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La Monte Young and Marian Zazeela at the Dream House
NewMusicBox
Written By

Frank J. Oteri

Frank J. Oteri is an ASCAP-award winning composer and music journalist. Among his compositions are Already Yesterday or Still Tomorrow for orchestra, the "performance oratorio" MACHUNAS, the 1/4-tone sax quartet Fair and Balanced?, and the 1/6-tone rock band suite Imagined Overtures. His compositions are represented by Black Tea Music. Oteri is the Vice President of the International Society for Contemporary Music (ISCM) and is Composer Advocate at New Music USA where he has been the Editor of its web magazine, NewMusicBox.org, since its founding in 1999.

  • Oct 1, 2003

La Monte Young and Marian Zazeela at the Dream House

From Wednesday, August 13, 2003 9:33 PM to Thursday, August 14, 2003 3:15 AM Videotaped by Randy Nordschow Transcribed by Frank J. Oteri, Randy Nordschow, Amanda MacBlane and Rob Wilkerson © 2003 La Monte Young & Marian Zazeela © 2003 NewMusicBox Anahata Nada and Long Sustained Tones Improvisation vs. Composition The Guru-Disciple Relationship The Evolution… Read more »

Written By

Frank J. Oteri

Frank J. Oteri is an ASCAP-award winning composer and music journalist. Among his compositions are Already Yesterday or Still Tomorrow for orchestra, the "performance oratorio" MACHUNAS, the 1/4-tone sax quartet Fair and Balanced?, and the 1/6-tone rock band suite Imagined Overtures. His compositions are represented by Black Tea Music. Oteri is the Vice President of the International Society for Contemporary Music (ISCM) and is Composer Advocate at New Music USA where he has been the Editor of its web magazine, NewMusicBox.org, since its founding in 1999.



From Wednesday, August 13, 2003 9:33 PM
to Thursday, August 14, 2003 3:15 AM

Videotaped by Randy Nordschow

Transcribed by Frank J. Oteri, Randy Nordschow, Amanda MacBlane and Rob Wilkerson

© 2003 La Monte Young & Marian Zazeela
© 2003 NewMusicBox

  1. Anahata Nada and Long Sustained Tones
  2. Improvisation vs. Composition
  3. The Guru-Disciple Relationship
  4. The Evolution of The Well-Tuned Piano
  5. La Monte’s Approach to the Piano
  6. The Theatre of Eternal Music
  7. Discipline and Relationships
  8. Pandit Pran Nath
  9. How to Learn
  10. On Minimalism
  11. Alternative Concert Venues
  12. The Experience of the Audience
  13. Funding Serious Art in Today’s Climate
  14. The Record Business
  15. DVD
  16. The Tamburas of Pandit Pran Nath
  17. Working with Musicians and Orchestras
  18. The Sacred and the Profane
  19. Fluxus
  20. Piano Technique
  21. Singing Raga
  22. Future Interpreters
  23. Choosing Intervals
  24. Physical Limitations of Instruments
  25. Perceptibility
  26. Ragas Using Upper Primes?
  27. Appreciation

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