Support for LAist comes from
We Explain L.A.
Stay Connected

Share This

News

James Tenney, 72; CalArts Teacher & Contemporary Composer

LAist relies on your reader support, not paywalls.
Freely accessible local news is vital. Please power our reporters and help keep us independent with a donation today.
5b2c66f14488b30009285496-original.jpg

James Tenney died on Thursday, August 24th of lung cancer.

The last time I spoke to Jim Tenney, it was at Target in Valencia. As always, it was a bit of an awkward situation. I think I was buying Halo 2; something that may not be too impressive to a professor who was a conceptual composer. The only music I was doing post-college was scoring a documentary, but his body language seemed stoic in reaction to it.

"He was a great teacher, great drinker, great companion, and an interestingly odd personality," said Kyle Gann in his Postclassic blog on ArtsJournal. One of the great things about CalArts were the various parties professors would hold at their homes. As the "great drinker," Tenney did this often, with much wine to be drunk and shared with students.

Support for LAist comes from

If you listen to contemporary classical music and have no idea who I'm talking about, it would be no surprise. Gann summed it up perfectly in American Music in the Twentieth Century: "No other composer is so revered by fellow composers, and so unknown to the public at large... "

If you were a Sonic Youth fan, you may have heard his work on their album, Goodbye 20th Century, where they covered the 60's avant-garde. It featured Tenney's honestly titled Having Never Written a Note for Percussion, written for another uber famous CalArtian - percussionist, John Bergamo.

In one of his best-known scores, "Having Never Written a Note for Percussion," he drew a single note on a postcard. He asked that the note, of no specified pitch, last a long time. It begins at the threshold of hearing, rises in volume to the threshold of pain and returns to near-silence. But the sound can prove astonishingly complex and the effect on a listener is memorable. No instrument is indicated, but if, say, a cymbal is used, the textures grow so thick that the ear becomes all but overwhelmed by their richness and volume. [LA Times, Mark Swed]