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Index
Abe, Shuya, 159
“Acoustic Hillbilly Jive” (Flynt), 86
Action Against Cultural Imperialism, 65–
71, 140
actor-network theory. See Latour, Bruno
actually existing experimentalism. See under
experimentalism
Alexander, Dave, 187–88
Ali, Rashied, 102
Allen, Byron, 117
Amish, the, 54–55
AMM, 16
“Ann” (Stooges), 190, 247n59
Ann Arbor, Michigan, 2; arts scene, 180–86,
245–46n24
Apartment House 1776 (Cage), 58–59
permitted under U.S. or applicable copyright law.
Arabic Numeral (any integer) to Henry Flynt
(Young), 190, 191, 219n77
Art Ensemble of Chicago, 16
Asheton, Ron, 186–88, 192
Asheton, Scott, 186–88, 192
Ashley, Mary, 178, 182
Ashley, Robert, 177–79; in Ann Arbor, Mich-
igan, 180–82; as inspiration to Iggy Pop,
185; as performer, 177–78; Public Opin-
ion Descends upon the Demonstrators
(1961), 181. See also Wolfman, The
Association for the Advancement of Creative
Musicians, 18, 61–62
Atlantic Records, 99
Atlas Eclipticalis (Cage), 26 (mus. ex.), 28
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(mus. ex.), 37 (fig.), 45; composition of,
29–30, 54; long silences in, 29, 38; loud-
ness of, 29, 36; New York Philharmonic
performance of, 2, 20–22, 27–29, 36–40,
46, 48; notation of, 25–29; performances
of, 29–30; sonic characteristics of, 25–27;
technological aspects of, 36–37, 47; on
television, 208n40
audiences. See under Cage, John: reception
of works; experimentalism; jazz avant-
garde; race
Austin, Larry, 2
avant-garde, 41–42, 131; gender assumptions
of, 168; as implicitly European American,
11, 125, 194. See also experimentalism;
jazz avant-garde; neo-avant-garde
Avant-Garde concert series (New York Phil-
harmonic), 2, 20–22, 31–34; criticism of,
32–34
Avant Garde Festivals (Moorman), 2, 4, 140;
First (1963), 42–43; Heckman’s involve-
ment in, 4; integration of jazz into, 5,
142; Second (1964), 66–69, 140–42, 149–
50, 159–60, 177–78. See also Moorman,
Charlotte
Ayler, Albert, 102, 115, 122
Banes, Sally, 11, 99
Barad, Karen, 170–71
Baraka, Amiri (LeRoi Jones), 2, 98; Black
Arts Repertory Theatre and School, 2,
273
 274 | Index
Baraka, Amiri (LeRoi Jones) (continued)
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115, 120–21; Blues People, 85–86, 114;
“Changing Same, The,” 101; civil rights
movement, rejection of earlier, 129;
Dixon, criticisms of, 115–16, 122–23; and
Flynt, 65, 93; gender discourse of, 122–25;
Greenwich Village, break with, 115, 123,
130; on homosexuality, 123–25; October
Revolution, attendance at, 104; Organi-
zation of Young Men, 115, 229n61; popu-
larity of, 114; “Rockgroup,” 124; Shepp,
writings on, 113–14; as spokesperson for
jazz avant-garde, 114–16; on Stollman,
118; on whiteness, 123–25. See also black
nationalism
Bauer-Mengelberg, Stefan, 34
Beal, Amy, 6
Beatles, The, 2, 50, 124, 157, 211n95
Beats, the, 50–51, 79
Behrman, David, 141
Berio, Luciano, 181
Bernstein, Leonard, 2, 30–31; and Avant-
Garde concert series, 20–22, 32–34; and
Cage, 30–31, 35; criticism of, 31–34;
disciplining the orchestra, 35, 39–40;
Flynt’s attack on, 91; on improvisation,
31; mocking tone in rehearsals, 34–35,
36; podium chats, 20–22, 33; as public
figure, 14, 50
Berry, Chuck, 73–74
Bitches Brew (Davis), 194
Black Arts Movement, 114, 119–20; and
audiences, 120–21, 128, 130; jazz as a
marker of blackness, 120–21; purity,
rhetoric of, 127
Black Arts Repertory Theatre and School,
105, 120–21
black nationalism, 2, 119–20, 153; Black
Arts Movement and, 120–22; civil rights
movement, difference from, 128–29; Com-
permitted under U.S. or applicable copyright law.
munist Party USA and, 88, 128–29; gender
 
and, 122–27; jazz and, 114, 120–21; sexu-
ality and, 123–25; Williams and, 89–90;
Workers World Party and, 87–90. See
 
also blackness; Left, the; race; Williams,
Robert F.
blackness: gender, as intersected with, 122–
25; jewishness and, 124–25; sexuality, as
intersected with, 123–25. See also black
nationalism; jewishness; race; whiteness
Bley, Carla, 109, 110, 113, 116–17, 126 (fig.),
176; Guild, as founding member of, 106;
self-realization about whiteness, 134; on
Shepp’s Impulse! contract, 136; Sun Ra,
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dispute with, 126–27; as woman in male-
dominated organization, 126–27
Bley, Paul, 102, 113, 117; Guild, as founding
member of, 106; politics, dismissal of,
132; theft of Guild funds, 135
blues, the, 9, 72, 73, 79, 85, 87, 92, 97–98,
183
Boretz, Benjamin, 42
Borkin, Harold, 181
Born, Georgina, 9, 16, 142–43, 175
Botti, Walter, 32, 39, 61
Boulez, Pierre, 31
Bowe, Walter, 115
Bowie, David, 192
Braxton, Anthony, 48
Brecht, George, 3, 74, 81
Breer, Robert, 141, 161
Breines, Winifred, 122
British Broadcasting Corporation (BBC), 21
Brooks, John Benson, 3
Brown, Carolyn, 16, 29, 30, 31, 35, 42–43
Brown, Earle, 41, 56–57, 144, 160; Available
Forms II (1962), 35; at Avant-Garde
concert series, 2, 10, 20–22; New York
School, as part of the, 8
Brown, James, 197–98
Brown, Marion, 93, 115, 125
Brown, Wendy, 24, 49, 58
Bürger, Peter, 41–42
Burgio, Michael, 41
Burton, Humphrey, 32
Butler, Judith, 15
Byrd, Joseph, 71, 144
Cacioppo, George, 181
Café Au-Go-Go, 117
Cage, John, 2, 10, 103, 171, 174–75, 181; and
anarchy, 23, 25, 62; Apartment House
1776, 58–59; and Bernstein, 30–31, 35;
Cartridge Music, 47; chance, 21–22;
Cheap Imitation, 59; and choice, 25,
27, 43, 47–48, 55–64; compositional
techniques of, 25–29, 53–54; composition
class at the New School, 3; Concert for
Piano and Orchestra, 40; conservatism
of, 23, 151, 164, 168; didacticism of, 43–
44, 167–68, 211n99; dislike of Moorman’s
performances, 142, 149–50, 163–64; and
distributed authorship, 16, 55–58, 149,
171; experimentalism, on the category
of, 12; Flynt and, 17, 73–74, 80–81;
government, criticisms of, 60, 213n152;
homosexuality of, 52; and improvisation,
16, 31, 47–48, 146; influence on younger

generation, 71; and jazz, 3, 43, 193–94;
Copyright © 2011. University of California Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses
liberalism of, 23–25, 49, 58–64; and
loudness, 27, 36, 42–43, 48, 54, 156,
167–68, 193–94; and masochism, 52–54;
Moorman, collaboration with, 151; on
Music of Changes, 147; and neoliberal-
ism, 24; on the New York Philharmonic,
22, 38; and nonintention, 45, 46, 149;
I-VI, 239n46; as performer, 41, 146–47,
151, 163; Puritanism of, 151, 164, 168;
reception of works, 29, 37–38, 42–44;
reputation in the 1960s, 41–44; on rock,
180, 193–94; role of scores, 15–18, 195;
and shock, 42–44, 167–68; and social
movements, 64; as spokesperson for
experimentalism, 12, 48; spontaneity,
questionable commitment to, 56–64; as
subject of scholarship, 15–18, 24–25; sym-
phony orchestras, relationship with, 22,
30, 36, 41, 60, 210n77; taste of, 27, 45, 47,
153; “Ten Thousand Things, The,” 145–
47; theatricality of, 163–64; 31' 57.9864"
for a Pianist (1954), 145–47; 34' 46.776"
for a Pianist (1964), 145–47; translations
of, 17–18, 180, 194–95, 205n57; 27' 10.554"
for a Percussionist (1956), 145–47; Varia-
tions IV, 16; Variations V, 17–18, 47; Water
Walk, 163; Western European tradition,
as part of, 15–18, 23, 62–64, 147, 172; Win-
ter Music; and Zen buddhism, 213n140;
Zurich Opera, letter to, 64. See also Atlas
Eclipticalis; 26' 1.1499" for a String Player;
indeterminacy
Cale, John, 61; experimental music, con-
nections to, 190–91; as producer of the
Stooges (1969), 190–91
Cameron, Catherine, 201n14
Cannon, Steve, 115
Cardew, Cornelius, 38, 44, 190
Carmichael, Stokely, 93, 119
permitted under U.S. or applicable copyright law.
Cartridge Music (Cage), 47
Castel, Nico, 58
Cellar Café, the, 102, 106, 110
chance. See under Cage, John
“Changing Same, The” (Baraka), 101, 131
Charging Rhinoceros of Soul. See Mackay,
Steve; Sheff, Robert
Charles, Daniel, 193–94
Charters, Samuel, 72
Chatham, Rhys, 197
Cheap Imitation (Cage), 59
Cherry, Don, 73, 113
Chiari, Giuseppe, 160, 165
Childs, Barney, 144
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choice. See under Cage, John
City Minds and Country Hearts (Coleman), 5
civil rights movement, 2, 50, 70; and genera-
tional difference, 128–29; impact on the
Second Annual Avant Garde Festival,
141–42; music in, 87; and Williams, 89–
90, 93. See also black nationalism; race
Cohen, Milton, 181
Coleman, Ornette, 3, 64, 103, 104, 111, 135;
City Minds and Country Hearts (1964), 5,
200n8; Flynt, importance to, 72–73, 75;
Guild, refusal of endorsement for, 107,
226n20; Stollman, involvement with, 116
Collins, Patricia Hill, 125
color blindness, 119, 132–33
Coltrane, John, 72, 115, 192; Guild, support
for, 107, 226n21
communism. See Left, the
Communist Party USA, 88, 128
“Communists Music Give Revolutionary
Leadership in Culture” (Flynt), 94–97
confl ict: between Cage and Moorman, 142,
149–50, 163–64; between Cage and Paik,
163–64, 217–18n53; between Cage and
the New York Philharmonic, 20–64;
between Flynt and the Cagean avant-
garde, 17, 70–71, 78–79, 81, 85–86, 91–
92, 93–94; Jazz Composers Guild, in
the, 113–38; as productive of experimen-
talism, 11, 175–76
Congress of Racial Equality, 141–42
Conrad, Tony, 71, 80; Atlas Eclipticalis, as
performer of, 29; on composition, 16;
Flynt’s demonstrations, participation in,
66, 69; as improviser, 61; on newness, 75;
on the reception of Flynt’s critiques, 100
contact microphones: Cage’s use of, 29, 43;
Moorman’s use of, 155–57, 162; New York
Philharmonic’s use of, 36, 38, 39, 45; Iggy
Pop’s use of, 186, 188, 196
Contemporary Center, 105
Copland, Aaron, 2
Corner, Philip, 143–44, 160, 215–16n23
counterhistory, 18–19
Cowell, Henry: on the category of experimen-
talism, 12; and Ives, 9–10
Cruse, Harold, 93, 115, 128–29
Cunningham, Merce, 62, 181
Cunningham Dance Company, 29; tours with
Cage, 16
“Dance of Romance” (Stooges), 190
Darmstadt International Summer Courses
for New Music, 7, 79
 276 | Index
Davidovsky, Mario, 31
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Davidson, Lowell, 107
Davis, Miles, 10, 194
de Certeau, Michel, 172
De Intinis, Rainer, 36, 39–40
Deleuze, Gilles, 46
Delmark Records, 186
De Maria, Walter, 97
Detroit Artists’ Workshop, 182
DiCecco, Enrico, 38–39, 45, 61
Diddley, Bo, 73–74, 97, 101
discipline: and Cage, 54, 63; cello technique
as, 147–48, 172–73
Discount Records, 183
distributed authorship, 16, 55–58, 61–62, 149,
162, 169–71, 172
Dixon, Bill, 2, 113; Avant Garde Festival
(Moorman), performance at, 5, 13 (fi g.);
avant-garde predilections of, 120, 130–31;
Baraka, criticism of, 116, 130; black cul-
tural nationalism, criticism of, 114, 120;
as concert producer, 102–5; gender, dis-
course of, 125; Guild, as founding member
of, 106; guild, on the appropriateness of
the term, 107; as performer, 102–3; purity,
rhetoric of, 127–28; race cognizance of,
120, 133–34; Shepp, conflict with, 113–14;
on Shepp’s Impulse! contract, 235–36n142;
on Spellman, 130; whites, relationship
with, 122, 128–30. See also Jazz Compos-
ers Guild; October Revolution in Jazz
D’Lugoff, Art, 104
Donaldson, Ivanhoe, 93
Down Beat, 104; Guild, on the, 108, 110;
Heckman writing for, 3–4
Downes, Edward, 16
Dramatic Arts Center, 181–82, 184
drones, 178, 186, 189–91, 195
Drucker, Stanley, 32, 35–36
Dylan, Bob, 98
permitted under U.S. or applicable copyright law.
Eastman, Julius, 241–42n84
Edmunds, John, 6, 71
Ed Sullivan Show, The, 2
Eldridge, Roy, 4
Elektra Records, 190
empiricism, 9, 175
Erlewine, Michael and Dan, 183
ESP-Disk, 99, 109, 117–18. See also Stollman,
Bernard
“Essay: Concept Art” (Flynt), 76–77
Europeras (Cage), 59
Evans, Gil, 104
Exercise Awareness-States (Flynt), 77–78
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experimentalism: achievement, as an, 6–7;
actually existing, 8, 14, 19, 58–64, 176,
195–98; anti-groups, 14, 139, 174; and
audiences, 10–11, 103–4, 120–21, 128,
130, 132, 137, 167–68; authorization of,
12–14; based on available resources, 12,
204n44; Cage’s role in defi ning, 17–18,
48, 175; and canons, 194–98; commonly
cited characteristics of, 5–6, 195; and
confl ict, 14; construction of, 7, 19; defi ni-
tions of, 5–8; and ethics, 19, 173–74; vs.
European avant-gardism, 4, 6, 14, 69,
173; and the everyday, 2, 7–8, 142–43,
149, 165, 173, 193; experimental super-
category, 196–98; formal characteristics
of, 5, 195–96; and freedom, 63–64, 99–101;
grouping, as acts of, 6–7, 11, 15; and high
culture, 16–18, 197–98; historiography
of, 15–17; individual performers of, 22–
23, 140–76; limits of, 6–7, 9, 193–97; and
non-Western sources, 6, 186; ontologies
of, 7; and popular music, 73–74, 180,
193–97; and race, 10–11, 18, 58, 139, 194;
reconfiguration of, 18–19; riskiness of,
173–74; scholarly translation and citation
of, 14–19, 174–75; spokespersons for, 11–
12. See also avant-garde; jazz avant-garde
Experiments in Arts and Technology, 184
extraordinary, ordinary and. See ordinary,
extraordinary and
failure, 174–76
Faubion, James, 173
Feldman, Morton, 2, 8, 103, 181; authori-
zation of experimentalism, 13–14; and
“Avant-Garde” concert series (New York
Philharmonic), 20–22; as part of New
York School, 8; social concerns in art,
on, 100
Feminine Mystique, The (Friedan), 50
femininity, 123, 126–27; and the male gaze,
167; and tonality, 54; and transgression,
168
Fiedler, Leslie, 50–52
Fields, Danny, 190
Five Spot, 10, 11
Fluxus, 65–70, 81, 82–83, 184; newsletters,
84; political valences of, 99–100, 166
Flynt, Henry, 2, 61, 168, 174–75; acognitive
culture, 80–82; “Acoustic Hillbilly Jive,”
86; anti-art, 80–81, 82–86, 91; anti-art
demonstrations, 2, 83–84; anti-imperialist
politics, 65, 83, 85–86, 90–99, 222n122;
avant-garde predilections of, 70–71, 82,
 Index | 277

96–97, 101; Bernstein, critique of, 91; Four Dreams of China (Young), 191
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and Black Arts Movement, 93, 101; black
music, attraction to, 70, 73–74, 79–80,
94, 96–99; Blues People (Baraka), impor-
tance of, 85–86; brend, 82; and Cage, 17,
73–74, 80–81; and civil rights movement,
87, 89–90; Coleman, admiration for, 72–
73, 75; “Communists Must Give Revolu-
tionary Leadership in Culture,” 94–97;
early biography, 71; and ESP-Disk, 99;
“Essay: Concept Art,” 76–77; European
American avant-garde, critique of, 17,
70–71, 78–79, 81, 85–86, 91–92, 93–94;
European American avant-garde, work
reflecting the concerns of, 78–79, 92;
European bourgeois culture, critique of,
96; Exercise Awareness-States, 77–78;
and Fluxus historians, 68, 92; and folk
music, 70, 72, 94, 96; as improviser, 73–
75, 97; Innperseqs, 77; Insurrections,
the, 97–99; and jazz, 70, 72–74, 89–90;
Left, cultural critique of the, 92–99; loft
concerts, 73–74; Maciunas, friendship
with, 82–83; and Marxism-Leninism,
65, 70, 87–99; “Meaning of my Avant-
Garde Hillbilly and Blues Music, The,”
97; misunderstandings about, 66–70, 92,
100–101, 142; neutralization of, 68–70; on
newness, 75–76, 82; philosophy of, 71, 77,
216n31; “Picket Stockhausen Concert!”,
66, 91–92; politics of, 87–101; and popu-
lar music, 70, 73–74, 79–80, 91–92, 94,
96–99; possibly Henry Flynt (1961), 74;
race and class, analysis of, 70–71, 91–
99, 139; Stockhausen, demonstrations
against, 65–71, 90–92, 142; “Tape 14,”
75; Velvet Underground, in the, 248n61;
Veramusement, 84; word pieces, 71, 77–
78; and Workers World Party, 87–88,
90–99; Work Such That No One Knows
permitted under U.S. or applicable copyright law.
Four for Trane (Shepp), 108
4'33" (Cage), 42, 46
Frankenberg, Ruth, 119
freedom, 61–62, 99–101, 130–31; and Cage,
63–64; and discipline, 54; and symphony
orchestras, 45
Free Form Improvisation Ensemble, 102
free jazz, 3, 73, 101, 114, 123, 192
Friedan, Betty, 50
Friedman, Gary William, 132
From Culture to Veramusement (Flynt)
Fuller, Buckminster, 24, 60, 184
Fun House (Stooges), 190–91
Gann, Kyle, 14
Garroway, Dave, 109
gender. See femininity; masculinity
Gendron, Bernard, 50, 138
Gennari, John, 122
Gerhard, Roberto, 181, 247n60
Gillespie, Dizzy, 4
Ginsberg, Allen, 50, 66, 140–41
Giordano, Phil, 36
Giuff re, Jimmy, 102
Glover, Hugh, 115
Goldstein, Malcolm, 47, 48, 150, 160
Goltzer, Albert, 35, 39
Goodman, Susan, 66
Graves, Milford, 121 (fig.), 130; on audiences,
234n120; Baraka, links with, 115; black
nationalism of, 122, 232n99; on racial ten-
sions in the Guild, 134; as sideman, 107
Greene, Burton, 5, 102, 108, 113; Baraka’s
criticisms of, 125; color-blind racial
ideology of, 132; Guild, as founding
member of, 106; on Shepp’s Impulse!
contract, 136
Hamilton, Bobb, 115

What’s Going On (1961), 74; Young, duets Hanson, Al, 3

with, 75, 79–80; Young, influence of, 70, Haraway, Donna, 241n72
71–73, 74–75, 78, 98 HARYOU, 120
Folkways, 99 Haughton, Jim, 93
Forti, Simone, 71 Heckman, Don, 3–5, 142, 195
Foss, Lukas, 181 Henze, Hans Werner, 65
Foucault, Michel, 6, 18, 19, 173–74; discipline, heterosexuality, 123–25
148–49, 172–73; ethics, 143, 148–49, 173– Hicks, Calvin, 115
74; on experimentalism, 243n118; and Higgins, Billy, 73, 79
power, 10; problematization, 149, 172–73; Higgins, Dick, 3, 66, 69, 83, 160
subjectivation, 143; technologies of the Higgins, Hannah, 68
self, 143, 148–49, 173–74 Hill, Andrew, 104
Four Days in December. See under Jazz Hiller, Lejaren, 12
Composers Guild Hindemith, Paul, 65

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Holzaepfel, John, 55, 56, 57
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homosexuality, 51–52, 123–25
Hubbs, Nadine, 54
Huyssen, Andreas, 99–100, 166
Hymns and Variations (Cage), 59
Ichiyanagi, Toshi, 29, 48, 71, 144, 160
Iijima, Ikuko, 65
improvisation: and Cage, 16, 31, 47–48, 146;
and distributed authorship, 16, 61–62;
and Flynt, 73–75, 97; and Moorman,
163; and New York Philharmonic, 21;
in Originale, 141; political models of,
61–63; and the Stooges, 186–90, 192; in
The Wolfman, 178. See also distributed
authorship; jazz avant-garde
indeterminacy, 147; ontological, 171; perform-
ers of, 25, 46–49, 55–60, 63–64; politics of,
24–25, 58–64; sound’s role in expressing,
45–49
interracialism, 122, 123–25, 128–29, 133. See
also race
Ives, Charles, 7, 9–10
“I Wanna Be Your Dog” (Stooges), 191
jazz, 14, 21, 50; blackness, as symbol of,
120–21; clubs, mainstream, 102–3, 105,
108; coffeehouses, 103; color blindness,
ideology of, 119, 131–34; economics of,
108, 130; and European American avant-
garde, 72–73, 142, 157; gender discourse
in, 122–27; as a label to be resisted, 106,
107, 230–31n79; and labor, 104, 125; and
the New York Philharmonic, 31; race,
debates over, 119–122; as racial taxonomy,
10, 105–6, 131, 136–37; in relation to popu-
lar music, 50, 105
jazz avant-garde, 96; audiences for, 120–21,
128, 130, 137, 226–27n28; competing
racial ideologies within, 118–34; and
permitted under U.S. or applicable copyright law.
confl ict, 114–18; connections with Euro-
pean American avant-garde, 3, 125;
expanding geography of, 105; musical
characteristics of, 103; performance
opportunities for, 114–18; performance
spaces for, 105–6, 108, 114–18; race in,
118–34. See also Jazz Composers Guild
Jazz Composers Guild, 2, 61, 168, 174–76;   Latour, Bruno, 8–11, 15, 197; on confl ict, 11;
achievements of, 139, 176; audiences for,
120–21, 128, 130, 137; black members’
confl icting views on race, 119–22, 134;
charter of, 112; concerts produced by,
110–11; confl ict, internal, 113–14, 115;
confl ict with other groups, 114–18; Con-
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temporary Center, move to the, 111; cri-
tiques of the establishment, 108–9; diver-
sity within, 113; formation of, 105–7;
Four Days in December, 110–11; gender
discourse in, 126–27; membership, rules
on, 107; name, 107; objectives, 108, 136–
37; permanent home, search for, 111–112;
press coverage, 111; racial confl icts in,
118–34; rules, 109–110; Shepp’s Impulse!
contract, 135–36; Stollman, criticism of,
116–17; white members’ resistance to race
thinking, 131–34; white members’ stance
on audiences, 132, 134; withdrawing from
the market, 108–9. See also Dixon, Bill;
jazz avant-garde; October Revolution in
Jazz
Jazz Composers (Guild) Orchestra, 110, 176
Jelloman, The (Mary Ashley), 185, 188–89
Jenkins, Henry, 172
Jennings, Terry, 71–72, 75, 79
jewishness, 50, 52, 59; gender, as intersected
with, 124–25; sexuality, as intersected
with, 124–25
Johns, Jasper, 149–50
Johnson, A. Robert, 31–32, 34, 39
Johnson, Tom, 14
Johnston, Jill, 66–67
Jones, Hettie, 114–15, 123
Jones, LeRoi. See Baraka, Amiri
Joseph, Branden, 41–42, 60
Judson Dance Theater, 10, 181
Judson Hall, 65, 105, 110, 117, 141
Julius, Anthony, 166–68
Kaprow, Allan, 3, 66, 69, 140–41
Kellein, Thomas, 69
Kelley, Robin D. G., 88
Kenyatta, Robin, 5
Kirby, Michael, 141
Klüver, Billy, 69, 184
Knowles, Alison, 81, 160
Kobayashi, Kenji, 143–44
Koester, Robert, 186
Kostelanetz, Richard, 17
Krumm, Philip, 182
Lang, Arnie, 45
and race, 203n31; symmetry, 8–9; on trans-
lation, 8, 194
Lee, Jeanne, 58
Left, the, 70, 86–99; and African Americans,
88, 93–94, 128–29; Flynt’s critique of, 92–
99; and folk music, 86–87

Levertov, Denise, 142
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Levin, Robert, 108, 111; on Stollman, 118
Lewinski, Wolf-Eberhard von, 91
Lewis, George E., 18–19
liberalism, 23–25, 49, 58–64
Lieberman, Fredric, 48
Ligeti, György, 2, 20, 31
limits: abandonment as methodological prin-
ciple, 9; of discourse for the jazz avant-
garde, 138–39; of the everyday, 7–8; of
experimentalism, 174–75, 198; of political
understanding, 100; of rumspringa, 54;
of scholarship, 69–70, 92; of transgres-
sion, 168
Lincoln, Abbey, 111, 119
Lindberg, Dennis, 71
Living Theatre, 79
Lloyd, Charles, 5
Logan, Giuseppi, 5, 107, 115, 117
A Long Hot Summer (Mac Low), 141–42
loudness: and Atlas Eclipticalis, 29, 36; and
Cage, 27, 36, 42–43, 48, 54, 156, 168,
193–94; and free jazz, 122; and rock, 43,
193–94; and Stooges, 193; and Theatre
of Eternal Music, 190, 193; and Velvet
Underground, 193; and The Wolfman,
178, 193, 245n14
Lucier, Alvin, 66, 141, 181
Maciunas, George, 65–68, 82–83, 84; AG Gal-
lery, 77; “Communists Must Give . . . ,”
contribution to, 94; Fluxus manifesto,
220n90
Mackay, Steve, 183, 192
MacLise, Angus, 61, 190
Mac Low, Jackson, 87; African American
musicians, work with, 236–37n6; Cage’s
New School class, participation in, 3; and
Flynt, 100, 219n75; A Long Hot Summer,
141–42; Originale, participation in, 66;
permitted under U.S. or applicable copyright law.
politics of, 84, 142; Young/Ono loft con-
certs, participation in, 71
Mahmood, Saba, 143, 162
Malcolm X, 153
Mallory, Mae, 93
Mansfield, Newton, 31–32, 35, 39, 41
Mantler, Michael, 5, 110, 113, 121 (fig.), 126
(fig.); Guild, as founding member of, 106;
on race, 131–32; on withdrawing from
the market, 109
Manupelli, George, 181
Marcuse, Herbert, 99
Marlowe, Alan, 66
Martin, Bill, 197
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marxism. See Communist Party USA; Left,
the; Workers World Party
Marzoni, Carl, 90
masculinity: Baraka’s formulation of, 122–25;
and blackness, 122–27; and experimen-
talism, 54; and femininity, 51; and jazz,
122–27; and labor, 52, 125; and loudness,
54, 122; and masochism, 49–54; sexuality,
as intersected with, 51–52, 123–25; and
victimization, 49–52, 54; and whiteness,
49–54
masochism: and Cage, 43, 52–54; and Tudor,
53; and white masculinity, 49–50, 52–54
Mathews, Max, 36
Maxfield, Richard, 29, 48, 71, 73, 74
MC5, the, 182, 183
McLean, Jackie, 93
McLucas, Leroy, 115
McLuhan, Marshall, 60
“Meaning of My Avant-Garde Hillbilly and
Blues Music, The” (Flynt), 97
Medina, Cuauhtémoc, 68, 92
Melnick, Jeff rey, 124
Miller, David P., 16
Mills College, 192
Mingus, Charles, 111, 119
minimalism, 9, 85, 197
Mock Risk Games. See Exercise Awareness-
States (Flynt)
Mol, Annemarie, 14, 159
Moncur, Grachan, 115
Monk, Thelonious, 111, 157
Montreal Festivals Society, 29
Moorman, Charlotte, 2, 42–43, 104, 174–
75; agency of, 143, 149, 162, 168–71, 173;
arrest of, 166, 170 (fig.); Cage, assistance
from, 150–51; City Minds and Country
Hearts (Coleman), performance of, 5;
European tours with Paik, 153, 160; exper-
imental music, introduction to, 143–44;
Flynt’s demonstration, behavior at, 66,
69; incorporation of current events into
26' 1.1499'', 151–53, 165; incorporation of
noncello sounds into 26' 1.149'', 151–58;
jazz and, 5, 142; as a network, 143, 162,
171; October Revolution, attendance at,
104; Opera Sextronique, performance
of, 166–69; Originale (Stockhausen), per-
formance of, 4, 65–70, 140–42, 161; Paik,
collaboration with, 16, 61, 159–65, 169;
politics of, 99, 164, 166, 168; popular
music and, 157, 165; and resistance, 172–
73; self-criticism of, 150–51; shock and,
166–68; Sonata for Adults Only (Paik),
 280 | Index
Moorman, Charlotte (continued)
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performance of, 160–61; technology, use
of, 153–57, 162, 239n50; theatricality of,
156, 162–65; as traditional performer, 168–
70; training of, 148–49; trial for indecent
exposure, 50–51, 167–71; Tudor and, 144–
45, 150–51; 26' 1.1499'', performance of,
142–45, 150–58, 160; use of experimental
works, 143, 149, 171–73; war imagery, use
of, 162, 164. See also Avant Garde Festi-
vals; 26' 1.1499" for a String Player
Morea, Ben, 99
Morgenstern, Dan, 104, 105
Morris, Robert, 71
Morrison, Jim, 189
Morrison, Sterling, 190
Moseley, Carlos, 31–32, 33–34, 39–40
Moten, Fred, 1, 7, 11, 123–25, 194
Motian, Paul, 102
Mumma, Gordon, 161, 181, 183; Avant Garde
Festival (Moorman), participation at, 177;
departure from Ann Arbor, 181; experi-
mentalist themes, use of, 6–7; in higher
education, 201n17
Murphy, Art, 97
Murray, Sunny, 102, 115
Musica Elettronica Viva, 16
Music of Changes (Cage), 147
Neal, Lawrence, 119, 120
neo-avant-garde, 41–42
neoliberalism, 24
networks, 2, 5, 9; actor-network theory, 8–10,
 
11–12, 14–18; complexity, 9–10; in the
construction of experimentalism, 15, 18;
difference from common usage of term, 8;
face-to-face connections, 9–11, 195; gender
as a factor in, 169–70; heterogeneity of, 9,
14, 15, 182, 194–95; power in, 11–14, 169–
70; race as a factor in, 10–11, 118–34, 139;
permitted under U.S. or applicable copyright law.
relative strength of, 139, 180, 182, 194–96;
stability of, 15, 18, 182, 194–98; and sub-
jectivity, 170–71; translation, 8, 15–18,
193–96. See also Latour, Bruno
Neuhaus, Max, 65, 66, 141, 181, 185
New Left, the, 49
“New Mutants, The” (Fiedler), 50 –52
Newport Jazz Festival, 137–38
New Thing, the. See jazz avant-garde
New York Art Quartet, 109, 114, 115, 117
New York Contemporary Five, 113
New York Philharmonic, 2, 55; agency of, 38–
39, 45, 49; Cage, views on, 44–46; impro-
visation by, 21; inappropriate behavior by,
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38–40; performance of Atlas Eclipticalis,
2, 20–22, 27–29, 36–40, 46, 48; political
models of, 61; professionalism, 39–40, 41,
52; in rehearsal, 35–36; rehearsal sched-
ule, 30; reputation of, 40, 44; treatment of
visiting composers, 40–41, 44; victims, as,
52. See also Avant-Garde concert series
New York School, 8, 56–68
Nicholls, David, 201n16
Nix, Bern, 64
nudity, 164, 166–70, 167, 187, 189
Nyman, Michael, 4, 5, 12
O’Brien, Orin, 168
October Revolution in Jazz, 2, 61, 102–6;
audiences at, 103–4; lasting effects of,
105; organization and economics of, 12;
reason for being produced, 105; success
of, 103–6. See also Dixon, Bill; Jazz Com-
posers Guild
Oliveros, Pauline, 103, 181, 188, 193
ONCE Festival, 161, 180–82
ONCE Friends, 181
ONCE Group, 16, 181; assault on, 249n75;
parties of, 184–85
ONCE Recording Concerts, 181
Ono, Yoko, 160, 163; loft concerts of, 71–72,
144
Opera Sextronique (Paik), 51, 166–70
orchestras: Marxist analysis of, 44
ordinary, extraordinary and, 1–3, 18, 149,
173–74, 176
Oren, Michel, 68
Organization of Young Men, 115, 229n61
Originale (Stockhausen), 4, 66–71, 140–42
Paik, Nam June, 2, 66, 69, 84, 171; aesthetics
of, 163; European tours with Moorman,
153, 160; imperialism, critique of, 164;
Moorman, collaboration with, 2, 61, 156,
159–65, 169; Opera Sextronique (1967),
166–69; Originale, part in, 141; as per-
former, 141, 159, 160, 217–18n53; robots
of, 159–60; sexual themes in the work
of, 160–61; Simple, 141, 160; Sonata for
Adults Only, 160–61; Variations on a
Theme by Saint-Saens, 160; war imagery,
use of, 162, 164
panel discussions: in jazz avant-garde, 224n9;
at October Revolution in Jazz, 104,
224–25n10
Parker, Charlie, 4
Partch, Harry, 186, 187
Patterson, Benjamin, 83

performativity, 7, 15, 19, 201–2n19
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Phillips, Barre, 102
“Picket Stockhausen Concert!” (Flynt), 66,
91–92
Planned Parenthood, 152
politics: of Cagean avant-garde, 99–101, 131;
of improvised music, 61–63; of liberalism,
56–64; of orchestra, 61; of tolerance, 49,
58–60
Pop, Iggy, 18, 177; Ashley, respect for, 185;
assaultiveness of, 186, 189–90, 193; and
Bowie, 192; electronics, fascination with,
183, 186–88; experimental music, knowl-
edge of, 189; on Fluxus, 189; invented
instruments of, 186–88, 247n59; on
Moorman, 189; ONCE, connections
with, 182–86; Partch, interest in, 187;
in Prime Movers, 183, 186; primitivism
of, 186–87; stage persona, 188, 193;
translations of, 180, 185, 194–95; and
Velvet Underground, 185, 190–91; and
Warhol, 185, 190. See also Stooges, the
pop experimentalism. See experimentalism:
popular music and
popular music, 2, 50, 124; Cage’s ignorance
of, 73–74; as culture of revolution, 94;
and experimentalism, 73–74, 180, 193–98;
Flynt, importance for, 70, 91–92, 96–99;
Young’s withdrawal from, 79–80. See also
Beatles, The; youth culture
Powell, Bud, 117
Prime Movers, the, 183
Pritchett, James, 15–16, 146–47
professionalism. See under New York
Philharmonic
Progressive Labor, 90
purity, 127–28
race: 1964, in the U.S. during, 104; and audi-
ences, 10–11, 120–21, 128, 130; debates
permitted under U.S. or applicable copyright law.
in jazz world over, 106, 118–22; and
experimentalism, 10–11, 18, 194; as a fac-
tor in a network, 10–11, 139, 194; in the
Jazz Composers Guild, 118–22; and the
Left, 86–99; October Revolution, as topic
of discussion at, 104; and performance
spaces, 10–11, 120–21; and rhetoric of
purity, 127–28. See also black national-
ism; blackness; jewishness; whiteness
race cognizance, 119
Rainer, Yvonne, 73
Rawls, John, 24, 60
Raw Power (Stooges), 192
Rebner, Wolfgang Edward, 12
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Reed, Lou, 97
Revill, David, 35
Reynolds, Roger, 181
rhythm and blues, 73–74, 79, 96, 194; civil
rights movement, negligible role in the,
98–99
Rich, Alan, 32–34
Richards, M. C., 30
Roach, Max, 111, 119
rock, 50, 73–74, 79, 97–99, 157, 193–94
“Rockgroup” (Baraka), 124
Rollins, Henry, 16
Rose, Leonard, 149
Rudd, Roswell, 5, 111, 113, 121 (fig.), 126
(fig.); Cellar Café, on the reputation of,
102; Guild, as founding member of, 106;
October Revolution, on the mood at, 104
rumspringa, 54–58
Sabino, Peter, 103
Saito, Takako, 65
Sanders, Pharoah, 102, 115, 125, 248n67
Savran, David, 49–50, 52
Scavarda, Donald, 181
Schleifer, Abdallah (Marc): Flynt’s demon-
strations, participation in, 65, 69, 90; as
noteworthy figure on the Left, 89–90;
Williams and, 89–90
Schneemann, Carolee, 164
Schneider, Rebecca, 168
Schneyer, Helen, 58–59
Schonberg, Harold, 32–33, 66
Scott Richardson Case, 183
Seaman, Norman, 117, 140, 169
self-determination, 88, 94, 106
sexuality. See heterosexuality; homosexuality
Shalleck, Milton, 50–51, 169–70
Sheff, Robert: as “Blue” Gene Tyranny, 192;
on Iggy Pop’s familiarity with ONCE,
185, 188; at Mills College, 192; ONCE,
involvement in, 182–83, 189; in Prime
Movers, 183; Stooges, as member of the,
192
Shepp, Archie, 112 (fig.), 113, 114–16, 215–
16n23; black nationalism, position on,
231–32n91; Four for Trane, 108; Guild,
as founding member of, 106; Guild, ques-
tionable commitment to, 136; Impulse!,
contract with, 135–36; at SNCC benefit,
93
Silva, Alan, 102, 111, 113; Guild, as founding
member of, 106; on race in the Guild, 134;
on Shepp’s Impulse! contract, 136
Simone, Nina, 99
 282 | Index
Simple (Paik), 141, 160
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Sinclair, John, 182, 194
Sino-Soviet split, 50
Smith, Owen, 68
Snow, Michael and Joyce, 115
Socialist Workers Party, 87, 89
Sonata for Adults Only (Paik), 160–61
Sonic Arts Union, 16
Spellman, A. B., 93, 111, 130; Cellar Café, on
the, 104; criticism of Dixon, 116, 121–22,
122–23
Stephen, Edith, 111
Stern, Fred, 144
Stewart, Kathleen, 11, 143, 173, 180
Stiles, Kristine, 215n17
Stockhausen, Karlheinz, 2, 65–71, 79, 181;
demonstrations against, 65–71, 90–92;
and jazz, 4, 90–91; meeting with Heck-
man, 4; Originale, 4, 66–71, 140–42;
Plus-Minus, 159–60; as visitor to the
New York Philharmonic, 40–41
Stollman, Bernard, 109, 116–18; concerts
produced by, 117; jazz, avoidance of the
term, 230–31n79; Jazz Composers Guild,
brief involvement in, 116–17; personal
resources of, 118; on Shepp’s Impulse!
contract, 135
Stooges, the, 16, 180; “Ann,” 190, 247n59;
confrontational stance of, 189–90, 193;
“Dance of Romance,” 190; demise of,
193; early gigs of, 187–88; formation
of, 186; free jazz, influences from, 192,
248n67; Fun House, 192; and improvi-
sation, 186–90, 192; “I Wanna Be Your
Dog,” 191; loudness of, 191–92; Raw
Power, 192; and Sheff, 192; The Stooges,
190–91; “We Will Fall,” 191
subjectivity, 49, 55–58, 142–43, 159, 162, 173–
74; ambivalence of, 148–49, 170–71
Sun Ra, 5, 102, 113, 117; disagreements
permitted under U.S. or applicable copyright law.
with other Guild members, 114; gender
discourse of, 126–27; Guild, departure
from the, 229n56; on Shepp’s Impulse!
contract, 136
Swift Eagle, 58
Szwed, John, 114
Taruskin, Richard, 61, 63
Taylor, Cecil, 16, 72, 103; Avant Garde Festi-
val (Moorman), performance at, 5; ¡Con-
quistador!, 137; Guild, as founding mem-
ber of, 106; Guild, on confl icts in the,
113; jazz avant-garde, on the commercial
viability of the, 227n31; Judson Dance
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Theater, as collaborator with, 10; non-
normative sexuality of, 124–25; October
Revolution, attendance at, 104; politics, on
the artist’s role in, 9; on Shepp’s Impulse!
contract, 136; Stollman, involvement with,
116, 117; Sun Ra, quarrel with, 114; as
victim of mugging in 1964, 233n107
Tcherepnin, Serge, 83
Tchicai, John, 5, 113, 121 (fig.); Guild, as
founding member of, 106; on race in the
Guild, 134; on Shepp’s Impulse! contract,
136
Tenney, James, 47, 48, 66, 141
“Ten Thousand Things, The” (Cage), 145–47
Theatre of Eternal Music, 16, 61–62, 80;
loudness of, 190, 193; pitch language
of, 191
Thiele, Bob, 135
31' 57.9864" for a Pianist (Cage), 145–47
34' 46.776" for a Pianist (Cage), 145–47
Thomas, Lorenzo, 142
Thompson, Bob, 115
Thomson, Virgil, 40, 80
tolerance, 24, 58–64
Tolliver, Charles, 115
Tonight Show, The (Johnny Carson), 156
Toscanini, Arturo, 40
Toure, Mohammed Askia (Roland Snellings),
98
Town Hall, 105
transgression: in downtown bohemia, 123;
as feminist continuation of avant-garde
shock, 166–68; Moorman’s performances
as, 143, 166–70; as a political strategy, 168
translation, 8, 15–18, 194–96
Trans-Love Energies, 182
Tudor, David, 16, 29, 30, 53, 65, 181, 188;
Cage, collaborations with, 55–56, 146–
47, 163; as ideal liberal subject, 58–64;
masochism of, 53; New York School,
significance in, 55–58, 150; politics of,
166; realization of Winter Music (Cage),
55–56;
Turetzky, Bertram, 149
26' 1.1499" for a String Player (Cage), 146
(mus. ex.), 152 (fig.), 157 (fig.), 158 (fig.),
160; Cage’s development, place in, 146–
47; cello technique and, 147–48; composi-
tion of, 145–46; Moorman’s version as a
register of the 1960s, 165; performance
at 1963 Festival, 150–51; performance at
1964 Festival, 142, 151; as problematiza-
tion, 149, 172; score of, 145–46, 147–48
Tyranny, “Blue” Gene. See Sheff, Robert
 Index | 283

Umbra Workshop, 142 Winter Music (Cage), 55–56

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Wire, 197
VanDerBeek, Stan, 161 Wise, Bruce, 181
Varèse, Edgard, 2, 20, 143 Wolff, Christian, 38, 57, 80
Variations IV (Cage), 16 Wolfman, The (Robert Ashley), 177–78, 182;
Variations V (Cage), 17–18, 47 as inspiration to Iggy Pop, 185–86; loud-
Variations on a Theme by Saint-Saens ness and, 177–78, 193, 245n14
(Paik), 160 Wolpe, Stefan, 2, 33, 34, 58
Vautier, Ben, 65 women’s movement, 49
Velvet Underground, the, 189–91 Workers World, 87–90, 93–94
Vexations (Satie), 190 Workers World Party, 87–99; arts, disinterest
Vietnam War, 49, 164 in the, 93–99; and black nationalism, 88–
Village Vanguard, 111 90, 221n108; Third World Marxism of,
virtuosity, 52 87–88; and Williams, 89–90
Worrell, Lewis, 102
Wakoski, Diane, 76, 79
Walker, Clarence, 102 Xenakis, Iannis, 2, 20, 31
Ward, Brian, 98–99
Ware, John, 39 Yalkut, Jud, 163
Warhol, Andy, 50, 184, 190 Yates, Peter, 6, 14, 29
Warwick, Dionne, 115 Young, La Monte, 61, 70, 103, 160, 181;
Watergate, 153 Arabic Numeral (any integer) to Henry
Water Walk (Cage), 163 Flynt, 190, 191, 219n77; Cage, competi-
Watts, Jerry G., 120 tiveness with, 75–76; Composition 1960
Watts, Marzette, 115 #10, 74; Flynt, duets with, 75, 79–80;
Webster, Albert “Nick,” 31 Flynt, importance for, 70, 71–73, 74–75,
Wehrer, Anne, 183–85 78; Four Dreams of China, 191; high
Wehrer, Joseph, 181 culture, position in, 9, 80; improvisa-
Wein, George, 137–38 tions of, 73, 74–75; and jazz, 72–73, 79–
“We Will Fall” (Stooges), 191 80; loft concerts of, 71–72; minimalism,
White, William, 115 on the roots of, 9; on newness, 75; New
whiteness, 223n133; blackness, fascination York, arrival in, 71; politics, on Flynt’s,
with, 51, 72, 94, 183; gender, as intersected 80; popular culture, relationship to, 79–
with, 49–54, 123–25; jewishness and, 50, 80; word pieces, 72. See also Theatre of
124–25; power and, 133; sexuality, as Eternal Music
intersected with, 51–52, 123–25 youth culture, 50, 105, 124. See also Beatles,
Williams, Martin, 104 The; popular music
Williams, Paul, 36
Williams, Robert F., 89–90, 93 Zazeela, Marian, 61, 83, 89
Williams, Tony, 104 Zen buddhism, 50, 145, 213n140
permitted under U.S. or applicable copyright law.

Williamson, James, 192 Žižek, Slavoj, 55, 58–59, 63

Winter, Jon, 106, 113 Zorn, John, 197

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