on La Monte Young’s Dream House
Young imagined “Dream Houses [that] will allow music which, after a year, ten years, a hundred years of constant sound, would not only be a real living organism with a life and tradition of its own, but one with a capacity to propel itself by its own momentum.”
[…]
The only time the music remains stable is when the listener is completely still: the low drones culminate in a dense jackhammer cloud as they cross over each other, forming complex rhythms. However, just slight changes in posture completely alter the sound field. Different higher pitches appear as you move your head; by rocking slowly back and forth, you can create a hypnotic two-note melody as the high tones shift and spin dizzyingly.
Ed Howard // Stylus Magazine
(Source: melafoundation.org)
on La Monte Young’s Dream House
Young imagined “Dream Houses [that] will allow music which, after a year, ten years, a hundred years of constant sound, would not only be a real living organism with a life and tradition of its own, but one with a capacity to propel itself by its own momentum.”
[…]
The only time the music remains stable is when the listener is completely still: the low drones culminate in a dense jackhammer cloud as they cross over each other, forming complex rhythms. However, just slight changes in posture completely alter the sound field. Different higher pitches appear as you move your head; by rocking slowly back and forth, you can create a hypnotic two-note melody as the high tones shift and spin dizzyingly.
Ed Howard // Stylus Magazine
(Source: melafoundation.org)
Posted 1 year ago & Filed under la monte young, dream house, drone, 3 notes
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