Geometry.Net - Composers: Brown Earle

Brown,Earle
Brown Elizabeth C. . brown earle (1926). Sex. Male
http://www.woodwind.org/Databases/Composers/Names/001653.html
Earle Brown, Composer: Recordings
LINER NOTES FROM AMERICAN MASTERS SERIES EARLE brown earle Brown A Sketch by David Ryan 11/1999 Anybody who has consulted or
http://www.earle-brown.org/reviews/liner.html

Extractions: Anybody who has consulted or even casually flicked through a survey of modern music will have come across the spare geometric graphics of Earle Brown's score December 1952. It has become a classic visual image, an example, perhaps the example, of a radical break that occurred in the 1950s between the causality of the sonic event and score. It has also been seen as perhaps the first serious invitation to the classical musician to improvise rather than 'read' in the conventional sense and much has been made of Earle Brown's early experiences with jazz in connection with this, as well as the impact of visual artists Pollock and Calder on such scores. Before this point Brown was already ensconced in the avant-garde literature and painting of the time. Kenneth Patchen's poetry of the late forties with their graphic elements were interesting to him as well as Jackson Pollock's painting. Brown began working on small, dripped, semi-abstract and totally abstract images - not unlike Pollock or even Michaux, in order to 'get the feel' of this direct spontaneous method of working. The music he was developing before his encounter with Cage was a form of serial music which was arrived through Schillinger mathematical processes, and which form a juncture with the direction of Boulez and Stockhausen at this time rather than Cage. Similarly to the Europeans, Brown was attempting to address the problem of greater complexities of rhythm within the framework of twelve-tone writing.
Earle Brown, Earle Brown
Earle brown earle Brown CD 851 for more information on this artist clickhere buy this release . track listing. 1. Times Five (1507).
http://www.composersrecordings.com/releases_detail.cfm/release_id/296
Earle Brown
Earle Brown, CRI artist category Composer Conductors This artist appearson CRI American Masters more . most recent release. Earle
http://www.composersrecordings.com/artist_bio.cfm/artist_id/1162
BROWN Earle - TWENTY-FIVE PAGES
brown earle TWENTY-FIVE PAGES wergo *steffen schleiermacher pianoRecorded 1996 Price £14.99 Listing brown. View Products
http://www.web-malls.net/modernclassical/listings/13.html
BROWN Earle - MUSIC FOR PIANO(S) 1951-1995
brown earle MUSIC FOR PIANO(S) 1951-1995 new albion corroboree(1964) three pieces (1951) folio (1952) music for trio for 5
http://www.web-malls.net/modernclassical/listings/14.html
Earle Brown
brown earle. Groden,R. Livingstone,H. High Treason. 1990 (249); Marrs,J.Crossfire. 1990 (83). pages cited this search 2 Order hard
http://www.namebase.org/xbro/Earle_Brown.html
Earle Brown
Earle Brown visited Miami in 1998 to conduct the New World Symphony in a Subtropics10 performance of 'Sign Sounds', one of his open form compositions in
http://www.eleguarecords.com/brown.htm

Extractions: Earle Brown visited Miami in 1998 to conduct the New World Symphony in a Subtropics 10 performance of 'Sign Sounds', one of his "open form" compositions in which the sound-content is written and controlled in "proportional notation". The Festival also organized the performance of 'December 1952' included on the 'Breath' cd as part of the annual Subtropics Marathon concert. Earle Brown conducted members of the Festival's ensemble and guest artists from Tampa's BONK Festival -namely, bassist Luis Gomez-Imbert, keyboardist Drew Krause, flutist Lisa LaCross, David Rogers on accordion and Margaret Lancaster on flute. The ensemble was augmented by students from Florida International University's New Music Ensemble. The 1998 Marathon took place at Gallery Douyon in Coral Gables. " 'December 1952' was written for one or more instruments and/or sound-producing media. The following note appears on a notebook page dated Oct. & Nov. '52, but they are the basis of the composition 'December 1952' as well as being particularly relevant to 'Four Systems': "...to have elements exist in space...space as an infinitude of directions from an infinitude of points in space...to work (compositionally and in performance) to right, left, back, forward, up, down, and all points between...the score [being] a picture of this space at one instant, which must always be considered as unreal and/or transitory...a performer must set this all in motion (time), which is to say, realize that it is in motion and step into it...either sit and let it move or move through it at all speeds...[coefficient of] intensity and duration [is] space forward and back."
STUDIO Interviews Earle Brown
Earle Brown No Beginnings, no Endings and the Paradox of Art.in memorium EARLE BROWN 19262002. Beneath works by Rauschenberg
http://www.studiofornewmusic.com/ebrowninterview.htm

Extractions: Earle Brown: No Beginnings, no Endings... and the Paradox of Art in memorium EARLE BROWN 1926-2002 Beneath works by Rauschenberg and Calder, JD Hixson and Earle Brown sat down in Browns sitting room in his Rye, New York home in May of 2002 for a discussion meant to be the first in a series on the music and ideas of the distinctly individual personalities that are categorized under the banner of the New York School JD Hixson: For someone in my generation, growing up reading and hearing all these stories about NY in the 50s, this coming together of artists, like yourself, Mr. Cage, Mr. Feldman, Mr. Wolff, (and of course the painters) takes on almost mythical proportions. Could you talk a little bit about the reality underlying all this grandeur? Earle Brown: Well, we certainly didnt consider it grandeur, at the time! We didnt know or think that we were writing the music of the future, that we were writing music that would come to influence so many people. We just sort of started off in our different directions. I, myself, never wrote chance music, John did that, and to a certain extent Christian did that. But Morty and I were doing our own things.
Move Records - Composer - Earle Brown
Earle Brown Composer, Bizarre or baRock Elizabeth Anderson VivaciousMelbourne keyboard virtuoso Elizabeth Anderson plays the hottest
http://www.move.com.au/artist.cfm/543

Extractions: Catalogue Search Australian Baroque Choral Christmas Classical Cross cultural Early Music Folk Jazz Keyboard Orchestra Organ Sampler Vocal Australia's longest-running classical music label Home About Advanced Search Samplers ... Contact Earle Brown Composer Bizarre or baRock Elizabeth Anderson "Vivacious Melbourne keyboard virtuoso Elizabeth Anderson plays the hottest, hippest harpsichord in the world today."
Earle Palmer Brown
earle palmer brown WMC CASE HISTORY Agency Earle Palmer Brown Client NovartisBrand Program Flea Control Project Seminars Via Satellite.
http://www.bostoncommunitychoir.com/picture-of-george-a-custer.htm
Earle Brown
earle brown 2 Pentium Detailed building information for Earle BrownContinuing Education Center. Weddings Meetings Events
http://www.hudsonriveraquarium.org/glasstite-truck-cap.htm
David Earle-Brown
Indepentent estate agency. Details of properties for sale and to let, and contact forms.
http://www.david-earle-brown.co.uk/
Earle Brown, Composer
Contains articles,reviews, sample scores and music.Category Arts Music Composition Composers B brown, earle HOME NEWS CAREER HISTORY MEMORIAL BIOGRAPHY RECORDINGS REVIEWS ARTICLES LINKS CONTACT .
http://www.earle-brown.org/
Universal Edition Music Publisher
earle brown. Biography. earle brown was born in Lunenberg, Massachusetts, on December 26, 1926.
http://www.uemusic.at/truman/en_templates/view.php3?f_id=161&spr=en
Earle Brown Continuing Education Center
Offers an adult education conference center at the University of Minnesota.. Review scheduled events and details of facilities. The earle brown Continuing Education Center, located on the St. Paul Campus of the University of Minnesota, is an adult
http://www.ebc.umn.edu/

Extractions: Conference Facilities This Week's Events General Information Staff Directory Complete Meeting Package ... Cancellation Policy The Earle Brown Continuing Education Center , located on the St. Paul Campus of the University of Minnesota, is an adult education conference center, featuring a variety of meeting rooms, state-of-the-art AV, video conferencing, catering, three computer labs, direct Internet access and a full-time support staff. The center's university atmosphere is conducive to an exceptional learning experience.
9631 Earle Brown
Kursus Experimentele Muziek Boekdeel 9 Literatuur en aktualiteit Hogeschool Gent Departement Muziek Drama earle brown was born on 26 December 1926 in Lunenburg, Massachusetts.
http://www.logosfoundation.org/kursus/9631.html

Extractions: Dr.Godfried-Willem RAES Kursus Experimentele Muziek : Boekdeel 9: Literatuur en aktualiteit Terug naar inhoudstafel kursus Earle BROWN Earle Brown was born on 26 December 1926 in Lunenburg, Massachusetts. He is a recipient of a Guggenheim Fellowship and has received commissions from Pierre Boulez, Merce Cunningham, Luigi Nono, Lukas Foss, the city of Darmstadt, Germany, and the Rome Radio Orchestra, among others. He has served as Composer-in-Residence at California Insitute of the Arts, Peabody Conservatory, Aspen Music Festival, American Academy in Rome, and the Rotterdam Philharmonic and Conservatory. He was also a visiting professor at the Cologne Conservatory, Basel Conservatory, SUNY at Buffalo, UC Berkeley, UCLA, Univ. of Southern California and Yale Univ. In 1970, he was awarded an honorary doctorate from the Peabody Conservatory. He worked with John Cage on the Project for Music for Magnetic Tape (1952-55). Other compositions include: Music, for vln., vcl., piano. (1952)
Earle Brown Heritage Center
Meet the Staff and hear what others are saying. about earle brown!
http://www.earlebrown.com/
One Stop University Of Minnesota, TC: Earle Brown Continuing Education Center
Detailed building information for earle brown Continuing Education Center.
http://onestop.umn.edu/Maps/EBCEC
David Ryan On The Work Of Earle Brown
Article from Contemporary Musicmaking for Amateurs details his style and compares and contrasts it with that of other recent composers.
http://www.coma.org/article_4.htm

Extractions: News Articles David Ryan on the work of Earle Brown Anybody who has consulted or even casually flicked through a survey of modern music will have come across the spare geometric graphics of Earle Brown's score December 1952. It has become a classic visual image, an example, perhaps the example, of a radical break that occurred in the 1950s between the causality of the sonic event and score. It has also been seen as perhaps the first serious invitation to the classical musician to improvise rather than 'read' in the conventional sense, and much has been made of Earle Brown's early experiences with jazz in connection with this, as well as the impact of visual artists Pollock and Calder on such scores. But this tells only half the story of his concerns and his development as a composer. What has become increasingly clear is the variety of methods and solutions Brown brought to compositions. He remains a vital link between the European avant-garde and the Americans, not only through important associations with Cage, Feldman, Boulez, Maderna and Berio amongst others, but also through his particular attitudes to creating new notational systems for differing situations which has had a profound effect on composition and performance techniques. COMA can be contacted by E-mail coma@coma.org

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