Classifier Instance:

Anchor text: La Monte Young
Target Entity: La_Monte_Young
Preceding Context: Under the influence of Henry Cowell in San Francisco in the late 1940s, Lou Harrison and John Cage began composing music for junk (waste) percussion ensembles, scouring junkyards and Chinatown antique shops for appropriately tuned brake drums, flower pots, gongs, and more. In Europe, during the late 1940s, Pierre Schaeffer coined the term musique concrète to refer to the peculiar nature of sounds on tape, separated from the source that generated them initially. The first of Schaeffer's Cinq Études de bruits, or Five Noise Etudes, consisted of transformed locomotive sounds. Following this, both in Europe and America, other modernist and postmodernist art music composers such as Karlheinz Stockhausen, Gottfried Michael Koenig, Pierre Henry, Iannis Xenakis,
Succeeding Context: , and David Tudor, composed significant electronic, vocal, and instrumental works. In late 1947, Antonin Artaud recorded (To Have Done with the Judgment of God), an audio piece full of the seemingly random cacophony of xylophonic sounds mixed with various percussive elements, mixed with the noise of alarming human cries, screams, grunts, onomatopoeia, and glossolalia. In 1949, Nouveau Réalisme artist Yves Klein wrote The Monotone Symphony (formally The Monotone-Silence Symphony, conceived 1947–1948), a 40-minute orchestral piece that consisted of a single 20-minute sustained chord (followed by a 20-minute silence) – showing how the sound of one drone could make music. Also in 1949, Pierre Boulez befriended John Cage, who was visiting Paris to do research on the music of . John Cage had been pushing music in even more startling directions during the war years, writing for prepared piano, junkyard percussion, and electronic gadgetry.
Paragraph Title: Experimental music
Source Page: Noise music

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