AMERICAN MUSIC SERIES                                                                              270 a-f

Evan Ziporyn

with Libby Van Cleve

OHAM Offices at Yale University

New Haven, CT

December 9, 1997

TABLE OF CONTENTS

[DAT 1 Begins]

Side a                                                                                                                         pp. 1-19

Musicians in the family--early musical experiences--rock and roll--playing clarinet and saxophone--high school music classes--father as psychiatrist--sons early musical interests--going to Eastman--studying with Schwantner--Bartok, Stravinsky and Braxton--playing in a rock band--Schwantner--Sheep’s Clothing--Balinese music--Michael Tenzer--playing gamelan in the summer--stylistic wars--escaping serialism--effect of serialism on his composition.

Side b                                                                                                                                    pp. 19-36

Impact of drug culture--Radzynsky--Robert Moore--Martin Bresnick--community of undergrad composers at Yale--summer of 1980 in San Francisco--Robert Dick--Murray Fellowship to go to Bali--disorientation in Bali--gamelan in everyday Balinese life--sense of time and cycle in Balinese music--Balinese influence--desire to write music that requires no explanation--interest in recording--insecurity on the East Coast--applying to graduate schools.

[DAT 2 Begins]

Side c                                                                                                                         pp. 36-43

New Music New Haven audiences--the west coast aesthetic--the ease of Berkeley--moments of self doubt--rejecting the things that hijacked Western tradition--lack of allegiance to a particular tradition: the American attitude.

Side d                                                                                                                                    pp. 43-62

Brian Eno project--Berkeley--Andre Imbrie--Luv Time--form--improvisation and Balinese influences--cycles--relationship with father--rebelling against authority--academia life, getting through a doctoral program intact--Luv Time--importance of performance--clarinet playing--Shannon [Peet]--Solo concertizing--insecurity as a clarinetist--importance of the performer.

Side e                                                                                                                         pg. 62-80

Responsibilities as a performer--music as physical manifestation of spirit--Andriessen--Michael Gordon--Steve Reich and Philip Glass and Stravinsky--Reich and MIT--Kronos--inability to promote himself--Eno project and interest in recording--clashing with a record company.

[DAT 3]

Side f                                                                                                                         pg. 80-98

Martin Scorsese--Minimalism--Steve Reich--David Lang--Tree Frog and Dog Dream--Kebyar Maya--more about Tree Frog--tempo as a structural parameter--instrumentation change for Tree Frog recording--gamelan pieces--musical directorship of Sekar Jaya--issues in combining Western instruments with non-Western music.

Side g                                                                                                                         pg. 98-111

Positive reception from Bali Post--taking it to the villages--Kekembangan on cassettes everywhere in Bali--lyrics to new Balinese music--theatrical elements--Aneh Tapi Nyata--trying to find something real--the uncertainty principle--impact of world music--consumerist society--Lou Harrison--traditions--Tsmindao Ghmerto--Partial Truths--writing music that needs no explanation.

[DAT 3 ends]