Chapter
Preamble. Gordon Mumma: A Short Biography
Part I. Unmarked Interchange: Ann Arbor and the ONCE Years (1960–66)
1. Music’s Avant-Garde: What’s New?
2. Manifestations: Light and Sound: Milton Cohen’s Space Theatre
3. An Electronic Music Studio for the Independent Composer
4. The ONCE Festival and How It Happened
5. The ONCE Group’s Unmarked Interchange and Night Train
Part II. Cybersonics and the Sonic Arts (1966–75)
6. Creative Aspects of Live-Performance Electronic Music Technology
7. Alvin Lucier’s Music for Solo Performer 1965
8. Two Cybersonic Works: Horn and Hornpipe
9. Music in America 1970: Points of View
10. A Brief Introduction to the Sound-Modifier Console and Sun(flower) Burst
11. What We Did Last Summer: A Commentary on ICES 1972
12. Two Decades of Live-Electronic Music, 1950–70
13, Witchcraft, Cybersonics, and Folkloric Virtuosity
Part III. In the Cunningham Circle
14. A Day on the Road with the Cunningham Dance Company
15. From Where the Circus Went
16. Robert Rauschenberg in the Creative Fields of the Cunningham Dance Company
17. With Tudor the Organist
18. David Tudor the Composer along the Path to Rainforest
Part IV. Not Wanting to Say Anything about John (Cage)
20. John Cage, Electronic Technology, and Live-Electronic Music
21. Twenty-Five Minutes with John Cage
22. Innovation in Latin American Electro-Acoustical Music
23. Briefly about Conlon Nancarrow’s Studies for Player Piano
24. Uruguayan Diary: The Cuarto Curso Latinoamericano de Música Contemporánea, Cerro del Toro
Part VI. An American Gallery
25. Nelson Mix for Gordon Mumma
26. Gordon Mumma’s Stovepipe for Richard Nelson
27. Good Times Up on the Farm
30. A Visit to Mount Olympus with David Tudor
Three Sonic Arts Union Sketches
33. Speaking Robert Ashley
34. Crossings with David Behrman
35. Becoming Alvin Lucier
36. Working with Pauline Oliveros
37. Notes on My Creative Procedures
Appendix: Selective List of Gordon Mumma’s Musical Compositions
Cybersonic Arts
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