La Monte Young

From Wikipedia, the free encyclopedia

Not to be confused with Lamont Young.
La Monte Young
Born La Monte Thornton Young
October 14, 1935 (age 82)
Bern, Idaho, U.S.
Occupation Composer, musician, artist
Website melafoundation.org
Musical career
Years active 1958–present
Associated acts

Theatre of Eternal Music Marian Zazeela Pandit Pran Nath Terry Riley Just Alap
Raga Ensemble Tony Conrad Jung Hee Choi Jon Hassell Rhys Chatham Michael Harrison
Henry Flynt Ben Neill Charles Curtis John Cale Catherine Christer Hennix

La Monte Thornton Young (born October 14, 1935) is an American avant-garde

composer, musician, and artist generally recognized as the first minimalist
composer.[1][2][3] His works are cited as prominent examples of post-war
experimental and contemporary music, and were tied to New York's downtown music and
Fluxus art scenes.[4]

Initially inspired by sources such as Indian classical music, serialism, and jazz,
[3][5] Young is perhaps best known for his pioneering work in Western drone music
(originally referred to as "dream music"), prominently explored in the 1960s with
the experimental music collective the Theatre of Eternal Music. He has engaged in
musical and multimedia collaborations with a wide range of artists, including Tony
Conrad, Pandit Pran Nath, John Cale, Terry Riley, and visual artist Marian Zazeela,
with whom he developed the Dream House sound and light installation.[3]

Young's work has called into question the nature and definition of music.[4]
Despite having released very little recorded material throughout his career—much of
it currently out of print[6]—Vulture described him as the most influential living
composer today.[2] The Observer wrote that his work has had "an utterly profound
effect on the last half-century of music."[7] His evolving composition The Well-
Tuned Piano, first conceived in 1964, has been characterized as "one of the great
achievements of 20th-century music" by The Guardian.[5]

Contents

1 Biography
1.1 1935–1959
1.2 1960–1969
1.3 1970–present
2 Influences
3 Legacy
4 Discography
4.1 Compilations
5 List of works
6 Footnotes
7 References
8 External links
8.1 Interviews

Biography
1935–1959

Young was born in a log cabin in Bern, Idaho, where as a child he was formatively
influenced by the droning sounds of the environment, such as blowing wind and
electrical transformers. During his childhood, Young's family moved several times
before settling in Los Angeles, as his father searched for work. He was raised as a
member of The Church of Jesus Christ of Latter-day Saints. He graduated from John
Marshall High School and studied at Los Angeles City College. In the jazz milieu of
Los Angeles, Young played with notable musicians including Ornette Coleman, Don
Cherry, and Billy Higgins. He undertook further studies at the University of
California, Los Angeles (UCLA), where he received a BA in 1958, then at the
University of California, Berkeley, from 1958 to 1960. In 1959 he attended the
summer courses at the Darmstadt School under Karlheinz Stockhausen, and in 1960
relocated to New York in order to study electronic music with Richard Maxfield at
the New School for Social Research. His compositions during this period were
influenced by Anton Webern, Gregorian chant, Indian classical music, Gagaku, and
Indonesian gamelan music.

A number of Young's early works use the twelve-tone technique, which he studied
under Leonard Stein at Los Angeles City College. (Stein had served as an assistant
to Arnold Schoenberg when Schoenberg, the inventor of the twelve-tone method,
taught at UCLA.)[8] Young also studied composition with Robert Stevenson at UCLA
and with Seymore Shifrin at UC Berkeley. In 1958, he developed the Trio for
Strings, originally scored for violin, viola, and cello, which would presage his
work in proceeding years. The Trio for Strings has been described as an "origin
point for minimalism."[9] When Young visited Darmstadt in 1959, he encountered the
music and writings of John Cage. There he also met Cage's collaborator, pianist
David Tudor, who subsequently gave premières of some of Young's works. At Tudor's
suggestion, Young engaged in a correspondence with Cage. Within a few months Young
was presenting some of Cage's music on the West Coast. In turn, Cage and Tudor
included some of Young's works in performances throughout the U.S. and Europe. By
this time Young had taken a turn toward the conceptual, using principles of
indeterminacy in his compositions and incorporating non-traditional sounds, noises,
and actions.[10]
1960–1969

When Young moved to New York in 1960, he had already established a reputation as an
enfant terrible of the avant-garde. He initially developed an artistic relationship
with Fluxus founder George Maciunas (who designed the book Young edited An
Anthology of Chance Operations) and other members of the nascent movement. Yoko
Ono, for example, hosted a series of concerts curated by Young at her loft, and
absorbed, it seems, his often parodic and politically charged aesthetic. Young's
works of the time, scored as short haiku-like texts, though conceptual and extreme,
were not meant to be merely provocative but, rather, dream-like.

His Compositions 1960 includes a number of unusual actions. Some of them are un-
performable, but each deliberately examines a certain presupposition about the
nature of music and art and carries ideas to an extreme. One instructs: "draw a
straight line and follow it" (a directive which he has said has guided his life and
work since).[11] Another instructs the performer to build a fire. Another states
that "this piece is a little whirlpool out in the middle of the ocean." Another
says the performer should release a butterfly into the room. Yet another challenges
the performer to push a piano through a wall. Composition 1960 #7 proved especially
pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and
the instruction: "To be held for a long time."

In 1962 Young wrote The Second Dream of the High-Tension Line Stepdown Transformer.
One of The Four Dreams of China, the piece is based on four pitches, which he later
gave as the frequency ratios: 36-35-32-24 (G, C, +C#, D), and limits as to which
may be combined with any other. Most of his pieces after this point are based on
select pitches, played continuously, and a group of long held pitches to be
improvised upon. For The Four Dreams of China Young began to plan Dream House, a
light and sound installation conceived as a "work that would be played continuously
and ultimately exist as a 'living organism with a life and tradition of its own,'"
where musicians would live and create music twenty-four hours a day.[12] He formed
the music collective Theatre of Eternal Music to realize Dream House and other
pieces. The group initially included calligrapher and light artist Marian Zazeela
(who married Young in 1963), Angus MacLise, and Billy Name.[3] In 1964 the ensemble
comprised Young and Zazeela, John Cale and Tony Conrad (a former Harvard
mathematics major), and sometimes Terry Riley (voices). Since 1966 the group has
seen many permutations and has included Garrett List, Jon Hassell, Alex Dea, and
many others, including members of the 60s groups.[13]

Young and Zazeela's first continuous electronic sound environment was created in
their loft on Church Street, New York in September 1966 with sine wave generators
and light sources designed to produce a continuous installation of floating
sculptures and color sources, and a series of slides entitled "Ornamental
Lightyears Tracery". This Dream House environment was maintained almost
continuously from September 1966 to January 1970, being turned off only to listen
to "other music" and to study the contrast between extended periods in it and
periods of silence. Young and Zazeela worked, sang and lived in it and studied the
effects on themselves and visitors. Performances were often extreme in length,
conceived by Young as having no beginning and no end, existing before and after any
particular performance. In their daily lives, too, Young and Zazeela practiced an
extended sleep-waking schedule—with "days" longer than twenty-four hours.
1970–present

Beginning in 1970 interests in Asian classical music and a wish to be able to find
the intervals he had been using in his work led Young to pursue studies with Pandit
Pran Nath. Fellow students included Zazeela, composers Terry Riley, Michael
Harrison, and Yoshi Wada, philosophers Henry Flynt and Catherine Christer Hennix
and many others.

Young considers The Well-Tuned Piano—a permuting composition of themes and

improvisations for just-intuned solo piano—to be his masterpiece. Young gave the
world premiere of The Well-Tuned Piano in Rome in 1974, ten years after the
creation of the piece. Previously, Young had presented it as a recorded work. In
1975, Young premiered it in New York with eleven live performances during the
months of April and May. As of October 25, 1981, the date of the Gramavision
recording of The Well-Tuned Piano, Young had performed the piece 55 times.[14] In
1987, Young performed the piece again as part of a larger concert series that
included many more of his works.[15] This performance, on May 10, 1987, was
videotaped and released on DVD in 2000 on Young's label, Just Dreams.[16]
Performances have exceeded six hours in length, and so far have only been
documented several times. It is strongly influenced by mathematical composition as
well as Hindustani classical music practice.

Since the 1970s, Young and Zazeela have realized a long series of semi-permanent
Dream House installations, which combine Young's just-intuned sine waves in
elaborate, symmetrical configurations and Zazeela's quasi-calligraphic light
sculptures.[17] In July 1970 a model short-term Dream House was displayed to the
public at Galerie Heiner Friedrich in Munich, Germany. Later, model Dream House
environments were presented in various locations of Europe and the United States.
In 1974, the two released Dream House 78' 17". From January through April 19, 2009,
Dream House was installed in the Solomon R. Guggenheim Museum in New York as part
of The Third Mind exhibition. A Dream House installation exists today at the Mela
Foundation on 275 Church Street, New York above the couple's loft, and is open to
the public.

In 2002, Young, along with Marian Zazeela, and senior disciple Jung Hee Choi
founded the Just Alap Raga Ensemble. This ensemble, performing Indian classical
music of the Kirana Gharana, merges the traditions of Western and Hindustani
classical music, with Young applying his own compositional approach to traditional
raga performance, form, and technique.[18]
Influences

Young's first musical influence came in early childhood in Bern. He relates that
"the very first sound that I recall hearing was the sound of wind blowing under the
eaves and around the log extensions at the corners of the log cabin". Continuous
sounds—human-made as well as natural—fascinated him as a child. He described
himself as fascinated from a young age by droning sounds, such as "the sound of the
wind blowing", the "60 cycle per second drone [of] step-down transformers on
telephone poles", the tanpura drone and the alap of Indian classical music,
"certain static aspects of serialism, as in the Webern slow movement of the
Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the
instruments such as the Sho".[19] The four pitches he later named the "Dream
chord", on which he based many of his mature works, came from his early age
appreciation of the continuous sound made by the telephone poles in Bern.[20]

Jazz is one of his main influences and until 1956 he planned to devote his career
to it.[21] At first, Lee Konitz and Warne Marsh influenced his alto saxophone
playing style, and later John Coltrane shaped Young's use of the sopranino
saxophone. Jazz was, together with Indian music, an important influence on the use
of improvisation in his works after 1962.[21] La Monte Young discovered Indian
music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal
(tabla) as particularly significant. The discovery of the tambura, which he learned
to play with Pandit Pran Nath, was a decisive influence in his interest in long
sustained sounds. Young also acknowledges the influence of Japanese music,
especially Gagaku, and Pygmy music.[22][23]

La Monte Young discovered classical music rather late, thanks to his teachers at
university. He cites Béla Bartók, Igor Stravinsky, Pérotin, Léonin, Claude Debussy
and Organum musical style as important influences,[22] but what made the biggest
impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern.
[22]

Young was also keen to pursue his musical endeavors with the help of psychedelics.
Cannabis, LSD and peyote played an important part in Young's life from mid-1950s
onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He
said that "everybody [he] knew and worked with was very much into drugs as a
creative tool as well as a consciousness-expanding tool". This was the case with
the musicians of the Theatre of Eternal Music, with whom he "got high for every
concert: the whole group".[24] He considers that the cannabis experience helped him
open up to where he went with Trio for Strings, though sometimes it proved a
disadvantage when performing anything which required keeping track of the number of
elapsed bars. He commented on the subject:

These tools can be used to your advantage if you're a master of [them]... If

used wisely – the correct tool for the correct job – they can play an important
role... It allows you to go within yourself and focus on certain frequency
relationships and memory relationships in a very, very interesting way.[25]

Legacy

Young has been described as the most influential living composer today.[2] His use
of long tones and exceptionally high volume has been extremely influential with
Young's associates: Tony Conrad, Jon Hassell, Rhys Chatham, Michael Harrison, Henry
Flynt, Ben Neill, Charles Curtis, and Catherine Christer Hennix. It has also been
notably influential on John Cale's contribution to The Velvet Underground's sound;
Cale has been quoted as saying "LaMonte [Young] was perhaps the best part of my
education and my introduction to musical discipline."[26]

Brian Eno was similarly influenced by Young's work, calling him "the daddy of us
all."[2] In 1981, Eno referred to X for Henry Flynt by saying "It really is a
cornerstone of everything I've done since".</ref>

Andy Warhol attended the 1962 première of the static composition by La Monte Young
called Trio for Strings and subsequently created his famous series of static films
including Kiss, Eat, and Sleep (for which Young was initially commissioned to
provide music). Uwe Husslein cites film-maker Jonas Mekas, who accompanied Warhol
to the Trio premiere and claims that Warhol's static films were directly inspired
by the performance.[27][page needed] In 1963 Warhol, Young, and Walter De Maria
briefly formulated a musical group, which included lyrics written by Jasper Johns.
[28]

Lou Reed's 1975 album Metal Machine Music states "Drone cognizance and harmonic
possibilities vis a vis Lamont Young's Dream Music (sic)"[29] among its
"Specifications".

The album Dreamweapon: An Evening of Contemporary Sitar Music by the band Spacemen
3 is influenced by La Monte Young's concept of Dream Music, evidenced by their
inclusion of his notes on the jacket.

Bowery Electric dedicated the song "Postscript" on the 1996 album Beat to Young and
Riley.

Drone rock pioneer Dylan Carlson has stated Young's work as being a major influence
to him.[30]

Young's students include senior disciple Jung Hee Choi, as well as Michael
Harrison, Arnold Dreyblatt and Daniel James Wolf.
Discography

Inside the Dream Syndicate, Volume One: Day of Niagara with John Cale, Tony
Conrad, Marian Zazeela, and Angus MacLise [Recorded 1965] (Table of the Elements,
2000. Bootleg recording of dubious title, credits, and quality Not authorized by La
Monte Young)[31]
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 [a.k.a. The Black
Record] (Edition X, West Germany, 1969)
Dream House 78' 17" – La Monte Young Marian Zazeela The Theatre of Eternal
Music (Shandar, 1974)
The Well-Tuned Piano 81 X 25 (6:17.50 – 11:18:59 pm NYC) (Gramavision, 1988)
90 XII C. 9:35–10:52 pm NYC, The Melodic Version (1984) of The Second Dream of
the High-Tension Line Stepdown Transformer From the Four Dreams of China
(Gramavision, 1991)
Just Stompin': Live at The Kitchen (Gramavision, 1993)
The Tamburas of Pandit Pran Nath" (82 V11 15 c. 6:35 – c.7:35 pm + c.6:37–
6:52:30 pm NYC) (Just Dreams JD001) 1999
The Well-Tuned Piano in The Magenta Lights (87 V 10 6:43:00 pm 87 V 11 01:07:45
am NYC) (Just Dreams, DVD-9, 2000)

Compilations

Small Pieces (5) for String Quartet ("On Remembering a Naiad") (1956) [included
on Arditti String Quartet Edition, No. 15: U.S.A. (Disques Montaigne, 1993)]
Sarabande for any instruments (1959) [included on Just West Coast (Bridge,
1993)]
 "89 VI 8 c. 1:45–1:52 am Paris Encore" from Poem for Tables, Chairs and
Benches, etc. (1960) [included on Flux: Tellus Audio Cassette Magazine #24]
Excerpt "31 I 69 c. 12:17:33-12:24:33 pm NYC" [included on Aspen #8's flexi-
disc (1970)] from Drift Study; "31 I 69 c. 12:17:33-12:49:58 pm NYC" from Map of
49's Dream The Two Systems of Eleven Sets of Galactic Intervals (1969) [included on
Ohm and Ohm+ (Ellipsis Arts, 2000 & 2005)]
566 for Henry Flynt [included on Music in Germany 1950–2000: Experimental Music
Theatre (Eurodisc 173675, 7-CD set, 2004)]

List of 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 and making use of a random number book;
[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 Dorian Blues in G (c. 1960-1961–present);
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 première: Rome
1974. American première: 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.
Realizations 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, sextet version (1984);
Trio for Strings, String Octet Version (1984), 2 violins, 2 violas, 2 cellos, 2
basses;
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