The status of founder always commands an aura. Young's is the name that shimmers in accounts of minimalism, despite (or rather, because of) the infrequency with which his music has ever been performed. In chapter 2 we encountered him in connection with Fluxus, the loose association of artists and musicians on the fringe of the New York art scene who promoted “happenings” — acts of “performance art” or dreams of conceptual art that might or might not include music. As mentioned in that discussion, Composition 1960 #7 was the only one of Young's compositions of that period that used musical notation, the others specifying actions other than sound-producing ones, even if they did use musical equipment. The one most often cited by connoisseurs of eccentricity is his Piano Piece for David Tudor #1: “Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to.”
- Citation (MLA):
- Richard Taruskin. "Chapter 8 A Harmonious Avant-Garde?." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 3 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-008003.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 8 A Harmonious Avant-Garde?. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 3 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-008003.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 8 A Harmonious Avant-Garde?." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 3 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-008003.xml