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In his last article on music, Rudhyar addresses the question: When Does Sound Become Music? The Early Musical Writings of Dane Rudhyar are made available for students of musical history and for scholarly research.
Web design and all data, text and graphics appearing on this site are protected by US and International Copyright and are not to be reproduced, distributed, circulated, offered for sale, or given away, in any form, by any means, electronic or conventional. Emails and letters will be answered by Focus on the Family's Family Help Specialists before being forwarded to Thriving Family. As Plugged In's music guy, there's one question from parents that I hear often: "What do you know about music by ________?" Sometimes I'm not fully able to answer. Thriving Family is a Focus on the Family publication that encourages, teaches, celebrates and inspires families to thrive in Christ. If you stop and think about the oceanic dimension of music, there’s this implication of immersion.
Eventually we begin to realize that we’re part of something much larger than ourselves. Become Ocean embraces this idea, but gets its title from something much more personal for me.
So now, a little history: some time ago, I was commissioned to compose a piece for the Seattle Chamber Players. One idea that I suggested was to build on the sound world of an earlier piece I’d composed called Dark Waves, which is a 12-minute piece for large orchestra and electronic sounds. Cantaloupe Music is the record label created and launched in March 2001 by the three founders of New York's legendary Bang on a Can organization—composers Michael Gordon, David Lang and Julia Wolfe—with Bang on a Can managing director Kenny Savelson. Our goal is to provide a home for contemporary classical and post-classical music that is, in the words of Michael Gordon, “too funky for the academy.” Throughout its nearly 15-year history, Cantaloupe has repeatedly received Top Ten of the Year accolades from such publications as the New York Times, the New Yorker, the Washington Post, the Boston Globe, The Guardian (UK), The Wire (UK), Newsday, Mojo magazine, Gramophone, Billboard, Stereophile and Time Out New York.
Cantaloupe Music's comprehensive press room makes all our recent release materials easily accessible to journalists, editors and presenters in one easy location. Join our mailing list to receive updates on the latest releases, tour dates, free downloads, and more! Search over 300,000 sheet music arrangements available instantly to print or play in our free apps.
In doing so Rudhyar recalls the famous saying of his old friend Edgard Varese - Music must Sound! Rudhyar was concerned that composers, students and scholars should not regard his earliest writings and articles - written while he was still a young man - as his most significant literary contributions to music.
By writing to Thriving Family you are granting us permission to reprint your comments (wholly or in part). Even though I spend my working hours submerged in pop culture, there are so many musicians in our increasingly fragmented media world that it's impossible to keep track of all of them. Back in the late ’70s, John Cage wrote a mesostic poem called “Many Happy Returns,” in honor of his dear friend—also my mentor and friend—Lou Harrison. Then a few years later, the Seattle Symphony and their music director Ludovic Morlot approached me, and asked if I would be interested in composing something for the Symphony. Cantaloupe Music has made a massive impact in the new music community, and has been recognized by critics and fans worldwide for its edgy and adventurous sounds.
Cantaloupe releases have also been featured on CNN, National Public Radio, the BBC, and numerous outlets online, in print and over the airwaves. However, though they will be listened to, we cannot guarantee a response, and no submissions will be returned. Here Rudhyar makes one of his rare references to Rock music, and traces the birth of "Space" music as reaction to Rock. The reader is referred to Rudhyar's book The Magic of Tone and the articles The Transforming Power of Tone and When Does Sound Become Music for his mature and fully developed contributions. Can any sound be part of what can be significantly and validly called music — and if not, what indeed constitutes music? And while parents need only keep tabs on the music that their kids listen to, today's fast-changing music culture means the challenge of understanding those playlists is more difficult than ever.But it's worth the effort. He compares Lou’s music to a river in delta, with all these different influences and currents, coming together in a big beautiful sweep of music. Part of Ludo’s vision for the orchestra is to bring it into the 21st century, and to put a special emphasis on new music, so of course I was thrilled at the possibilities.
I was calling it “Dark Waves on steroids,” and I knew early on that I wanted to take that oceanic sound and expand it into a much larger timeframe. An apparently basic distinction can be made between noises, recognizable natural sounds (like animal cries, the sound of a running brook or waves breaking on a sandy beach), and, strictly speaking, musical sounds.

When it comes to discussing what music is appropriate for your family, you'll find that your kids respect informed, reasonable decisions far more than snap judgments and broad stereotypes.
And with the melting of the polar ice caps and the rising sea levels, we may become ocean sooner than we imagine.
And in the last line of the poem, Cage writes, “Listening to it, we become ocean.” I’ve always been struck by what a beautiful image that is. In the past, musical sounds were produced by the human voice and musical instruments — musical because their use normally was restricted to the production of musical sounds.
Noises did not belong to the field of music; nature's sounds were used very rarely and only episodically, but recently their use has increased. You'll find pictures and biographical information, as well as links to songs and videos — all great ways to get a feel for the act and the image they want to project. Dig a bit deeper by checking out a musician's Twitter stream — the daily pulse of his public messaging.Find out what others are saying. In this case It refers to the expectation which people conditioned by a particular culture have of hearing certain sounds or not hearing others.
It refers to what has become customary or traditional in a number of definable circumstances — for example, attending a church service, listening to a troubadour returning from the Holy Land, or crowding a modern concert hall to hear a specially trained virtuoso or an orchestra. Content is user-generated, so don't take Wiki entries as gospel truth, but few folks are as passionate about getting details right as a musical act's most rabid fans.
Check out the references section at the bottom of the entry for links to interviews and additional articles.
As these cultural circumstances alter, the possibility arises of a corresponding change in what constitutes a musical sound. Also, if an artist is popular enough, you'll likely be able to find his latest antics covered in your favorite news feed.Examine the lyrics.
This new desire may have a general collective character, but as there are several social classes and various types of human personalities, different kinds of psychological needs and levels of feeling-response inevitably coexist. In a society largely controlled by the media and featuring an individualistic kind of egalitarianism, all these types are given some chance of being heard. If a new kind of circumstance in which sounds reach the human ears becomes generalized, new sounds should replace or at least theoretically be added to the category of musical (because expectable and psychically satisfying) sounds. Similar situations in the past brought about an enlargement of the category of musical elements. In just a few minutes, you can arm yourself with enough information to have an informed, intelligent conversation with your kids about the latest band or solo artist vying for their attention. These periods of transition in the past can help us better understand what is happening now. When Varese asserted that music must sound, it was not only because he felt it necessary to give the qualification musical to many recently produced manmade sounds (factory and street noises and, later, electronically generated vibrations). He was challenging something more fundamental: the idea that the music itself resides in the written score, thus in a complex and evolving formula of relationship between musical notes, rather than in actually heard sounds. According to the classical European tradition, the score is the music; the musical composition exists as a complete and significant entity in the written score, whether or not any sound is actually heard by human ears. Here the term hearing refers to what probably can best be interpreted as an especially vivid type of imagining process producing the illusion of sound. What Varese tried to say was that looking, however intently, at a symphonic score does not constitute a real or full musical experience. The actual sounds represented in the score by little black symbols (the musical notes) have to be actually heard by ears; the physical and auditory sensation cannot be ignored or given only a nonessential, subsidiary importance.
It is changing because technology has altered not only the general way of living but also the inner feeling of being an experiencing person — a person having meaning and essential importance in oneself and not merely as a component part in a set system of social relationships. The musical urge to deal with complex tones having meaning and power in themselves as single, separate entities indeed parallels the intense emotional desire to operate, and to be valued by others, as an individual person whose beingness essentially and irrevocably matters.
The development and growth of the potential of being inherent at birth in such persons turns out to be very important. Likewise in music, the production of new and rich sounds which may stir, exalt, or shock the individual's sense of being has also become a matter of supreme significance.
In the 1920s Varese expected and foresaw the development of an electronic technology which would theoretically make possible the production of any composite sound, any rhythmic or melodic sequence. Too much permissiveness leads not only to anarchy and unfocused experiences, but to an overloading of the mind and of the capacity to give a totally significant response to the multiplicity of possible choices. The inevitable result is an almost compulsive return to an ancestral system of relationship.

The obsessive rush of modern city life and the rat race of business and professions, which once moved at a calm pace making possible intuitive and empathetic responses, demanded an antidote. The alternative presented by most ancient Asian traditions has featured traditional procedures that induce would-be individuals to conform to a collective, theological approach to the meaning of human life and of the whole scheme of cosmic existence. Nevertheless there have been attempts to modernize ancestral traditions which brought inner security at the cost of a binding allegiance to exotic theological systems. However, the basic issue in music as well as philosophy and psychology is whether we consider our Western civilization to be in a period of accelerated growth leading to a glorious future of peace and prosperity for all, or in a state of transition between a disintegrating culture and one whose actual birth is perhaps still in a distant future.
A new music develops, if not out of a totally new sociopolitical situation or religion, at least out of radically changed circumstances, as a definitely new phase of the culture and new conditions of performance supersede what had been experienced until then.
Plainchant took form when a Catholic culture developed in monasteries and, soon after, in Romanesque churches and Gothic cathedrals. The early tonality system was still imbued with religious concepts and the theocentricism of the perfect triad. Then came the growth of Court-music, the aristocratic opera, and the synchronous development of a rationalistic and formalistic classical music through the eighteenth century.
A new situation, however, is now developing as magnetic tapes, electronic instruments, radio and computer technology are bringing to nearly every home not only sounds of all kinds (whether or not they assume the character of music), but the possibility of producing theoretically as yet unheard combinations of vibrations perceptible to human ears. Human beings may live much of the time in a world filled with sounds, yet lose the sense of music. Are we today expanding to the point of the nearly total disintegration of what Europe developed during the last 2,500 years, allowing every technical procedure which profit-conscious and culturally irresponsible intellects are impelled to invent — or are we already feeling the need to conform to stabilizing principles of musical organization? And if so are these principles derived from a new type of mind calling for a new religion and culture? Music, I believe, is the most direct language that can be used to stabilize and communicate the psychism of a culture. The answer to the question posed by the title of this article is therefore sounds become music when the particular life-circumstances in which a culture is formed impel intuitive leaders to select those sounds (and their means of production) which best identify and communicate the developing psychism of the people integrated by the culture.
The problem our present society has to face is the fragmented character of the people it only superficially correlates in terms of material productivity, the need to survive, and the expectation of personal comfort and success. The creators of such music, however, found their inspiration in Oriental gurus and in the music of old and now mostly disintegrating cultures, rather than in some possibly emerging new religion.
A still larger number of young and middle-aged people today are seeking renewal, stability, and security in the most traditional forms of Christianity, whose ability to inspire a new type of music seems to have vanished long ago.
A truly new music needs a new faith, which in turn requires a new vision of reality, a new mind and collectively aroused group-feelings evoked by the vivid awareness that humanity is entering a totally different realm of possibilities.
Are these possibilities revealed by a new kind of knowledge toward which the most progressive and unconventional scientists are groping, overburdened as they are still by the basic empirical restrictions of seventeenth-century European science? Are they to be actualized by an uncontrolled technology geared to monetary profit and the uncreative desire to make every activity of mind and body easier and faster?
Is a truly new music to be created that would give to the immense variety of possible sounds generated by modern technology the character of music? Similarly, the development of non-Aristotelian and non-European types of logic has been attempted; for instance, a Zen kind of logic based on a five-fold sequence of propositions.
At any level of mental activity new possibilities of relationship between the components of an organized system can be actualized; a music may be created embodying revolutionary principles of integration operating at a level deeper than that of musical formalism, because only such principles can produce the consistency and purpose needed to structure, identify, and communicate a new kind (or quality) of collective psychism.
It may do so unless music, freed from these traditional forms, can impart a tension able to dynamize in a definite direction a process of psychic or spiritual transformation — the transformation of the listeners' innermost feeling-responses and mental awareness.
Rock music reveals the soul of a collectivity of human egos desiring to act and be counted as an integrated group within a confused society which engenders them, yet has no significant place and function for them. Until this future collective organism of humanity reaches a substantial condition of being at the level of an integrating as well as inspiring psychism, the multitude of sounds technology is making possible cannot find their proper function in a truly new and vital music.
The great issue now is how and when these sounds can be integrated in a music able to assimilate as significant factors an immense variety of composite vibrations, because its scope is no longer determined by local conditions, but has become global and possibly cosmic. It requires the embryonic growth of a new mind and a consecrated will to psychic and intellectual transformation — a new philosophy of existence, intense enough to assume the character of a new faith, and a new vision of the character and meaning of being human. Editor's Note: Rudhyar is able to speak authoritatively regarding Varese ideas and vision because the two men were close friends, especially during WWI and the 1920s.

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