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James Tenney
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James Tenney (August 10, 1934 - August 24, 2006) was an American composer and influential music theorist.
ey was born in Silver City, New Mexico, and grew up in Arizona and Colorado. He attended the University of Denver, the Juilliard School of Music, Bennington College (B.A., 1958) and the University of Illinois (M.A., 1961). He studied piano with Eduard Steuermann and composition with Chou Wen-chung, Lionel Nowak, Paul Boepple, Henry Brant, Carl Ruggles, Kenneth Gaburo, Lejaren Hiller, John Cage, Harry Partch, and Edgard Varèse. He also studied information theory under Lejaren Hiller, and composed stochastic early computer music before turning almost completely to writing for instruments with the occasional tape delay, often using just intonation and alternative tunings.
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Encyclopedia
James Tenney (August 10, 1934 - August 24, 2006) was an American composer and influential music theorist.
Biography
Tenney was born in Silver City, New Mexico, and grew up in Arizona and Colorado. He attended the University of Denver, the Juilliard School of Music, Bennington College (B.A., 1958) and the University of Illinois (M.A., 1961). He studied piano with Eduard Steuermann and composition with Chou Wen-chung, Lionel Nowak, Paul Boepple, Henry Brant, Carl Ruggles, Kenneth Gaburo, Lejaren Hiller, John Cage, Harry Partch, and Edgard Varèse. He also studied information theory under Lejaren Hiller, and composed stochastic early computer music before turning almost completely to writing for instruments with the occasional tape delay, often using just intonation and alternative tunings. Tenney's notable students include John Luther Adams, Larry Polansky, and Peter Garland. He performed with John Cage, as well as with the ensembles of Harry Partch (in a production of Partch's The Bewitched in 1959), Steve Reich, and Philip Glass (the latter two in the late 1960s).
Tenney's work deals with perception (For Ann (rising), see Shepard tone), just intonation (Clang, see gestalt), stochastic elements (Music for Player Piano), information theory (Ergodos, see Ergodic theory), and with what he calls 'swell' (Koan: Having Never Written A Note For Percussion for John Bergamo), which is basically arch form. His earliest works show the influence of Webern, Ruggles and Varèse, whereas his music from 1961-64 was largely computer music, arguably the earliest significant body of such work in existence. A gradual assimilation of the ideas of John Cage considerably influenced the development of his music in the later 1960s. To this was added an interest in tuning and in the harmonic series, as first evident in the orchestral work Clang of 1972, an interest that continued to develop for the rest of his life.
The majority of Tenney's mature works (post-1964) are instrumental pieces, often for unconventional instrumental combinations (e.g. Glissade for viola, cello, double bass and tape delay system (1982), Bridge for two pianos eight hands in a microtonal tuning system (1982-84), Changes for six harps tuned a sixth of a tone apart, 1985) or for variable instrumentation (Critical Band, 1988, In a Large Open Space, 1994). His pieces are most often tributes to other composers or colleagues and subtitled as such. As his friend Philip Corner says, For Ann (rising), "must be optimistic! (Imagine the depressing effectiveness of it — he could never be so cruel — downward)..."
Tenney wrote the seminal Meta (+) Hodos (one of, if not the, earliest applications of gestalt theory and cognitive science to music), the later Hierarchical temporal gestalt perception in music : a metric space model with Larry Polansky, John Cage and the Theory of Harmony (1983, the fullest exposition of his theories of harmonic space), and other works. Nearly a quarter of a 657-page volume of the academic journal Perspectives of New Music was devoted to Tenney's music (Polansky and Rosenboom 1987), and in 2008 the UK journal Contemporary Music Review devoted a whole issue to his work (vol. 27 part 1).
Tenney was one of the four performers of the Steve Reich piece Pendulum Music on May 27, 1969 at the Whitney Museum of American Art. The other three were: Michael Snow, Richard Serra and Bruce Nauman.
Tenney also wrote the in-depth liner notes to Wergo's edition of Conlon Nancarrow's Studies for Player Piano. (Nancarrow, as a favor, punched the roll for Tenney's Spectral Canon for Conlon Nancarrow). Tenney also starred nude in a 1965 silent film of collaged and painted sequences of lovemaking between him and his then partner, Carolee Schneemann, called Fuses (Haug 2007, 20 & 25–26).
He taught at the Polytechnic Institute of Brooklyn, the California Institute of the Arts, the University of California, and York University in Toronto.
He died on 24 August 2006 of lung cancer in Valencia, California.
Interviews
- James Tenney in conversation with Frank J. Oteri (includes video) NewMusicBox Published: June 1, 2005
- James Tenney interviewed on Kalvos & Damian New Music Bazaar, August 2, 1997 (click to listen)
- (click to listen)
- James Tenney and Lucky Mosko interviewed by (click to listen)
- Interview with Douglas Kahn on years at Bell Labs
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Further reading
- Garland, Peter (ed.). 1984. Soundings Vol. 13: The Music of James Tenney. Santa Fe, New Mexico: Soundings Press.
- Tenney, James. 1986. META+HODOS: A Phenomenology of 20th Century Musical Materials and an Approach to the Study of Form, and META Meta+Hodos. Edited by Larry Polansky. Oakland, Calif.: Frog Peak Music. ISBN 0-945996-00-4.
- Tenney, James. 1988. A History of 'Consonance and Dissonance. New York: Excelsior Music Publishing Co. ISBN 0-935016-99-6.
External links
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- from Smith Archives at the University of Akron
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- (book)
- including a complete list of works and a selection of Tenney's writings.
Groups who often perform Tenney's works
Quatuor Bozzini*
The Barton Workshop *
Motion Ensemble*
- by Kyle Gann
- test realisations and notes by Ciarán Maher
Listening
- Sonatas and Interludes for prepared piano and 4'33" at the SASSAS sound. concert archive and at SASSAS @ YouTube - and
- recording of premiere at DNK amsterdam by Ciarán Maher
Viewing
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