EXPERIENCE: Composer, 1954- ; Performer, 1954- ; Lecturer, 1959- ; Instructor, 1959- ; Artistic Dir., MELA Foundation, NYC 1985- ; Mus. Dir., 6 Harrison Street Dream House Project of Dia Art Foundation, NYC 1975-1985; Instructor, Admin. Dir., Kirana Center for Indian Classical Music, NYC 1971- ; Dir., The Theatre of Eternal Music, NYC 1962- ; Member, Advisory Committee, Zeitgeist, 1991- ; Artistic Consultant, Fluxus Section, "The Roots of Modernism" Exhibition, Berlinische Galerie, Berlin, W.Germany, 1988; Member, Advisory Board, Just Intonation Network, SF 1987- ; Member, Advisory Board, Meet the Composer, 1974- ; Member, Advisory Council, Independent Electronic Music Center, Trumansburg, NY 1967-1968; Music Editor, S.M.S., NYC 1968; Editor, Co-Publisher, An Anthology (NYC 1963); Dir., Concert Series at Yoko Ono's Studio, NYC 1960-1961; Mus. Dir., The Ann Halprin Dance Company, Kentfield, CA, 1959-1960; Teaching Assistant, Music Dept., UC Berkeley, 1959-60.

COMMISSIONS: Hessischer Rundfunk, Frankfurt, 1993, The High-Tension Line Stepdown Transformer's Second Dream of The First Blossom of Spring from The Twelve Subsequent Dreams of China (1980), 5 trumpets with Harmon mutes, 5 bass flutes, 8 strings, World Premiere performance and broadcast; Zeitgeist, 1992, Annod (1953-55) 92 X 19 Version for Zeitgeist, alto saxophone, vibraphone, piano, bass, drums, including 92 XII 22 Two-Part Harmony, The 1992 XII Annod Backup Riffs; Heiner and Philippa Friedrich, NYC, 1991, The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119 with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base; including The Symmetries in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119 and with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base; sound environments; Heiner and Philippa Friedrich with support from Deutscher Akademischer Austauschdienst, Berliner K�nstlerprogramm, 1991, The Young Prime Time Twins, including The Young Prime Time Twins in The Ranges 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 1152, 576, 448, 288, 224, 56 and 28; with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base; sound environments; Meet the Composer/Reader's Digest Commissioning Program for the Kronos Quartet, 1990, Chronos Kristalla for string quartet; MELA Foundation with funding from NYSCA, 1990, The Lower Map of The Eleven's Division in The Romantic Symmetry (over a 60 cycle base) from The Symmetries in Prime Time from 144 to 112 with 119; MUDIMA Foundation, Milan, 1990, Sculptural Tableau Realization of Piano Piece for David Tudor #1 (October 1960); Heiner and Philippa Friedrich, NYC, 1989, The Symmetries in Prime Time from 144 to 112 with 119; MELA Foundation, NYC, 1987, New Sections of The Well-Tuned Piano; Heiner and Philippa Friedrich, NYC, 1986-1987, Sound and Light Environment; Dia Art Foundation, NYC, 1975-1985, Research, Design and Construction of the first permanent Dream House; trio basso k�ln, Cologne, 1984, Realization of Trio for Strings (5 IX 58) for viola, cello & bass; Gilbert B. Silverman, Detroit, 1981, The Gilbert B. Silverman Commission to Write, in Ten Words or Less, a Complete History of Fluxus Including Philosophy, Attitudes, Influences, Purposes; Robert C. Scull, NYC, 1969-1970, Development of a work in progress 5 V 67 6:38 PM NYC; Betty Freeman, Los Angeles, 1967, Music and Light Box.

FELLOWSHIPS, PRIZES, AWARDS: DAAD Berliner Kunstlerprogramm Residency in Music, 1991-1992; Transcendental Meditation Society, NYC, The Maharishi Award for the Development of Consciousness, Spring Equinox, 1983; Creative Artists Public Service Program (CAPS), NY, Music Composition, 1977, Mixed Media, 1973, 1971; National Endowment for the Arts, Music Composition, 1976; Experiments in Art and Technology, Inc., NY, for travel & study in India, 1971; The Lannan Foundation, Chicago, Travel Grant, 1971; Cassandra Foundation, Chicago, Grant in Recognition of Achievement in the Arts, 1967; John Simon Guggenheim Memorial Foundation, Fellowship in Music Composition, 1966-1967; Foundation for Contemporary Performance Arts, NY, Grant in Support of Activities in Avant-garde Music, 1966; Alfred Hertz Memorial Traveling Scholarship, U.C. Berkeley, 1960-1961; Darmstadt Festival for New Music, W. Germany 1959; Nicola De Lorenzo First Prize in Music Composition, U.C. Berkeley, 1959; Woodrow Wilson National Foundation Fellowship in Music for Graduate Work in Music Composition, U.C. Berkeley 1958-1959; Bank of America Achievement Award in the Field of Music, John Marshall High School, Los Angeles 1953. 

RECORDINGS: Just West Coast / microtonal music for guitar and harp: Sarabande, John Schneider, guitar; Amy Schulman, harp, Bridge Records (NY Fall 1993) CD; La Monte Young & The Forever Bad Blues Band, Just Stompin' / Live at The Kitchen, Young's Dorian Blues in G, Gramavision (NYC July 1993) 2-CDs; U.S.A.: Five Small Pieces for String Quartet, On Remembering a Naiad: a wisp / a gnarl / a leaf / a twig / a tooth, Arditti String Quartet, Disques Montaigne (Paris Spring 1993) CD; Numbers Racket: The Well-Tuned Piano 81 X 25 NYC (excerpt), Just Intonation Network Compilation Vol. II (San Francisco 1992) Cassette; La Monte Young, Sunday AM [Morning] Blues [1964--ed.], Bb Dorian Blues [1963--ed.], The Well-Tuned Piano [1964--ed.], Map of 49's Dream [1971--ed.], RIP Unauthorized Bootleg Edition, source unknown (c. 1992) 2 LPs; The Melodic Version of The Second Dream of The High-Tension Line Stepdown Transformer from The Four Dreams of China, Gramavision (NYC Fall 1991) CD; FluxTellus: 89 VI 8 c. 1:45-1:52 AM Paris Encore from Poem for Tables, Chairs and Benches, etc. , Tellus #24, Harvestworks (NY 1990) Cassette; Drift Study 4:37:40 - 5:09:50 PM 5 VIII 68; Drift Study 4:37:40 - 5:09:50 - 4:37:40 PM 5 VIII 68 NYC, S.M.S. Issue No. 4, 2nd Edition (NYC 1988) Cassette; The Well-Tuned Piano 81 X 25, Gramavision (NYC 1987) 5 CDs/LPs/Cassettes; La Monte Young / Marian Zazeela, Dream House 78'17" 13 I 73 5:35-6:14:03 PM NYC; Drift Study 14 VII 73 9:27:27-10:06:41 PM NYC from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery, Shandar Disques, (Paris 1974) LP; La Monte Young Marian Zazeela, 31 VII 69 10:26 - 10:49 PM Munich from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery; 23 VIII 64 2:50:45-3:11 AM the volga delta from Studies in The Bowed Disc, Edition X (Munich 1969) LP; Excerpt from Drift Study 31 I 69 12:17:33 - 12:49:58 PM, Aspen Magazine Issue No. 8 (NYC 1969) LP; Excerpt from Drift Study 4:37:40 - 5:09:50 PM 5 VIII 68, S.M.S. Issue No. 4 (NYC 1968) 5" reel-to-reel audio tape. 

GUEST RECORDING ARTIST: Jon Gibson/ In Good Company: Terry's G Dorian 12-Bar Blues (9 x 5) + 3 by Terry Jennings (1962), Jon Gibson, soprano saxophone, La Monte Young, digital piano, Point Music (NY 1992) CD; Pandit Pran Nath, India's Master Vocalist, Ragas Yaman Kalyan & Punjabi Berva: Pandit Pran Nath, voice; Fayyaz Khan, tabla; La Monte Young, Shyam Bhatnagar, tamburas, Shandar Disques (Paris 1972) LP.

SOUND ENVIRONMENT INSTALLATIONS: Musiques en Sc�ne Exhibition, Mus�e Art Contemporain Lyon, France; Dream House Sound and Light Environment from the FNAC Collection, 1999; Hors Limites Exhibition, Centre Georges Pompidou, Paris, 1994-95; MELA Foundation, New York, 1993-present; Inventionen 10 Festival, Ruine der K�nste, Berlin, Germany, 1992; "Ubi Fluxus ibi motus 1990-1962," 44th Venice Biennale, 1990; "Happenings & Fluxus," Galerie 1900-2000, Paris, 1989; Dia Art Foundation (22nd St), NYC, 1989; Galerie Hans Mayer, Dusseldorf, W.Germany, WDR/Cologne Rheinisches Musikfest, 1988; MELA Foundation, NYC, "La Monte Young 30-Year Retrospective, 1987; K�lnischer Kunstverein, Cologne, W.Germany, "Raum Zeit Stille" Exhibition, 1985; Dream House, 6 Harrison Street Project of Dia Art Foundation, NYC: A public institution for the study and presentation of my work and the work of Marian Zazeela and Pandit Pran Nath, set in a 6-story building featuring multiple inter-related sound and light environments, exhibitions, performances, research and listening facilities and archives, 1979-85, continuous; Dia Art Foundation, NYC, 1975; The Kitchen, NYC, 1974; Galerie Heiner Friedrich, Cologne, W.Germany, 1973; Architecture Gallery, U of Illinois, Urbana, 1973; documenta 5, Kassel, W.Germany, 1972; Metropolitan Museum of Art, NYC, 1971; Galleria LP 220, Torino, Italy, 1971; Fondation Maeght, St. Paul de Vence, France, 1970; A 37 90 89, Antwerp, Belgium, 1969; Galerie Heiner Friedrich, Munich, W.Germany, 1969; Pasadena Art Museum, CA, 1968.

EDUCATION: Indian Classical Vocal Music, Pandit Pran Nath (1970-1996); New School for Social Research, Electronic Music, Richard Maxfield (1960-1961); U.C. Berkeley, Graduate Studies in Composition (1958-1960); Advanced Composition Seminar, Darmstadt, Karlheinz Stockhausen (1959); BA, UCLA: Theory, Composition, Ethnomusicology, English (1957-1958); Los Angeles State College (1956-1957); Los Angeles City College (1953-1955; 1956-1957); Private Study: Composition, Counterpoint, Leonard Stein (1955-1956); Los Angeles Conservatory of Music, Saxophone, Clarinet, William Green (1951-1954); John Marshall High School (1950-1953); Saxophone, Dennis Young (1942-1950). 

PUBLISHED INTERVIEWS: Smith, Geoff & Smith, Nicola Walker. New Voices: American Composers Talk about Their Music. Portland, Oregon: Amadeus Press, 1995; Duckworth, William. Talking Music. New York: Schirmer Books & Prentice Hall International, 1995; Miesgang, Thomas. "La Monte Young, ein Interview" Falter 9/95, 691/1995 (Vienna 1995): 26. Carfi, Pietro. "La Monte Young: Il ritorno del maestro," World Music IV/16 (Rome 1994): 22; Gagne, Cole. Soundpieces 2 / Interviews With American Composers. Metuchen, NJ and London: The Scarecrow Press, 1993; Johnson, Martin. "Randy Weston and La Monte Young, Kinds of Blues" Pulse! 120 (W. Sacramento, CA, November 1993); Pranzl, Alfred. "La Monte Young," Skug 9 (Vienna 1992): 13; Donguy, Jacques. "Musique pour le Reve," art press 150 (Paris 1990): 55; Doty, David B. "The La Monte Young Interview," 1/1, Part 2, 6/1 (San Francisco 1990): 8; Part 1, 5/4 (S.F. 1989): 1; Kim, Jin-hi. "Interview: La Monte Young," Eumak Dong-A 1988.2 (Seoul 1988): 87; Strickland, Edward. "The Well-Tuned Piano: An Interview with La Monte Young," Fanfare 11/1 (Tenafly, N.J., 1987): 80 (also American Composers: Dialogues on Contemporary Music. Bloomington and Indianapolis: Indiana University Press, 1991); Feldman, Morton and Young, La Monte. "A Conversation on Composition and Improvisation," Res 13 (Cambridge 1987): 153; Vidic, Ljerka. "Meet the Composer: La Monte Young and Marian Zazeela," Ear 12/3 (New York 1987): 24 (also Zvuk, Jugoslovenski Muzicki Casopis 3-4, Sarajevo 1986: 90); Reusser, Jean-Michel. "Musique: Pandit Pran Nath," L'Autre-Monde 69 (Paris 1983): 62; -----. "La Monte Young: Un Musicien Bien Accorde," L'Autre Monde 68 (Paris 1983): 60; Reinhard, Johnny. "A Conversation with La Monte Young and Marian Zazeela," Ear 7/5 (New York 1982-83): 4; Pelinski, Ramon. "Upon Hearing a Performance of The Well-Tuned Piano: An Interview with La Monte Young and Marian Zazeela," Parachute 19 (Montreal 1980): 4 (also Interval IV/4 and IV/3, San Diego 1985, 1984); Singh, Shanta Serbjeet. "Interview with La Monte Young and Marian Zazeela," East-West Music (Festival Catalogue). Rome: L'Attico, 1974; Gligo, Nicsa. "Ich Sprach mit La Monte Young und Marian Zazeela," MELOS VI November-December (1973): 338; Caux, Daniel. "La Monte Young: Creer des etats psychologiques precis," Chroniques de l'art vivant 30 (Paris 1972); Kubota, Shigeko. "Art as a New Style Life: Interview with La Monte Young," Bijutsu Techo 2 (Tokyo 1971); Kostelanetz, Richard. The Theatre of Mixed Means. New York: Dial, 1968. 

PUBLISHED WRITINGS: "Sound & Light Environment: a time installation measured by a setting of continuous frequencies in sound and light, Dia Art Foundation, 548 West 22nd Street, New York City, February 1989-March 1990," "The Romantic Symmetry (over a 60 cycle base) from The Symmetries in Prime Time from 144 to 112 with 119," "Continuous Sound and Light Environments" in SOUND AND LIGHT: La Monte Young and Marian Zazeela, Bucknell Review (Spring 1996, Vol. 40:1), Ed. William Duckworth and Richard Fleming (Lewisburg 1996); "Lecture 1960," Happenings and Other Acts, Ed. Mariellen R. Sandford. London & New York: Rutledge, 1995; "Lecture 1960," Excerpts from "Sound and Light Works" (Collected Notes Spring 1990), Catalog for 44th Venice Biennale exhibition, "Ubi Fluxus ibi motus 1990-1962," (Milan 1990); "The Romantic Symmetry (over a 60-cycle base) in Prime Time from 112 to 144 with 119," 1/1 5/4 (San Francisco, 1989): 6; "Music and Light Box," Catalog for "Klangr�ume," Rheinisches Musikfest 1988, D�sseldorf (K�ln 1988); "Notes on The Well-Tuned Piano," 1/1 3/3 (San Francisco 1987); The Well-Tuned Piano 81 X 25, Record Program Booklet, (New York 1986); Entries on Pandit Pran Nath and Terry Jennings, The New Grove Dictionary of American Music, (New York/London 1986); "Der Er�ffnungs-Akkord aus The Well-Tuned Piano," Catalog for "Raum Zeit Stille," K�lnischer Kunstverein (K�ln 1985); "Musique: Pandit Pran Nath et le Style Kirana," L'Autre-Monde 69 (Paris 1983): 62; "Notes on the Continuous Periodic Composite Sound Waveform Environment Realizations of Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery," "Dream Music," "Le Chant de Pran Nath: Le Son Est Dieu," VH 101 4 (Paris 1970-71); "Singing of Pran Nath: The Sound is God," The Village Voice (New York 1970); "Untitled (Notes on Dream Music)," Aspen 9 (New York 1970); Selected Writings. Munich: Friedrich, 1969; "Two Propositions in Black," S.M.S. 1, The Letter Edged in Black Press (New York 1968; "Lecture 1960," Tulane Drama Review, (New Orleans 1965); "Dream," Dream Sheet, Ed. Diane Wakoski, Hardware Poets Playhouse (New York 1965); Excerpts from "Lecture 1960," Kulchur 10 (New York 1963). 

WORKS: Scherzo in a minor (c. 1953), piano; Rondo in d minor (c. 1953), piano; Annod (1953-55), dance band or jazz ensemble; Wind Quintet (1954); Variations (1955), string quartet; Young's Blues (c. 1955-59); Fugue in d minor (c. 1956), violin, viola, cello; Op. 4 (1956), brass, percussion; Five Small Pieces for String Quartet, On Remembering A Naiad, 1. A Wisp, 2. A Gnarl, 3. A Leaf, 4. A Twig, 5. A Tooth (1956); Canon (1957), any two instruments; Fugue in a minor (1957), any four instruments; Fugue in c minor (1957), organ or harpsichord; Fugue in eb minor (1957), brass or other instruments; Fugue in f minor (1957), two pianos; Prelude in f minor (1957), piano; Variations for Alto Flute, Bassoon, Harp and String Trio (1957); for Brass (1957), brass octet; for Guitar (1958), guitar; Trio for Strings (1958), violin, viola, cello; Study (c. 1958-59), violin, viola (unfinished); Sarabande (1959), keyboard, brass octet, string quartet, orchestra, others; Studies I, II, and III (1959), piano; Vision (1959), piano, 2 brass, recorder, 4 bassoons, violin, viola, cello, contrabass; [Untitled] (1959-60), live friction sounds; [Untitled] (1959-62), jazz-drone improvisations; Poem for Chairs, Tables, Benches, etc. (1960), chairs, tables, benches and unspecified sound sources; 2 Sounds (1960), recorded friction sounds; Compositions 1960 #s 2, 3, 4, 5, 6, 7, 9, 10, 13, 15 (1960), performance pieces; Piano Pieces for David Tudor #s 1, 2, 3 (1960), performance pieces; Invisible Poem Sent to Terry Jennings (1960), performance pieces; Piano Pieces for Terry Riley #s 1, 2 (1960), performance pieces; Target for Jasper Johns (1960), piano; Arabic Numeral (Any Integer) to H.F. (1960), piano(s) or gong(s) or ensembles of at least 45 instruments of the same timbre, or combinations of the above, or orchestra; Compositions 1961 #s 1 - 29 (1961), performance pieces; Young's Dorian Blues in Bb (c. 1960 or 1961); Young's Aeolian Blues in Bb (Summer 1961); Death Chant (1961), male voices, carillon or large bells; Response to Henry Flynt Work Such That No One Knows What's Going On (c. 1962); [Improvisations] (1962-64), sopranino saxophone, vocal drones, various instruments. Realizations include: Bb Dorian Blues, The Fifth/Fourth Piece, ABABA, EbDEAD, The Overday, Early Tuesday Morning Blues, and Sunday Morning Blues; Poem on Dennis' Birthday (1962), unspecified instruments; The Four Dreams of China (The Harmonic Versions) (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; Studies in The Bowed Disc (1963), gong; Pre-Tortoise Dream Music (1964), sopranino saxophone, soprano saxophone, vocal drone, violin, viola, sine waves; The Tortoise, His Dreams and Journeys (1964-present), voices, various instruments, sine waves. Realizations include: Prelude to The Tortoise, The Tortoise Droning Selected Pitches from The Holy Numbers for The Two Black Tigers, The Green Tiger and The Hermit, The Tortoise Recalling The Drone of The Holy Numbers as They Were Revealed in The Dreams of The Whirlwind and The Obsidian Gong and Illuminated by The Sawmill, The Green Sawtooth Ocelot and The High-Tension Line Stepdown Transformer; The Well-Tuned Piano (1964-73-81-present). Each realization is a separately titled and independent composition. Over 60 realizations to date. World premiere: Rome 1974. American Premiere: New York 1975; Sunday Morning Dreams (1965), tunable sustaining instruments and/or sine waves; Composition 1965 $50 (1965), performance piece; Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1966-present), voices, various instruments, sine waves; Bowed Mortar Relays (1964) (realization of Composition 1960 # 9), Soundtracks for Andy Warhol Films "Eat," "Sleep," "Kiss," "Haircut," tape; The Two Systems of Eleven Categories (1966-present), theory work; Chords from The Tortoise, His Dreams and Journeys (1967-present), sine waves. Realiza�tions include: Intervals and Triads from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1967), sound environment; Robert C. Scull Commission (1967), sine waves; Claes and Patty Oldenburg Commission (1967), sine waves; Betty Freeman Commission (1967), sound and light box & sound environment; Drift Studies (1967-present), sine waves; for Guitar (Just Intonation Version) (1978), guitar; for Guitar Prelude and Postlude (1980), one or more guitars; The Subsequent Dreams of China (1980), tunable, sustaining instruments of like timbre, in multiples of 8; The Gilbert B. Silverman Commission to Write, in Ten Words or Less, a Complete History of Fluxus Including Philosophy, Attitudes, Influences, Purposes (1981); Chords from The Well-Tuned Piano (1981-present), sound environments. Includes: The Opening Chord (1981), The Magic Chord (1984), The Magic Opening Chord (1984); Trio for Strings (1983) Versions for string quartet, string orchestra, and violin, viola, cello, bass; Trio for Strings, trio basso version (1984), viola, cello, bass; Trio for Strings Postlude from The Subsequent Dreams of China (c. 1984), bowed strings; The Melodic Versions (1984) of The Four Dreams of China (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; The Melodic Versions (1984) of The Subsequent Dreams of China, (1980) including The High-Tension Line Stepdown Transformer's Second Dream of The First Blossom of Spring, tunable, sustaining instruments of like timbre, in multiples of 8; The Big Dream (1984), sound environment; Orchestral Dreams (1985), orchestra; The Big Dream Symmetries #s 1 - 6 (1988), sound environments; The Symmetries in Prime Time from 144 to 112 with 119 (1989), including The Close Position Symmetry, The Symmetry Modeled on BDS # 1, The Symmetry Modeled on BDS # 4, The Symmetry Modeled on BDS # 7, The Romantic Symmetry, The Romantic Symmetry (over a 60 cycle base), The Great Romantic Symmetry, sound environments; The Lower Map of The Eleven's Division in The Romantic Symmetry (over a 60 cycle base) in Prime Time from 144 to 112 with 119 (1989-1990), unspecified instruments and sound environment; The Prime Time Twins (1989-90) including The Prime Time Twins in The Ranges 144 to 112; 72 to 56 and 38 to 28; Including The Special Primes 1 and 2 (1989); The Prime Time Twins in The Ranges 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; with The Range Limits 576, 448, 288, 224, 144, 56 and 28 (1990), sound environments; Chronos Kristalla (1990), string quartet; The Young Prime Time Twins (1991), including The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56 and 28 (1991), The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; 18 to 14; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56, 28 and 18; and Including The Special Young Prime Twins Straddling The Range Limits 1152, 72 and 18 (1991), The Young Prime Time Twins in The Ranges 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 1152, 576, 448, 288, 224, 56 and 28; with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119 with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991-present), including The Symmetries in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119 and with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; Annod (1953-55) 92 X 19 Version for Zeitgeist (1992), alto saxophone, vibraphone, piano, bass, drums, including 92 XII 22 Two-Part Harmony and The 1992 XII Annod Backup Riffs. 

SELECTED BIBLIOGRAPHY: Cardew, Cornelius. "One Sound: La Monte Young," Musical Times 107/11 (1966): 959; Caux, Daniel. "John Cage, La Monte Young et la dissidence musicale d'aujourd'hui," art press 150 (1990): 48; Fricke, David. "Record Reviews: Just Stompin' / Live at The Kitchen, La Monte Young and The Forever Bad Blues Band," Rolling Stone 669 (November 11, 1993); Gann, Kyle. "La Monte Young's The Well-Tuned Piano," Perspectives of New Music 31/1 (Winter 1993): 134; Gann, Kyle. "Maximal Spirit," Village Voice (9 June 1987): 70; Gena, Peter. "Freedom in Experimental Music: The New York Revolution," Tri-Quarterly 52 (1981): 223; Griffiths, Paul. Modern Music: The Avant-garde Since 1945. New York: G. Braziller, 1981; Heisinger, Brent. "American Minimalism in the 1980s," American Music 7/4 (1989): 430; Hitchcock, H. Wiley. "Current Chronicle," Musical Quarterly 51 (1965): 538; Leedy, Douglas. "Record Reviews: La Monte Young. 90 XII 9 c. 9:35-1052 PM NYC The Melodic Version (1984) of The Second Dream of The High-Tension Line Stepdown Transformer from The Four Dreams of China (1962)," American Music 11/1 (Spring 1993) 126; Licht, Alan. "The History of La Monte Young's Theatre of Eternal Music," Forced Exposure 16 (1990): 60; McCardell, Charles. "Sound Instincts: La Monte Young & His Breakthrough Music," Washington Post (15 October 1985): E7; Mertens, Wim. American Minimal Music. London: Kahn & Averill, 1983; Morgan, Robert P. Twentieth-Century Music. New York and London: W.W. Norton, 1991; Neilson, John. "Getting Down to Fundamentals: The Essence of La Monte Young," Option (Sep/Oct 1987); Nyman, Michael. "Against Intellectual Complexity in Music," October 13 (1980): 82; -----. Experimental Music: Cage and Beyond. New York: Schirmer, 1974; Palmer, Robert. "A Father Figure for the Avant-garde," The Atlantic 247/5 (May 1981): 48; -----. "La Monte Young: Lost in the Drone Zone," Rolling Stone, issue #180 (13 February 1975): 24; -----. "Get Ready for the Music of Harmonics," New York Times (17 July 1983): C17; Rich, Alan. "La Monte Young's Minimalist Marathon," Newsweek (27 July 1987): 58; Rockwell, John. "Boulez and Young: Enormous Gulf or Unwitting Allies?" Los Angeles Times (13 February 1972): 38; Rosenbaum, Ron. "Eternal Music in a Dreamhouse Barn," Village Voice (12 February 1970): 5; Schaefer, John. New Sounds. New York: Harper & Row, 1987; Smith, David. "Following a Straight Line: La Monte Young," Contact 18 (1977-78): 4; Strickland, Edward. Minimalism:Origins, Bloomington and Indianapolis: Indiana University Press, 1993; Terry, Ken. "La Monte Young: Avant-garde Visionary: Composer and Pianist," Contemporary Keyboard 6/8 (1980): 12; Wolf, Daniel J. "Living and Listening in Real Time," Interval (1982-83): Winter, 14; (1983): Autumn, 27.