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163:(though often with idiosyncratic mixtures of notation), but the order is left free to be chosen by the conductor during performance. The material is divided in numbered "events" on a series of "pages". The conductor uses a placard to indicate the page, and with his left hand indicates which event is to be performed while his right hand cues a downbeat to begin. The speed and intensity of the downbeat suggests the tempo and dynamics.
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263:. The role of the performer is to interpret the score visually and translate the graphical information into music. In Brown's notes on the work, he even suggests that one consider this 2D space as 3D and imagine moving through it. The other pieces in the collection are not as abstract. According to dates on the scores, Brown wrote
376:
Composer-in-residence / or visiting professor at: California
Institute of the Arts, UC Berkeley, Peabody Conservatory, Rotterdam Kunststichting, the Basel Conservatory of Music, Yale University, Indiana University, Harvard University, the American Academy in Rome, Aspen, Hochschule fur Musik,
170:, was 25 unbound pages, and called for anywhere between one and 25 pianists. The score allowed the performer(s) to arrange the pages in whatever order they saw fit. Also, the pages were notated symmetrically and without clefs so that the top and bottom orientation was reversible.
134:. Brown cited the visual artists Alexander Calder and Jackson Pollock as two of the primary influences on his work. He was also inspired by author, Gertrude Stein, and by many artists he was personally acquainted with such as Max Ernst and Robert Rauschenberg.
173:
Through this procedure, no two performances of an open form Brown score will be the same, yet each piece retains a singular identity, and his works exhibit great variety from work to work. Brown relates his work in open form to a combination of
29:(December 26, 1926 – July 2, 2002) was an American composer who established his own formal and notational systems. Brown was the creator of "open form," a style of musical construction that has influenced many composers since—notably the
201:, and in other works, Brown used what he called "time notation" or "proportional notation" where rhythms were indicated by their horizontal length and placement in relation to each other and were to be interpreted flexibly. However, by
241:. Although this collection is misconstrued as, historically, "coming out of nowhere", musical notation has existed in many forms—both as a mechanism for creation and for analysis. Brown studied what is now called
68:, and first devoted himself to playing jazz. He initially considered a career in engineering, and enrolled for engineering and mathematics at Northeastern University (1944–45). He enlisted in the
88:
invited Brown to leave Denver and join him for the
Project for Music for Magnetic Tape in New York. Brown was an editor and recording engineer for Capitol Records (1955–60) and producer for Time-
212:, Brown sketched the contour and character abstractly in what he called "implicit areas" of the piece. This graphic style was more gestural and calligraphic than the geometric abstraction of
194:
Although Brown precisely notated compositions throughout his career using traditional notation, he also was an inventor and early practitioner of various innovative notations.
806:
See a critical examination of this notational concept in
Clemens Gresser, "Earle Brown's 'Creative Ambiguity' and Ideas of Co-creatorship in Selected Works",
337:: Repertory director for new-music recordings between 1960 and 1973. Oversaw the label's recordings of works by 49 composers from 16 countries, among them
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141:, who danced with Merce Cunningham from the 1950s to the 1970s, and then to the art curator Susan Sollins. Earle Brown died in 2002 of cancer, in
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consists purely of horizontal and vertical lines varying in width, spread out over the page; it is a landmark piece in the history of
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was an inspired, yet logical, connection to be made—especially for a
Northeasterner who grew up playing and improvising jazz.
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84:. Brown had private instruction in trumpet and composition. Upon graduating he moved to Denver to teach Schillinger techniques.
974:
Hoek, D. J. 2004. "Documenting the
International Avant Garde: Earle Brown and the Time-Mainstream Contemporary Sound Series".
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in 1945. However, the war ended while he was still in basic training, and he was assigned to the base band at
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is perhaps Brown's most famous score. It is part of a larger set of unconventionally-notated music called
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to some of Brown's early piano works, and this connection led to Brown's work being performed in
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and then moved back towards forms of notation that contain more specific musical information.
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Brown is considered to be a member of the New York School of composers, along with John Cage,
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Beyond
Notation: An Earle Brown Symposium at Northeastern University, January 18–19, 2013
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Contemporary Music Review 26, nos. 3 & 4 (June 2007): 341–356. Citation on p. 356.
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Brown: Centering: Windsor Jambs; Tracking
Pierrot; Event: Synergy II, Newport, 1998.
704:(includes compositions by John Cage, Morton Feldman, Christian Wolff), hatART, 1995.
698:(includes compositions by John Cage, Morton Feldman, Christian Wolff), hatART, 1993.
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promoted his music, which subsequently became more widely performed and published.
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Fromm Music
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and the spontaneous decision-making used in the creation of
Jackson Pollock's
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56:. He was awarded a Foundation for Contemporary Arts John Cage Award (1998).
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For the
Virginia lawyer and member of the Virginia House of Delegates, see
1054:(many lengthy audio interviews and lectures in the Online Archive section)
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Albertson, Dan (ed.). 2007. "Earle Brown: From Motets to Mathematics".
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1010:, second edition. Cambridge and New York: Cambridge University Press.
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Contemporary Sound Series, recorded from 1960–1973:
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has re-issued all 18 of the recordings on six box sets.
821:"Earle Brown :: Foundation for Contemporary Arts"
44:, an entirely graphic score, and the open form pieces
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398:
List of music students by teacher: A to B#Earle Brown
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Yaffé, John. 2007. "An Interview with Earle Brown."
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Earle Brown, 75, Composer Known for Innovation, Dies
1074:includes Brown's 1965 String Quartet performed by
1024:Welsh, John P. 1994. "Open Form and Earle Brown's
159:A great deal of Brown's work is composed in fixed
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732:American Masters Series: Earle Brown, CRI, 2000.
989:The New Grove Dictionary of Music and Musicians
249:} for describing music. From this perspective,
951:Amy C. Beal, "An Interview with Earle Brown",
710:, hatART, 1995. (With Eberhard Blum, flutist),
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720:Earle Brown: Music for Piano(s), 1951–1995
716:, hatART, 1995. (With Ensemble Avantgarde)
558:(1966), for four percussionists and mobile
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377:University of Cincinnati, and Tanglewood.
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37:) and generations of younger composers.
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357:and the first commercial recordings of
1916:Classical musicians from Massachusetts
1906:Deaths from cancer in New York (state)
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155:Aleatoric music § Open form music
137:Brown was married first to the dancer
115:and Donaueschingen. Composers such as
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825:www.foundationforcontemporaryarts.org
1921:20th-century American male musicians
1891:People from Lunenburg, Massachusetts
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648:(1982), for variable instrumentation
624:(1973), for solo violin and ensemble
600:(1971), for variable instrumentation
462:(1954), for variable instrumentation
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1008:Experimental Music: Cage and Beyond
986:. 2001. "Brown, Earle (Appleton)".
546:(1965), for one or two harpsichords
424:Music for Violin, Cello & Piano
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107:Brown's contact with Cage exposed
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873:"Earle Brown – American composer"
99:Earle Brown (right) with pianist
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726:, pianist; John Yaffé, producer)
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40:Among his most famous works are
1911:20th-century American composers
1901:Berklee College of Music alumni
628:Cross Sections and Color Fields
540:(1964), for three or two pianos
166:Brown's first open-form piece,
54:Cross Sections and Color Fields
1645:Modes of limited transposition
1058:Art of the States: Earle Brown
980:61, no. 2 (December): 350–360.
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844:Ryan, David (22 August 2002).
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330:: President from 1986 to 1989.
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764:Earle Brown – A Life in Music
742:Folio and Four Systems (2006)
612:(1972), for chamber orchestra
586:Small Pieces for Large Chorus
528:(1963), for chamber orchestra
510:(1961), for chamber orchestra
450:(1954), for chamber orchestra
16:American composer (1926–2002)
1881:American classical composers
1052:Earle Brown Music Foundation
992:, second edition, edited by
684:(1999), for chamber ensemble
672:(1992), for chamber ensemble
666:(1992), for chamber ensemble
660:(1985), for chamber ensemble
642:(1980), for chamber ensemble
594:(1970), for chamber ensemble
576:(1967), for chamber ensemble
534:(1963), for chamber ensemble
522:(1962), for chamber ensemble
504:(1959), for chamber ensemble
498:(1958), for chamber ensemble
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1695:Quartal and quintal harmony
1384:List of modernist composers
1060:three works by the composer
810:, 26/3 (2007), pp. 377–394.
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1095:Interview with Earle Brown
1034:32, no. 1 (Fall): 254–290.
722:, New Albion, 1996. (With
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46:Available Forms I & II
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1031:Perspectives of New Music
969:Contemporary Music Review
808:Contemporary Music Review
478:Music for Cello and Piano
261:graphic notation of music
1210:Gottfried Michael Koenig
737:Selected Works 1952–1965
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82:Berklee College of Music
66:Lunenburg, Massachusetts
1137:Darmstädter Ferienkurse
878:Encyclopædia Britannica
846:"Obituary: Earle Brown"
438:(1953), for 1–25 pianos
392:, Sarah Meneely Kyder,
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31:downtown New York scene
1896:Tzadik Records artists
1746:Second Viennese School
1739:Schools of composition
1017:". Liner notes essay.
418:Three Pieces for Piano
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1730:Twelve-tone technique
1240:Karlheinz Stockhausen
1064:Earle Brown interview
1015:Earle Brown: A Sketch
899:Brown, Earle (2008).
702:The New York School 2
654:(1983), for orchestra
630:(1975), for orchestra
618:(1972), for orchestra
582:(1969), for orchestra
570:(1966), for orchestra
564:(1966), for orchestra
492:(1957), for orchestra
490:The Kind of Bird I Am
351:Karlheinz Stockhausen
328:American Music Center
98:
1041:26, issues 3 & 4
1000:. London: Macmillan.
971:26, issues 3 & 4
690:Selected discography
353:, Luciano Berio and
1180:Niccolò Castiglioni
1097:, December 12, 1991
1013:Ryan, David. n.d. "
696:The New York School
460:Folio and 4 Systems
1308:Lucia Dlugoszewski
1195:Franco Evangelisti
939:The New York Times
901:"On December 1952"
514:Available Forms II
436:Twenty-Five Pages
380:Notable students:
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90:Mainstream Records
64:Brown was born in
33:of the 1980s (see
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574:Event: Synergy II
508:Available Forms I
486:(1956), for piano
456:(1954), for piano
432:(1952), for piano
414:(1949), for piano
390:Michael Daugherty
218:Available Forms I
216:. Beginning with
199:Twenty-Five Pages
180:mobile sculptures
168:Twenty-Five Pages
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942:( July 8, 2002).
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153:Main article:
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128:Morton Feldman
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70:U.S. Air Force
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1215:Bruno Maderna
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1185:Aldo Clementi
1183:
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1165:Pierre Boulez
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752:Earle Brown:
751:
748:
747:Chamber Works
745:Earle Brown:
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735:Earle Brown:
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640:Windsor Jambs
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544:Nine Rarebits
542:
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347:Bruno Maderna
344:
341:, John Cage,
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282:Luciano Berio
279:
275:
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268:
266:
265:December 1952
262:
258:
257:December 1952
254:
252:
248:
247:graph methods
244:
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236:
235:December 1952
230:
226:
225:December 1952
221:
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214:December 1952
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143:Rye, New York
140:
139:Carolyn Brown
135:
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129:
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121:Bruno Maderna
118:
117:Pierre Boulez
114:
110:
103:, August 1995
102:
97:
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67:
57:
55:
51:
47:
43:
42:December 1952
38:
36:
32:
28:
22:
1763:
1725:Tone cluster
1680:Polytonality
1625:Experimental
1333:Stefan Wolpe
1318:Ralph Shapey
1297:
1169:
1135:
1070:
1038:
1029:
1025:
1007:
998:John Tyrrell
987:
975:
968:
952:
947:
937:
930:Allan Kozinn
925:
913:. Retrieved
908:
904:
894:
882:. Retrieved
876:
867:
855:. Retrieved
851:The Guardian
849:
839:
828:. Retrieved
824:
815:
807:
802:
763:
753:
746:
736:
719:
713:
708:Four Systems
707:
701:
695:
681:
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651:
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633:
627:
621:
615:
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579:
573:
567:
561:
556:Calder Piece
555:
549:
543:
537:
531:
525:
519:
513:
507:
501:
495:
489:
483:
477:
471:
465:
459:
453:
447:
441:
435:
430:Perspectives
429:
423:
417:
411:
386:Paul Dresher
339:Charles Ives
318:James Tenney
306:Steve Mackey
302:Tod Machover
298:Alvin Lucier
264:
256:
255:
250:
238:
234:
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136:
125:
106:
63:
53:
49:
45:
41:
39:
26:
25:
1871:2002 deaths
1866:1926 births
1675:Polyrhythms
1650:Neotonality
1538:Szymanowski
1298:Earle Brown
1170:Earle Brown
1081:December 52
915:8 September
724:David Arden
610:Sign Sounds
592:Syntagm III
502:Hodograph I
412:Home Burial
310:Steve Reich
278:Henry Brant
243:Early Music
210:Hodograph I
109:David Tudor
101:David Arden
27:Earle Brown
1860:Categories
1720:Surrealism
1715:Stochastic
1705:Sound mass
1640:Microtonal
1612:techniques
1610:Genres and
1558:Stravinsky
1518:Skalkottas
1423:Schoenberg
1230:Luigi Nono
884:5 December
857:5 December
830:2018-04-05
794:References
749:(2007) DVD
616:Time Spans
580:Module III
538:Corroboree
532:Times Five
343:Luigi Nono
335:Mainstream
322:Joan Tower
294:David Lang
92:(1960–73).
1838:Biography
1700:Serialism
1620:Atonality
1548:Prokofiev
1391:Composers
1303:John Cage
1175:John Cage
1028:(1967)".
622:Centering
598:New Piece
568:Module II
526:From Here
496:Pentathis
484:Four More
382:Joe Jones
286:John Cage
149:Open form
113:Darmstadt
86:John Cage
78:Zoot Sims
50:Centering
35:John Zorn
1777:Category
1710:Spectral
1635:Futurism
1569:Americas
1553:Scriabin
1524:Hungary
1499:Germany
1483:Messiaen
1478:Koechlin
1454:Finland
1444:Czechia
1438:Pousseur
1434:Belgium
1404:Austria
1006:. 1999.
646:Folio II
562:Module I
472:Octet II
466:Indices
190:Notation
1800:Portals
1762: ←
1690:Process
1579:Antheil
1544:Russia
1534:Poland
1514:Greece
1508:Strauss
1488:Milhaud
1473:Jolivet
1464:France
1458:Bergman
714:Synergy
448:Indices
442:Octet I
396:. See:
161:modules
1787:Portal
1589:Cowell
1584:Carter
1528:Bartók
1493:Varèse
1428:Webern
1418:Mahler
1413:Krenek
1398:Europe
1085:UbuWeb
911:(1): 1
788:Vol. 6
784:Vol. 5
780:Vol. 4
776:Vol. 3
772:Vol. 2
768:Vol. 1
756:(2007)
754:Tracer
739:(2006)
658:Tracer
634:Wikiup
588:(1969)
552:(1965)
520:Novara
480:(1955)
468:(1954)
426:(1952)
420:(1951)
130:, and
52:, and
1850:Music
1665:Noise
1503:Reger
1468:Henry
977:Notes
760:Wergo
664:Oh, K
405:Works
371:Wergo
333:Time-
251:FOLIO
239:FOLIO
229:FOLIO
1594:Ives
1448:Hába
1408:Berg
1071:Tear
996:and
917:2024
886:2017
859:2017
365:and
320:and
227:and
119:and
60:Life
936:",
932:, "
197:In
178:'s
1862::
909:26
907:.
903:.
875:.
848:.
823:.
786:,
782:,
778:,
774:,
770:,
388:,
384:,
369:.
361:,
349:,
345:,
316:,
312:,
308:,
304:,
300:,
296:,
292:,
288:,
284:,
280:,
186:.
48:,
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1134:(
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888:.
861:.
833:.
400:.
324:.
23:.
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