Minimalist pioneer Terry Riley was among the most revolutionary composers of the postwar era; famed for his introduction of repetition into Western music motifs, he also masterminded early experiments in tape loops and delay systems which left an indelible mark on the experimental music produced in his wake. Riley was born June 24, 1935 in Colfax, CA, and began performing professionally as a solo pianist during the '50s; by the middle of the decade he was studying composition in San Francisco and Berkeley, where among his classmates was fellow minimalist innovator La Monte Young. Influenced by John Coltrane and John Cage, he began exploring open improvisation and avant-garde music, and in 1960 composed Mescalin Mix, a musique concrète piece composed for the Ann Halprin Dance Company consisting of tape loops of assorted found sounds. By the early '60s, Riley was regularly holding solo harmonium performances beginning at 10:00 pm and continuing until sunrise, an obvious precursor of the all-night underground raves to follow decades later. After graduating Berkeley in 1961, his next major work was 1963's Music for the Gift, composed for a play written by Ken Dewey; among the first pieces ever generated by a tape delay/feedback system, it employed two tape recorders -- a setup Riley dubbed the "Time Lag Accumulator" -- playing a loop of Chet Baker's rendition of Miles Davis' "So What." The loop effect sparked Riley's interest in repetition as a means of musical expression ...
http://www.youtube.com/watch?v=xMIUoKT_-ZY&hl=en
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