Book contents
- Frontmatter
- Contents
- Foreword
- Acknowledgments
- Introduction: Julius Eastman and His Music
- 1 Julius Eastman, A Biography
- 2 Unjust Malaise
- 3 The Julius Eastman Parables
- 4 Julius Eastman and the Conception of “Organic Music”
- 5 Julius Eastman Singing
- 6 An Accidental Musicologist Passes the Torch
- 7 A Flexible Musical Identity: Julius Eastman in New York City, 1976–90
- 8 Evil Nigger: A Piece for Multiple Instruments of the Same Type by Julius Eastman (1979), with Performance Instructions by Joseph Kubera
- 9 A Postminimalist Analysis of Julius Eastman’s Crazy Nigger
- 10 “That Piece Does Not Exist without Julius”: Still Staying on Stay On It
- 11 Connecting the Dots
- 12 Gay Guerrilla: A Minimalist Choralphantasie
- Appendix: Julius Eastman Compositions
- Chronology
- Selected Bibliography
- List of Contributors
- Index
- Eastman Studies in Music
Appendix: Julius Eastman Compositions
Published online by Cambridge University Press: 26 May 2021
- Frontmatter
- Contents
- Foreword
- Acknowledgments
- Introduction: Julius Eastman and His Music
- 1 Julius Eastman, A Biography
- 2 Unjust Malaise
- 3 The Julius Eastman Parables
- 4 Julius Eastman and the Conception of “Organic Music”
- 5 Julius Eastman Singing
- 6 An Accidental Musicologist Passes the Torch
- 7 A Flexible Musical Identity: Julius Eastman in New York City, 1976–90
- 8 Evil Nigger: A Piece for Multiple Instruments of the Same Type by Julius Eastman (1979), with Performance Instructions by Joseph Kubera
- 9 A Postminimalist Analysis of Julius Eastman’s Crazy Nigger
- 10 “That Piece Does Not Exist without Julius”: Still Staying on Stay On It
- 11 Connecting the Dots
- 12 Gay Guerrilla: A Minimalist Choralphantasie
- Appendix: Julius Eastman Compositions
- Chronology
- Selected Bibliography
- List of Contributors
- Index
- Eastman Studies in Music
Summary
Starting in 1998, when I first began to search for the music of Julius Eastman, I kept a running list of pieces found or mentioned. I have prepared this list by culling information from many sources. Primary among them, with helpful assistance from John Bewley, was the Archives in the Music Library at the University at Buffalo (UB), which includes listings for Creative Associate (CA) concerts, Evenings for New Music (ENM) concerts, and Faculty Concerts (FC). Maurice Edwards supplied me with a lot of information centering around Eastman's work and performances at the Brooklyn Philharmonia, including many programs and newspaper articles. I also culled information on pieces by Eastman from the essays in this book, primarily those by Renée Levine Packer, with information on pieces from Eastman's Curtis Institute days, as well as those from his time in Buffalo; Ryan Dohoney, with Eastman's New York City period; and Matthew Mendez, with both the Buffalo and New York periods. Tom Bogdan, Sean Griffin, Elliott Sharp, and Thomas Sokol all found individual scores and shared them. I have tried to limit the list to pieces that were notated. Some of Eastman's improvised pieces were given titles in passing, often for a one-time performance, and in a few cases I did make an exception and included some that were mentioned specifically in essays in this book.
One of the hazards encountered in compiling lists like this is how to deal with typos that have appeared in print (such as with Femenine, commonly misspelled as Feminine), misquotations, and works discussed in interviews that never actually got written, but were only aspirational. I hope that I have managed to avoid any of these pitfalls, that this list of compositions will continue to grow, and that additional information about each piece will surface.
Insect Sonata (1962 or earlier): piano. No score or recording available.
The Blood (1963): clarinet, piano, and nine singers. Performed February 27, 1963, on Eastman's graduation recital at the Curtis Institute of Music with student performers, including pianist Richard Goode and clarinetist Frank Ell. No score or recording available.
- Type
- Chapter
- Information
- Gay GuerrillaJulius Eastman and His Music, pp. 200 - 206Publisher: Boydell & BrewerPrint publication year: 2015