Eternal Music is a cumbersome concept. It is non-denominational, but religious, a sacred music that aims for a pure truth of sound. If all matter is interconnected, and no energy ever completely disappears, all sounds are occurring at all times. There is no necessary artistry or intention. It's just that somewhere in the universe, there is a 440-hertz sine wave tone that has been playing for all of time. And there are sine waves playing at all sorts of minute gradations in between 440 and 441. The whole sound spectrum, audible and inaudible, is all obliviously occurring, all the time, in the ether.
La Monte Young, generally regarded as the father of musical minimalism, is one of America’s most important contemporary composers–and one of the most elusive. Early on Young eschewed the conventional musical institutions of publishers, record labels, and venues, in order to create compositions completely unfettered by commercial concerns. At the same time, however, he exercised profound influence on such varied figures as Terry Riley, Cornelius Cardew, Andy Warhol, Yoko Ono, Velvet Underground, Brian Eno and entire branches of pop music. For half a century he and his partner and collaborator, Marian Zazeela, have worked in near-seclusion in their Tribeca loft, creating works that explore the furthest extremes of conceptual audacity, technical sophistication, acoustical complexity, and overt spirituality.