La Monte Young / Marian Zazeela - The Theatre Of Eternal Music* ‎– Dream House 78'17"

Label:
Shandar ‎– 83 510, Shandar ‎– 83.510
Format:
Vinyl, LP, Album
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Tracklist Hide Credits

A 13 I 73 5:35-6:14:03 PM NYC
Trombone – Garrett ListTrumpet – Jon HassellVoice – Marian ZazeelaVoice, Electronics [Sine Waves] – La Monte Young
39:03
B Drift Study 14 VII 73 9:27:27-10:06:41 PM NYC
Electronics [Sine Waves] – La Monte Young
39:14

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Credits

Notes

A. 13 I 73 5:35 - 6:14:03 PM NYC is a sub-section of Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery, begun in 1966 as a section of the even longer work: The Tortoise, His Dreams And Journeys which was begun in 1964 with The Theatre Of Eternal Music. Performed 17 January 1973 at La Monte Young's private studio.

B. Drift Study 14 VII 73 9:27:27 - 10:06:41 PM NYC Three sine waves. Frequencies and voltages of the sine waves determined and tuned by La Monte Young using oscillators custom designed by Rober Adler to generate specific frequencies and voltages of great stability. Performed 14 July 1973 at La Monte Young's private studio.

For the maximum fidelity on Side 2, reduce the treble controls on your pre-amplifier to minimum. Since the sine waves have no harmonic content, and all are below 202.5 Hertz, this will reduce the surface noise which is normal on most discs. Note: Be sure to keep the treble controls normal on Side 1.

Barcode and Other Identifiers

  • Matrix / Runout (A): 83 510 A
  • Matrix / Runout (B): 83 510 B
  • Rights Society: BMI

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Cang_Jie

Cang_Jie

November 13, 2016
They squeezed in 39 min on the first side. wow.
magiceye

magiceye

March 20, 2016
Pretty funny to see how many original copies of this have suddenly sprung up on the marketplace since the reissue superseded it. I understand the repress sounds a lot better which is fair enough, but it's queer to see how many people are watching the market hoping to shift things at the right time. On this occasion I think most have missed that window.
music_emporium

music_emporium

February 28, 2016
A real masterpiece finally reissued, this classic minimal music album is now available again on vinyl for the first time since the '70s. La Monte Young, widely acknowledged as the father of musical minimalism, is one of the most influential contemporary composers. Yet he has strictly monitored his own discography and his music is rarely heard. Born in a log cabin in rural Idaho in 1935, Young became a key figure in the New York underground art scene of the early 1960s. He made vital contributions to the Fluxus movement and initiated the use of lofts as performance venues. Most important of all, his exploration of sustained tones, unorthodox tuning, high volume, and long duration changed the course of 20th-century music and ushered in new ways of listening. This LP, initially issued on the French Shandar label in 1973, is a crucial document, preserving two manifestations of Young's pioneering creative imagination. Its sounds lift the listener out of routine temporality into a prolonged and personal here and now; an intimate kind of time that no clocks can measure. The first side contains a performance by the Theatre of Eternal Music in which the voices of Young and his partner Marian Zazeela are combined with the trombone of Garrett List and the trumpet of Jon Hassell.

Although the immediate impression created by the music is that it changes little, close listening reveals intricate activity in the high harmonics where unexpected patterns and phantom melodies skitter across the surface of the music's enveloping drone. Young and Zazeela developed their vocal technique through their intensive discipleship of North Indian singing master Pandit Pran Nath, and traces of that influence can be heard in their subtle ornamentation of the sustained tones. Unadorned sine waves form the Drift Study on the second side of the LP.
To a seated listener this Drift Study seems a very pure form of minimalist musical drone, but if one moves around the space in which the piece is playing, dramatic variation in the loudness of different frequencies will become apparent, while the listener's movement will itself alter the structure of air molecules in the room, affecting the way the piece is heard. It's a fascinating probe into the nature of sound, hearing, and spatial awareness. "My own feeling is that if people aren't carried away to heaven I'm failing" --La Monte Young, 1966.
Bradx

Bradx

September 15, 2010
edited over 7 years ago

Two epic drone pieces. Side 2 needs to be played loud through a good system. As the sleeve notes say (reproduced above) - side 2 is pure sine wave music. One tone through one speaker and a different tone through the other. If you understand your physics then you will know that when the two tones collide in the room then you will get peaks and troughs. Basically this means that if you walk around the room while the disc is on it will appear to be louder in some parts, softer in others and sometimes practically disappear altogether. Sounds pretty goofy I know but it really works. With the side lasting nearly 40 minutes it really gives you time to get into it. Almost meditational you might say. Sine waves have no harmonic content so turn the treble right down while playing side 2 - it makes no difference to the music but reduces surface noise.
With each side being so long the fidelity was never going to be good on this record. Shandar pressings were a bit dodgy at the best of times. It doesn't really bother me but if you're a hi-fi nut or a cd fan craving absolute purity then don't get this record.
There's very little La Monte Young available on any format so this is a very rare album. The shop I got mine from had half a dozen copies or so... this is back in the late '70s. The guy in the shop did it for £2.50 (reduced from £3.50) because he said it was a bit crackly!