately important point--composition is a result -of the
composers' lives, experiences. me.thods of making a living, lifestyle, sexuality,
politics, morals, education, class,, plus all those other things people usually credit
with influencing the creation of a composition {talent, soul, etc.}. For Mr. Gordon,
Mr. Lohn, Mr. Chatham, Msa Laurie Anderson, Ms. Frankie Mann, etc., this
fusion is not an unnatural event, but one that grew out of their lives 0 On the other
hand, it has certainly been possible for people of the same age/education/class to
create experiemntal music having nothing to do with rock """'possibly with just one
variable different .~
Frankie Mann said that being a composer has a lot to do with being a privileged
white male and that men have ripped off and trivialized women and their music.
She believes that women composers need separate studios to work in, to avoid being
railroaded by male engineers. She predicts this separate ...but-equal technical
materialism will be a reality within 5-10 years.
Miehael Byron felt that the same people who are fantastically bright and have very
complex belief and value systems, sometimes come out with 'mindless music'.
He also discussed young composers as being 'inconstant' and open to change, while
old composers are more able to become obsessed with one idea-•so they are able to
package it and sell it. {This is the point at which Mr. Rockwell's wording arose.
Mr. Sahl remembers the review as saying: 11 The only explanation for this work is
that it is meretricious. 11 And he also saysll 11When the state arts council heard that ..
we lost our funding. 110 ... that 1 s Mr. Sahl talking .... The definition of meretricious is:
10£ or relating to a prostitute 1..... and that's the first definition, according to Webster's
Collegiate. I rest my case.)
At the concert.a Mro Chatham 1s GUITAR TRIO (with drums, andRobert Lon go's
visuals) showed a continuing interest in overtones. We all understand now that
The Kitchen is a place where there is a very good chanc e of hearing very loud
music, and quite a few people had brought cotton for the ocassi6n. Having heard
this work previously without the cotton, this writer was impressed with the sound
of the piece (if not the form, since it simply started, continued 11 and stopped) after
this technical addition. This is not snide. This is self - defense and personal feeling.
On e aud ience mem b er said: "Th e machine is there a nd we have to worshi p it, eve n if
it kills us. " The repl y was:"Th e machine is there 8 but th e brain left. 11 The y loved it ..
(report from the front #9) PO 2
Frankie Mann's :MA YAN DEBUTANTE REVUE for tape and electronics seemed to
revive a tradition of tape 'collage' music (this is by aural perception, not by informa•
tion concerning the method of production)o This tradition goes back to the late fifties
in Paris to the Studio Phonologique, and certainly existed here in the sixties. 11Blue 11
Gene's piece from the night before also showed some of this same quality o It is
a personal thing to respond to broken phrases, sudden disappointments, sudden
stops in the sound, things that appear 1 shockingly 1 from nowhere and disappear just
as 'shockingly', but I am not made happy by this. Oh well, different strokes for
different folks. Perhaps she will publish her score/ideas in EAR later on.
Peter Gordon 1 s EXTENDED NICETIES was beautifully performed and produced. He

played sax with a tape of a hand (I think Peter has discovered how to tour a
rockexperimental sound, without taking the band. Not that this was his intention--)
I heard an :ABABABABAB ••• form with his licks varied and developed and a real
bass movement. If I were inventing a catagory for this, it might be called:
repetitive-non-minimalistic-fat 1 n sassy-rockpunkexperimentalism. Whatever it
is, Peter can do it, even alone. However8 the most sensationalist audience comment
I have for this piece is: "Manson Music. 11
Jeff Lohn's piece combined figuratio:r:s from the classical tradition with a basically
punkesque beat. His use of the violin and viola with the electric guitar and bass
displayed the same tendency or desire to combine styles and timbres 0 I was
muttering to someone about the lack of audible similarity between Mr 0 Lohn's music
and Mr. Lohn 1 s favorite composer's music (Stravinsky), and this person replied:
11
Now that I think about it, there were some novel instrumental textures, similar to
Stravinsky. 11 By and large, the audience loved it, but it didn't hit me and (like Mr.
Eno 1 s remark earlier in 'report from the front', concerning Mr. Niblock' s music
the other night) I wanted t(? -enjoy it. That big beat just clobbers me, as readers of
these 'reports' must have noticed by now.
Laurie Anderson's work has been 'hit parade' stuff every time I've heard it, and
last night she was even better. She takes the elements that a lot of other composers
are using and puts them together. ina more logical, texural, and theatrical way.
Her first song about trees that were made entirely of wood and a dog 30 feet tall
made entirely of light showed tremendous attention to detail/timbre /texture /wording.
It's hard to stop on this because it showed me that its possible to use these elements
in a way that is pleasing to me. Ms. Anderson always has wonderfully sophisticated
electronics. Her violin piece with harmonizer was an interesting mixture of the
punk look, live electronics, and classical violin phrases. Her last song about a
closed circuit sounded like· a 1 black 1 influence that had been �_punked up (boosted) ·
and dropped back into an experimental,.music•performance•art ear /brain. She
played the mike stand and cable like a string bass /Indian oboe and sang sitting down
like a snake charmer. Mr. Gordon and Mr. van Tieghem were always in the right
place at the right time with the perfect addition/layer /backc•up.
Ned Sublette 1 s entry was astoundingly acoustic. He sang a song about Mormons in
which his family name appeared in passing. He sang in strict folk tradition, standing
with eyes closed and clinched white fists in front of himself, with a strong vibrato
and other interesting vocal peculiarities (often heard on early recordings of folk
singers made in the �Us). To this writer it seemed that Mr. Sublette was making a
moral and aes.thetic comment and this may or may not be true. Some of his words
included: J! What began as glories,. are now bloody crimes. ••These awful hours of woe"'•
Sublette 1 s lonely path. 11 He forsook, in this instance, the electronics which Mr. Eno
had so convincingly suggested, in favor of the naked reality. It was striking!
Beth Anderson, (a letter to editor) .(report from the front #9) P. 3
You are.
So am I.
But you insist on being the self-appointed policewoman of soho music.
Re the origin of the tune for Happy Bivt;hday: the publisher of
the piece investigated the matter, and I did too, over three years ago.
The tune is anonymous from the 19th century, but the words are copy-
righted. That's why the piece is called FETES and not HAPPYBIRTHDAT
TO YOU. SOoo.,. you see officer, I wasn't speeding.
By the way, I thought your cut at Tony Conrad's piece was very
insensitive and unnecessarily mean. But then Authority does affect
people in certain ways. Like developing the seeds of condescension·
which showed off their full bloom in your backhanded pat of Charlemagne
Palestine'~ performance. I know he's not being a good boy, but •••
Us kids got to ~eep in line, , Oii:herwise Big Mama'11 box our ears.
-==-- -=-~--==---~,__~~~~~~
No, Ms. Anderson, your box no plac·e for me. C- some kids ain't got no respect
~-
(Editor's note: Th.e above is Mr. Ivan Tcherepnin 1 s submission to 'report from the
front'. Michael Nyman had said that compose .rs will turn on you when you write
negative criticism of their work, but here we see a special treatment reserved for .
women critics that "don't know their place". )
In summary, I'd like to say that this has been an art project involving community
participation and involvement in the critical process. If, as Cage says, music is
what a composer says it is, then a critic is whoever decided to be a critic. This
means you too. A composer shouldn't be afriad of criticism. I wanted to dispel
this fear in myself, as well as in others. If I've made some progress along that
way, then I've done my job. And to all you women critics or about-to-be-women-
critics, don't let the Ivan Tcherepnins of this world stop you.
And now, back to the music. As Joan of Arc and Son of Sam hav -e so succinctly
sajd, 1 iThe voices m~de me doit. 11 · • . • ••
~vrl-
,.
(a letter to the editor) ADDENDUM (report from the front#9)P. 4! ! l !
in reference to Ivan Tcherepnin' s letter
STATEUNIVERSITYOF NEW YORKAT BINGHAMTON

Binghamton,
NewYork13901
Division of Humanities
Department of Music
August 14, 1979
Telephone (607) 798-2592
Miss Beth Anderson

26 Second Avenue, Apt 2-B
New York, NY 10003
Dear Miss Anderson:
··I' My statement about Mildred . J. Hill, composer of the
nH,appy Birthdayn tune, was based on a considerable
adventure. I had long been aware (through experience
of my mother) of the remarkable group of women music
educators in Chicago at the end of the nineteenth
century, of which Robyn Crosby, and Hill were three.
In my history of Music ?Music in Europe and the United
States--Prentice-Hall, 1971), I wanted to speak of
these women and of their compositions for children.
James Fuld inThe Book of World-Famous Music (page 22lf)
gave me the name of the book: nThe melody was origin-
ally published as Good Morning to A11 ··in Mildred J.
Hill and Patty s. Hill, Song Stories for the Kinder-
garten (Chicago, 1893), p. 3. On the title page, the
music in the book is credited to Mildred J. Hill.n
I caught up with a copy of the book at the University
of Cincinnati (Fu.Id says there's a copy at NYPL), and
had it photographed for the book, where it sits for
all to see--in my Music in Europe and the United States,
page 561. The title page evidently confirmed Fuld,
though I don't recall it at the moment, and I take it
that the middle initial nsoII iS a typo--it OUght to be
"J. 11 Fuld says that Mildred J. Hill died in 1916 and
the sister in 1946. Even if they renewed the copy-
right, the song must be in the public domain by now.
The sisters were fairly prominent, Mildred a concert
pianist and composer and Patty a Ph.D. and Professor
at Columbia. The adventures I had in getting materials
for my book would make a book in themselves, and track-
ing ''Happy Birthdayn down was interesting. Don't be-
lieve those lawyers for a minute, though; I doubt if
11 folk song" has legal status or if the immense popular-
ity of a -work gives it that status if there is such a
thing.
Use what . YOU 'd like;

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Copyright Beth Anderson 1979

Since the Institute on Contemporary Experimental Music (Music Critics Assdciation)

New York 11 it is important

Draw a straight line and shit on it.*

IF YOU WOULD LIKE TO CONTRIBUTE YOUR WORK TO THIS PUBLICATION,

In the afternoon we discussed improvisation in experimental music and George Lewis

Peter Kotik replied that composition is composition and improvisation is improvisation

NOTES FROM THE TIN EAR

REVIEW FROM THE MORNING CRITICS' SESSION

REVI E W OF MALCOLM GOLDSTEIN

The Paganini of Fiddle•Faddle

(Paganini in the Fun House Mirror)

Don Cherry played African hunter's harp and talked/sang/disappeared/did s6mething

One · composer wanted to correct another composer as to the country of origin of a

Joseph D. McLellan:INTERVIEW (by th& editor)-•He 1 s from the Washington Posto o o

by Beth Ander son (report from the front .#6)

'speculative\ 1 art , 'seience

(drawing of Lucier's piece by Tin Ear)

Next we heard Mro ...Piss-On-The ..Audience himself=o;oCharlemagne Palestine (a tremen ...

Frankie Mann said it: 11Hah ! I am genetics! 11

by Beth Anderson {report from the front #8)

Gordon Mumma is 1970 SCHOOLWORK was created by the juxtaposition · af textures"'�

David Mahle.r gave'•

Mr. Eno 1 s discussion of the recording studio as a compositional tool in yesterday's

REVIEW FROM LAST NIGHT

One thing that has impressed us is the polite audience-~WHATEVER.

Frankie and ''Blue 11 Geneo

(drawing on the back of their review)

old music-new mu~ic

Peter Gordon 1 s EXTENDED NICETIES was beautifully performed and produced. He

STATEUNIVERSITYOF NEW YORKAT BINGHAMTON

Miss Beth Anderson

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