Max Neuhaus’ Program Notes records the aphoristic statements of the innovative sound artist as he redefined the boundaries of his new audio practice. Seeking to eschew the “small area music [had] been concentrating on for the past several hundred years,” Neuhaus consciously relocated his work in the late ‘60s to what he deemed “the realm of space” as opposed to that of time—choosing to present his music in public and communal settings, decidedly outside of the “proscenium situation.” This short pamphlet was initially published in 1974 by York University Press.
Max Neuhaus (b. 1939 – 2009) began his career as a percussionist and experimental musician in the late ‘50s, working with the likes of John Cage and Karlheinz Stockhausen. By the mid-‘60s however, Neuhaus became increasingly interested in the broader realm of sound, eventually becoming a pioneer in the field of sound art. His sound installations are permanently installed in New York’s Times Square, at Dia Beacon, and at Houston’s Menil Collection.
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