Meredith Monk

with Ev Grimes

New York, N.Y.

May 24, 1990

TABLE OF CONTENTS

Side a                                                                                                             pp.1-15

Earliest musical memory--importance of radio in childhood--experiences in radio control room as child--music as part of life growing up--music and movement--Dalcroze Eurhythmics--early piano lessons--singing and dancing in school--finding own territory by creating own vocal music--musical grandparents--singing in high school--finding authentic nature when high school junior--environment at Sarah Lawrence conducive to growth--studying music and dance at Sarah Lawrence--studying with Ruth Lloyd--Betsy Schoenberg, Vicki Starr, Meyer Kupferman--Dalcroze Eurhythmics important for music--movement integration--balancing music and movement--first compositions in high school--Resonance, early piece--revelation that voice could have flexibility of the dance instrument--commitment to finding vocal vocabulary built on own voice--as presence in New York downtown art world.

Side b                                                                                                                        pp.16-28

Three dance/image pieces, Break, Cartoon, The Beach--downtown scene in New York in 1964--Avant Garde Festival, 1965--16 Millimeter Earrings--artist as medium for creative energy--goal for audience to get in touch with own resources and experience energy--art as nourishment for the soul--1967 pieces, Children, Candy Bullets and Moon, Blueprint--film Ballbearing--exploring vocal techniques--archetypal sounds, songs--individuality of vocal chords--Juice, theatre cantata--feeling "too intellectual."

Side c:                                                                                                                        pp.28-40

Key, album of invisible theatre--designing album cover--Vessel--Plainsong--Mountain--Paris--Education of the Girlchild--silence and music in Vessel--Obie award--Our Lady of Late for voice and glass--recording of Our Lady of Late--Needle-Brain Lloyd and the Systems Kid, outdoor piece--Anthology and Small Scroll--on tour outside New York--formation of regular company--reception from European audiences.

Side d                                                                                                                        pp.40-52

Touring overseas--Quarry--how it came together--radio singer in Quarry--scenic element in Quarry--Paris, Chacon, Venice/Milan--Songs From the Hill contains essence and heart of her music--primal magic of New Mexico landscape--changes in self and music from 1966-76--Meredith Monk and Vocal Ensemble formed in 1978--Humboldt's Current, film--attraction of film--Plateau Series, New Mexico landscape piece--Dolmen Music, major life work--Rovert Een, Paul Langland, Julius Eastman join vocal ensemble.

Side e                                                                                                             pp.52-66

Working with ensemble--Recent Ruins, musical theatre piece--interest in time--Turtle Dreams--interest in music concert--Specimen Days, a civil war opera--View No. 1, View No. 2--Ellis Island--Tokyo Cha-Cha--The Games--movie Turtle Dreams--Panda Chants, Graduation Song--Book of Days as concert music, film, album--Acts From Under and Above--The Ringing Place--Duet Behavior with Bobby McFerrin.

Side f                                                                                                             pp.66-77

Staging of Book of Days in Minnesota--difficulties with performances of her music by others--more songs from 1988--Fayum Music--Light Songs--Wedding Song, The Jewish Storyteller--Friendship Songs, musical portraits--Facing North--opera-in-progress for Houston Grand Opera--future commissions--need for vacation from composing and performing--qualities of healing, nowness, and communication in music.