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Composer and peformer Alvin Lucier brings clarity to the world of experimental music as he takes the reader through more than a hundred groundbreaking musical works, including those of Robert Ashley, John Cage, Charles Ives, Morton Feldman, Philip Glass, Pauline Oliveros, Steve Reich, Christian Wolff, and La Monte Young. Lucier explains in detail how each piece is made, unlocking secrets of the composers' style and technique. The book as a whole charts the progress of American experimental music from the 1950s to the present, covering such topics as indeterminacy, electronics, and minimalism, as well as radical innovations in music for the piano, string quartet, and opera.

Clear, approachable and lively, Music 109 is Lucier's indispensable guide to late 20th-century composition. No previous musical knowledge is required, and all readers are welcome. Bach Trumpets Serial Numbers.

The string quartet Brooklyn Rider is still relatively new-- they released their first recording on their own in 2008 after working with Yo Yo Ma's Silk Road Ensemble-- but they are making a name for themselves. For this kind of group, an easy way with both old and new, composed and improvised, is essential, and Brooklyn Rider has it. On Dominant Curve, they've chosen to unify the album thematically more than musically, and they focus on exploring how the ideas of French composer Claude Debussy, who lived from 1862 to 1918, have traveled forward through music to the modern day. To that end, they've chosen to perform Debussy's own 'String Quartet in G Minor', and Rider violinist Colin Jacobsen has composed his own four-movement quartet titled 'Achilles' Heel' (Debussy's given name was Achille-Claude), which effectively explores similar rhythmic and harmonic concepts to the Debussy piece.

The quartet also commissioned original compositions from Japan's Kojiro Umezaki, Uzbekistan's Dmitri Yanov-Yanovsky, and American Justin Messina that explore some of those same ideas in very different ways. The reading of the old Debussy piece, originally written in 1893, is intense and lively, full of sharp dynamic shifts and subtly virtuoso playing that imparts amazing tonal and textural variety to the score. The third movement in particular is gorgeously ethereal. This piece is a natural choice for the group. When Debussy composed it, he was just embarking on his most celebrated phase, in which he became keenly interested in modal harmony, unusual scales and sound combinations, and ethnic music from outside Europe, including Indonesian gamelan, which informed some of his rhythmic ideas. Brooklyn Rider have built their repertoire on a restless interest in synthesizing global sounds and Western classical music. Jacobsen's piece, written to act as something of a descendant of 'String Quartet in G Minor', also uses modal composition and shares some arranging sensibilities with its predecessor, making extensive use of pizzicato playing, rhythmic patterns, and non-standard bo [#script:wing techniques-- the second movement is especially dramatic.