SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).
SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).

61.

SOURCE - MUSIC OF THE AVANT GARDE #1-11 (all published).

Davis, CA: Composer/Performer Edition, 1967 - 1973. Ed. Larry Austin. Each issue measures 27.4x35.5cm. (the magazine's landscape format was inspired by some of John Cage's graphic scores and intended to allow positioning on a piano or music stand). Comb bound with colour illustrated covers; pagination varies (92pp.-124pp.). Lavishly illustrated throughout with photographs and musical scores, with several fold-outs and various additional inserts, including six 10" vinyl stereo records.


A complete set of this independent magazine, published by teachers and students of the University of California, Davis. It emerged from the Californian musical experimentalism of the late '50s-early '60s at UC Davis and Mills College in Oakland, and its primary focus was on publishing scores, as outlined in the opening lines of its inaugural issue: "Next to actual performance - recorded or live - the score remains to date the most reliable means of circulating and evaluating new music. SOURCE, a chronicle of the most recent and often the most controversial scores, serves as a medium of communication for the composer, the performer, and the student of the avant garde. A magazine that is free from the inherent restrictions of foundations and universities (however enlightened), uncommitted to the inevitable factional interests of societies and composers' groups, can probe and be provocative - our first issue contains five new scores."


As well as printing musical scores, the journal reported on the concerts at which these compositions were performed, and featured essays by the composers and conversations between them. Source was both a visual and auditory experience, and also a tactile experience, in particular the ninth issue, which features Nelson Howe's 'Fur Music' incorporating pieces of synthetic fur cut up and glued in. Other handcrafted issues feature John Cage's 4'33", with pages cut off-format, and his Plexigram IV (Not Wanting to Say Anything about Marcel) screenprinted on to a set of transparencies; Jon Hassell's MAP2, featuring a large square of magnetic audiotape; and Dick Higgins's The Thousand Symphonies, including a page from 'Symphony #585' made by "machine-gunning music paper".


Over the course of its eleven issues (a twelfth was planned but cancelled due to lack of funding), Source covered a wide range of music, including West Coast experimentalism and minimalism, as well as performance art and sound poetry, at the same time embracing new electronic and video technologies and documenting the new music practices of indeterminacy and intermedia arts. Each issue was printed in an edition of 2000 copies, although the first had an initial print run of 1000 and was later reprinted in another run of 1000. Complete sets of what is now widely regarded as the greatest publication ever on avant garde music are exceedingly rare.


#1 (January 1967). Contributors include: Larry Austin; Giuseppe Chiari; Robert Ashley; Earle Brown; Barney Childs; Bertram Turetzky; David Reck; David Freund (7pp. photos of Harry Parch and instruments); Harry Partch (a transcript of a lecture delivered at UCLA in May 1966); plus a conversation between Robert Ashley, Larry Austin and Karlheinz Stockhausen (4pp.), conducted in Davis in November 1966 + ads. (Advance Recordings; Gate 5 Records.). Length of clear tape affixed to centre of front cover, with faint ring stain and short top corner crease, o/w Very Good plus.


#2 (July 1967). Contributors include: Toshi Ichiyanagi; Alvin Curran; Morton Feldman ('Conversations Without Stravinsky'); John Cage (4' 33"); Stanley Lunetta; Gordon Mumma (documentation of Alvin Lucier's 'Music for Solo Performer 1965'); David Freund (a photo-essay on David Tudor's recent visit to Davis); Jerry Hunt; Ben Johnston; Arthur Woodbury (an introduction to Harry Partch's music); and Harry Partch ('And on the Seventh Day Petals Fell in Petaluma', his first published score) + ads. (Electronic Music Review; Claes Oldenburg's 'Store Days'). Very Good plus.


#3 (January 1968). This issue emphasises the importance of groups in new music and includes the transcript of an extensive conversation between the New Music Ensemble, the ONCE Group, the Sonic Arts Group, and Musica Elettronica involving "various taped and written materials collected by and sent to the discussants by composers Robert Ashley, John Cage, Cornelius Cardew, Lukas Foss, Gordon Mumma, Pauline Oliveros, Terry Riley, and Frederic Rzewski" (14pp.). Other contributors include: Allan Bryant; David Behrman ('Wave Train'); Douglas Leedy; Harold Budd; Jon Phetteplace; Daniel Lentz; Will Johnson (a report from the First Festival of Live-Electronic Music, 1967); John Mizelle; Frederic Rzewski ('Plan for Spacecraft'); Steve Reich ('Reed Phase'); Paul Chihara; Pauline Oliveros ('Some Sound Observations'); and Robert Moran ('Number 1 for Amplified Automobile') + ads. (ONCE Group; 'Treatise' by Cornelius Cardew). Very Good plus.


#4 (July 1968). The first issue to include accompanying LP records (the 10" format was chosen to fit neatly within the magazine). The first disc features Robert Ashley and David Behrman, and the second, Larry Austin and Allan Bryant (David Behrman, who worked as an A&R rep for Columbia, arranged for Columbia Records to subsidise the recordings). Other contributors include: Mario Bertoncini; John Cage (a conversation with Larry Austin); Lowell Cross; Lukas Foss; Jocy de Oliveira ('Probabilistic Theater I' for actors, musicians, dancers, light, and traffic conductor); and Udo Kasemets + ads. Very Good plus; Discs Near Mint.


#5 (January 1969). 'Special Picture Issue'. Contributors include Anna Lockwood ('Glass Concert 2'); Christian Wolff; Dick Higgins ('Boredom and Danger'); Stanley Lunetta ('Spider-Song'); Robert Erickson; Jon Hassell ('MAP2'); Arthur Woodbury; Andrew Stiller; R. Murray Shafer; Max Neuhaus; Barney Childs; and the New Percussion Quartet + ads. Very Good plus.


#6 (July 1969). Contributors include Dick Higgins (with an original sheet of machine-gunned paper from 'Symphony #585'); Jani Christou; Philip Corner; Harold Budd; John Dinwiddie; Alvin Lucier; Frederic Rzewski; John Mizelle; Daniel Lentz; David Rosenboom; Morton Feldman ('Between Categories'); Roger Reynolds ('Ping', with text by Samuel Beckett); and Joel Gutsche + a questionnaire on music and politics printing replies from Morton Feldman, Harold Budd, Robert Ashley, David Tudor, Dick Higgins, Terry Riley, John Cage, David Behrman, Charlotte Moorman, Steve Reich, James Tenney, and others + ads. Very Good plus.


#7/8 (January/July 1970). Double issue, bound dos-à-dos, guest edited by John Cage. The third and fourth Source records accompany issues #7 and #8 respectively, featuring work by Alvin Lucier, Arthur Woodbury, Mark Riener (disc 3), and Larry Austin and Stanley Lunetta (disc 4). Contributors include (#7): John Cage and Calvin Sumsion ('Plexigram IV', on acetate transparencies); John Dinwiddie (a report from Mewantemooseeicday, John Cage in Davis, 1969); Ben Johnston; Ed Kobrin; Dick Higgins ('Towards the 70s'); Arthur Woodbury; Barry Spinello; Pauline Oliveros; Mark Riener; Robert Moran; Keith Muscutt; Allen Strange; Alvin Lucier; and Jocy de Oliveira. #8: themed around concrete and sound poetry, with a report on the Swedish scene from the Fylkingen festival and venue by Bengt Emil Johnson, Sven Hansell, and Harvey Matusow, featuring work, photos and capsule biographies of the above plus Anna Lockwood, Ladislav Novak, Sten Hanson, Åke Hodell, Henri Chopin, Arrigo Lora-Totino, Frans Mon, Bernard Heidsieck, Ferdinand Kriwet, Bob Cobbing and others. Other contributions from: Ed Kobrin; Lowell Cross; Morton Feldman; Ken Maue; Larry Austin; Alcides Lanza; Kira Gale; Stanley Lunetta; John Dinwiddie; Peter Garland; Boudewijn Buckinx; and Don Walker. Very Good plus; Discs Near Mint.


#9 (1971). This issue includes Source Record numbers 5 and 6, featuring work by Lowell Cross and Arrigo Lora-Totino (disc 5), and Alvin Curran and Anna Lockwood (disc 6); a special section on circuit diagrams (intended to "be a continuing series of technical articles aimed at readers interested in the 'build-it-yourself' approach to electronically generated sound"); and Nelson Howe's 'Fur Music' ("My purpose in Fur Music is to provide the participant with a situation where he may translate his tactile sensations into patterns of sound"). Other contributors include: Marilyn Wood and Jim Burns ('Events in Environments'); Manford L. Eaton ('Bio-Music'); Jacques Brodier; Alvin Curran and Paul Klerr; Ed Kobrin; and Nicolas Slonimsky ('Möbius Strip-Tease') + ads. Cover slightly rubbed; creasing to a few leaves and with a little offsetting to pages surrounding 'Fur Piece' (as usual), o/w Very Good plus; Discs Near Mint.


#10 (1971). Cover photograph by Mary Lucier. Contributors include guest editor, Alvin Lucier (the first guest editor to select and organise all the contents), including a conversation with Douglas Simon; Stuart Marshall; Steve Reich ('Music as a Gradual Process', 10pp.); Anthony Braxton; Cornelius Cardew ('The Great Learning', 18pp.); Gerald Shapiro; Richard Martin; and Pauline Oliveros; plus Groups - Scratch Orchestra, Naked Software, Portsmouth Sinfonia (Gavin Bryars), and Gentle Fire + ads. (EMS synths; intermedia group Electric Stereopticon). Very Good plus.


#11 (1973). Special Fluxus and Intermedia issue, edited by Stanley Lunetta with guest editor Ken Friedman (their editorial, dated January 1974, states that planning for this issue began in the summer of 1971). Contributors include: Christo; Tom Marioni; Dora Maurer; Tony Gnazzo; Dick Higgins; Stu Horn; Endre Tot; Fluxus; Olaf Hanel; Eric Andersen; Ken Friedman; Per Kirkeby; Jaroslaw Kozlowski; Stanley Lunetta ('Moosack Machines'); Zorka Saglova; Jiri Valoch; Max Neuhaus; Robert Filliou; Image Bank (12pp.); Gyula Gulyas; Zdzislaw Jurkiewicz; Eugen Brikcius; Nam June Paik (incl. 'Young Penis Symphony' - "Expected world premier about 1984 A.D."); Maria Michalowska; Janos Major; Victor Grauer; Jock Reynolds; Milan Knizak; Peter Donath; Allan Kaprow; Dietrich Albrecht; Charles Amirkhanian; Wolf Vostell; John Paul Rhinehart and Stanley Marsh 3; and Nicholas Slonimski + ads. Front cover slightly age-toned and back cover lightly rubbed, o/w Very Good plus.

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