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We Have Delivered Ourselves from the Tonal — Of, Towards, On, For Julius Eastman

We Have Delivered Ourselves from the Tonal — Of, Towards, On, For Julius Eastman

Rocco Di Pietro
4/5 ( ratings)
Read Download
“We Have Delivered Ourselves From the Tonal – Of, Towards, On, For Julius Eastman” is the volume’s attempt to broaden the approach to Eastman’s work beyond the boundaries within which it has largely been framed, partially regarding his race, sexual orientation, and position within the minimalist / post-minimalist canon, without failing to address those subjects. Not only are we faced with uniquely American composer who is black and queer, but one that bridges time, space, and culture, positioned on international terms.

Since his emergence onto the New York experimental scene during the 1970s, the life and work of Julius Eastman has been a series of small fires. As a man and an artist, he burned bright, readily wielding and succumbing to forces that makes fire what it is. Following his tragic early passing in 1990 at the age of 49, this spirit lay smoldering in the ashes for decades - forgotten or ignored - until a small handful of artists and friends began to send oxygen to coals, eventually becoming the growing flame that has surrounded his legacy over the last few years. While there’s been plenty written and said about Eastman and his work since, little has come close to depth, sensitivity, and grace embodied by the volume “We Have Delivered Ourselves From the Tonal – Of, Towards, On, For Julius Eastman” - a collection of writings around concepts beyond the predominantly Western musicological format of the tonal or harmonic.

The project looks at the work of the African American composer, musician and performer Julius Eastman beyond the framework of what is today understood as minimalist music, within a larger, always gross and ever-growing understanding of it—i.e. conceptually and geo-contextually. By trying to complicate, deny or expatiate on the notions of the harmonic, tonal hierarchy, the triadic, or even the tonal centre, Eastman’s compositions explore strategies and technologies of attaining the atonal. One might be tempted to see Eastman in the legacy of Bartok, Schoenberg, Berg and others, but here too, it is worth shifting the geography of minimal tendencies and minimalism in music. It is worth listening and reading Eastman’s music within the scope of what Oluwaseyi Kehinde describes as the application of chromatic forms such as polytonality, atonality, dissonance as the fulcrum in analysing some elements of African music such as melody, harmony, instruments and instrumentation. Together with musicians, visual artists, researchers and archivers it aims to explore a non-linear genealogy of Eastman’s practice and his cultural, political and social weight while situating his work within a broader rhizomatic relation of musical epistemologies and practices.
Language
English
Pages
260
Format
Paperback
Publisher
SAVVY Books
Release
May 10, 2022
ISBN 13
9783948212117

We Have Delivered Ourselves from the Tonal — Of, Towards, On, For Julius Eastman

Rocco Di Pietro
4/5 ( ratings)
Read Download
“We Have Delivered Ourselves From the Tonal – Of, Towards, On, For Julius Eastman” is the volume’s attempt to broaden the approach to Eastman’s work beyond the boundaries within which it has largely been framed, partially regarding his race, sexual orientation, and position within the minimalist / post-minimalist canon, without failing to address those subjects. Not only are we faced with uniquely American composer who is black and queer, but one that bridges time, space, and culture, positioned on international terms.

Since his emergence onto the New York experimental scene during the 1970s, the life and work of Julius Eastman has been a series of small fires. As a man and an artist, he burned bright, readily wielding and succumbing to forces that makes fire what it is. Following his tragic early passing in 1990 at the age of 49, this spirit lay smoldering in the ashes for decades - forgotten or ignored - until a small handful of artists and friends began to send oxygen to coals, eventually becoming the growing flame that has surrounded his legacy over the last few years. While there’s been plenty written and said about Eastman and his work since, little has come close to depth, sensitivity, and grace embodied by the volume “We Have Delivered Ourselves From the Tonal – Of, Towards, On, For Julius Eastman” - a collection of writings around concepts beyond the predominantly Western musicological format of the tonal or harmonic.

The project looks at the work of the African American composer, musician and performer Julius Eastman beyond the framework of what is today understood as minimalist music, within a larger, always gross and ever-growing understanding of it—i.e. conceptually and geo-contextually. By trying to complicate, deny or expatiate on the notions of the harmonic, tonal hierarchy, the triadic, or even the tonal centre, Eastman’s compositions explore strategies and technologies of attaining the atonal. One might be tempted to see Eastman in the legacy of Bartok, Schoenberg, Berg and others, but here too, it is worth shifting the geography of minimal tendencies and minimalism in music. It is worth listening and reading Eastman’s music within the scope of what Oluwaseyi Kehinde describes as the application of chromatic forms such as polytonality, atonality, dissonance as the fulcrum in analysing some elements of African music such as melody, harmony, instruments and instrumentation. Together with musicians, visual artists, researchers and archivers it aims to explore a non-linear genealogy of Eastman’s practice and his cultural, political and social weight while situating his work within a broader rhizomatic relation of musical epistemologies and practices.
Language
English
Pages
260
Format
Paperback
Publisher
SAVVY Books
Release
May 10, 2022
ISBN 13
9783948212117

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