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Other Minds is a global New Music community where composers, students, and listeners discover and learn about fine innovative music by composers from all over the world Other Minds is a global New Music community where composers, students, and listeners discover and learn about fine innovative music by composers from all over the world
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San Francisco non-profit dedicated to contemporary music through concerts, recordings, broadcasts, audio preservation, & public discussions 🎵
Nature of Music 20: @d.rothenb How does one play Nature of Music 20: @d.rothenb How does one play music with animals in a way that respects their nature and agency? Other Minds welcomes musician and philosopher David Rothenberg to answer this question in the West Coast premiere of his work Eleven Paths to Animal Music (2025) at the Goldman Theater, David Brower Center. Based on one section of his 2019 book Nightingales in Berlin, David Rothenberg’s Eleven Paths to Animal Music, is a composition that contains vignettes of natural environments recorded on his travels—from frogs in the Amazon, nightingales and wind in the Camargue, leafcutter ants in Costa Rica, and a lake in Brandenburg, among others. This concert is the 20th edition of Other Minds’s Nature of Music series, made possible through generous support from the EarthWays Foundation. Links to tickets in our bio.
🖊 Antheil draws Stravinsky 🖊 In the OM Archives: 🖊 Antheil draws Stravinsky 🖊 In the OM Archives: Taken from the second of two sketchbooks by George Antheil, this is a portrait of the Russian composer Igor Stravinsky. Igor Stravinsky is perhaps best known for his early ballets, including “Le Sacre du Printemps (’The Rite of Spring’)” the revolutionary rhythmic structure of which, not to mention the fact that its premiere led to a riot, was clearly an influence on Antheil’s own early compositional style. Antheil become friends with Stravinsky during his stay in Europe in the 1920s, but the friendship later became strained and although the two ended up living in Los Angeles decades later they never really reconciled.
📰 Composer-Critics of the New York Herald Tribune 📰 Composer-Critics of the New York Herald Tribune 📰 For a brief period between 1940 to 1954, the now-defunct paper The New York Herald Tribune maintained a staff of music critics who were valued for their ability to write about music (especially less accessible modern music) in clear language for a general audience. This groundbreaking department was headed up by composer Virgil Thomson and over the years included John Cage, Paul Bowles, Lou Harrison, and Peggy Glanville-Hicks. Around the same period, Thomson was asked to curate a series of records for Columbia Records under the name Modern American Music. These records were among the first recorded documents of pioneers and mavericks of American New Music, including many of his colleagues at the Tribune. On Composer-Critics of the New York Herald Tribune, these recordings are collected for the first time. In 2017, after many of these composers’ work has been mastered and recorded by virtuosic musicians the world over, looking back at these early recordings is a fascinating exercise in the development of interpretation and audio engineering. Link to Purchase in our bio.
🆒 New Clark Coolidge in the OM Webstore 🆒 We've b 🆒 New Clark Coolidge in the OM Webstore 🆒 We've been looking forward to these for awhile, Clark Coolidge's "Preface" released in a beautiful cassette edition by @driftinglament's @wrypress. We've got a few copies in our webstore, and/or you could go over to the Wry Press webstore and pick it up with the spring 2026 issue of Luigi Ten Co, the only print-only poetry mag in the world that you need. “Preface” is a tape work in which poet/drummer Clark Coolidge samples and then manipulates the spoken introduction to composer John Cage’s 1966 lp, “Variations IV”, with David Tudor (Everest 3132). Produced by Charles Amirkhanian, it originally appeared on Coolidge’s KPFA radio program, Words, on September, 29, 1969. A roughly five and a half minute version of the piece was edited by Amirkhanian and included on the seminal 1975 compilation lp, 10+2: 12 American Text Sound Pieces (1750 Arch Records). This cassette release presents the entire sixty-three minute performance in its entirety. Photo of Coolidge taken by @odetogravity at the ODC/Dance Theater during the 23rd Other Minds Festival on April 9, 2018. Link to purchase "Preface" in our bio.
🐦 @d.rothenb at OM 🐦 How does one play music with 🐦 @d.rothenb at OM 🐦 How does one play music with animals in a way that respects their nature and agency? Other Minds welcomes musician and philosopher David Rothenberg to answer this question in the West Coast premiere of his work Eleven Paths to Animal Music (2025) at the Goldman Theater, David Brower Center. Based on one section of his 2019 book Nightingales in Berlin, David Rothenberg’s Eleven Paths to Animal Music, is a composition that contains vignettes of natural environments recorded on his travels—from frogs in the Amazon, nightingales and wind in the Camargue, leafcutter ants in Costa Rica, and a lake in Brandenburg, among others. This piece encourages performers to listen closely to whole natural environments and find a way to play together and within them. In addition to the inspiration he takes from the natural world, Rothenberg also cites Olivier Messiaen’s Quartet for the End of Time, George Crumb’s Vox Balaenae and Tierra Whack’s Whack World. The remainder of the event will contain shorter pieces where Rothenberg plays with whales and insects, along with a discussion of how and why he embarked on this more-than-human musical quest. This concert is the 20th edition of Other Minds’s Nature of Music series, made possible through generous support from the EarthWays Foundation. Link to tickets in our bio!
📀 Abel-Steinberg-@steakatto Trio play Charles Sher 📀 Abel-Steinberg-@steakatto Trio play Charles Shere 📀 The world premiere performance of Charles Shere’s Trio for violin, piano and percussion, performed by the Abel-Steinberg-Winant Trio. Commissioned by Other Minds for the OM Festival 3 in 1996, the recording was thought to be lost until very recently. Shere composed the piece in a brief session, after years of deliberation and consideration. Trio finally came to fruition while the composer was in a small island village in the south of France. The piece is a prime example of the largely self-taught composer’s later works, in which he moved away from open forms and graphic notations towards an approach, while not exactly traditional, could be communicated in traditional notation. The latter approach provides the composer more direct control of the music and more defined formal qualities. Shere makes the best use of such an exemplary ensemble, crafting a statement that sounds fresh even nearly nearly a quarter century following its debut. This Trio is an outlier in Shere’s body of work. The music is gestural and dreamlike, tangential to the work of Shere’s close friend Lou Harrison or even Claude Debussy—a cool evening breeze through a window. The work is something of an overview of Shere’s aesthetic ancestors, even opening with an unmistakable quote from the music of another personal friend, Virgil Thomson. Charles Shere (1935–2020) was a stalwart of the Bay Area new music scene since the early 1960s as composer, performer, critic, and producer of radio and television concerts. Born in Berkeley, California, on August 20, 1935, he served as Music Director of KPFA Radio (1964-67), arts producer at KQED TV (1967-72), and Music Critic of the Oakland Tribune (1972-87). Link to stream and download in our bio.
📆🗓 Happy Wednes-Zé! 🗓📆 From our archives, a scan 📆🗓 Happy Wednes-Zé! 🗓📆 From our archives, a scan of a photo from @odetogravity's personal collection: Tom Zé during a performance at the 1991 Composer-to-Composer Festival in Telluride, CO in July, 1991.
📚📚 OM in @thewiremagazine 's feature on @wendyeyes 📚📚 OM in @thewiremagazine 's feature on @wendyeyes 📚📚 "Eisenberg is also a committed interpreter of other people's music. In 2022, Other Minds commissioned them to record new versions of Morton Feldman's 1966 piece 'The Possibility of A New Work for Electric Guitar' and Christian Wolff's 2004 homage 'Another Possibility.'...Both works posed challenges for Eisenberg. 'A lot of it was like, what do I choose to play? Because there's some ossias [alternative passages]..." Read more in the April issue of The Wire and a link stream and purchase 'The Possibility of A New Work for Electric Guitar' is in our bio.
📻 Memorializing Radigue on MFOM 📻 On last night's 📻 Memorializing Radigue on MFOM 📻 On last night's Music from Other Minds, we celebrated the work of French composer Éliane Radigue, who died on February 23, 2026, at the age of 94 in Paris, France. The show began with an archival interview from 1980, in which Charles Amirkhanian interviewed Radigue on KPFA about her work and musical background and Radigue performed her music live in studio. Then we played Laetitia Sonami, a former student, performing Radigue’s Occam IX on her Spring Spyre interface/instrument. We closed the program with Mariel Roberts Musa’s "sunder" performed by pianist Conor Hanick on her recent New Focus Recordings release. Link to stream in our bio.
Alvin Curran playing harmonica during a rehearsal Alvin Curran playing harmonica during a rehearsal with Clark Coolidge (not pictured) prior to the first concert of the 23rd Other Minds Festival on April 9, 2018. Photo by ebbe roe yovino-smith.
📀 Thursday Mizelle 📀 On Other Minds Records: an a 📀 Thursday Mizelle 📀 On Other Minds Records: an archival release featuring work by pioneering composer and improvisor Dary John Mizelle. An important figure in the mid-century American avant-garde, Mizelle’s music has languished in relative obscurity over the last few decades. The Music of Dary John Mizelle was originally released in 1981 on Irida Records, the briefly extant private press label run by the composer and performance artist Jerry Hunt. The three pieces within found Mizelle playing and processing a Japanese shakuhachi, writing for solo bass, as well as an ensemble of 24 celli. In the new liner notes to the album, Vanessa Ague states that “Mizelle’s penchant for forming wholly mesmerizing sonic landscapes...exemplifies the vast scope of his work.” While he deals with seemingly unrelated ensembles and timbres, each piece contained within contributes to a unified sonic whole. The composer’s unique combination of extended techniques and densely layered rhythmic patterns ensure that timbre and texture are at the fore across the entirety of the collection. It’s this focus on texture and density that allows a reading of this music as an unheralded precursor to the “power ambient” of composers like Tim Hecker, Ben Frost, and their aesthetic peers. Link to stream and buy in our bio.
Pianist @eve.egoyan performing John Oswald’s "Homo Pianist @eve.egoyan performing John Oswald’s "Homonymy" during the second concert of the 21st Other Minds Festival, held Saturday March 5, 2016. Photo by Mike Melnyk.
📀 Tuesday Rorem! 📀 Other Minds rereleased this ba 📀 Tuesday Rorem! 📀 Other Minds rereleased this back in 2006; it was originally released on LP by Columbia Records in 1964, and features some of the most outstanding soloists of the day: Charles Bressler, Phyllis Curtin, Gianna D’Angelo, Donald Gramm, and Regina Sarfaty, accompanied at the piano by the composer, Ned Rorem. The original recordings were digitized and re-mastered on a Sonic Solutions system to minimize tape hiss and other sound artifacts. The resulting clarity and brilliance far surpasses that of the original release offering a fresh look at this legendary album. Includes a 24-page booklet. Link to listen and download in our bio.
📻 MFOM: أحمد[Ahmed] and Akhnaten 📻 Last night's M 📻 MFOM: أحمد[Ahmed] and Akhnaten 📻 Last night's Music from Other Minds featured two “A” students: 1) أحمد [Ahmed]—a jazz quartet featuring Pat Thomas, Seymour Wright, Joel Grip, and Antonin Gerbal that works to “re-arrange and re-imagine in real time the music of composer, bassist and oud player Ahmed Abdul-Malik (1927-1993)” and 2) selections from Philip Glass’ 1983 opera Akhnaten. Link to stream the entire 2-hour program in our bio. Above: Philip Glass seen playing the piano during his retreat at the Djerassi Resident Artists Program in Woodside CA, prior to his appearance at the 1st Other Minds Music Festival in November of 1993. Photo by John Fago.
📀 Gann's Hyperchromatica 📀 On Hyperchromatica, K 📀 Gann's Hyperchromatica 📀 On Hyperchromatica, Kyle Gann expands on Conlon Nancarrow’s work with player pianos and multiplies it. This expansive new work was written for three computer-controlled disklavier pianos that Gann tuned to an intricate system of his own design, with the express goal to “reinvent tonality.” Gann treats the work not as a piano trio but a work for a single instrument with 243 keys. Hyperchromatica extends the possibilities of the piano well beyond the range of human possibility, utlizing complex polytempo and polymetric techniques that would be impossible for even the most virtuosic of players. That’s not to say that Hyperchromatica is cold and mechanical. There are moments of frenetic chaos, to be sure, but Gann is focused on making microtonal music not accessible, but more “attractive and seductive.” Gann manipulates our suspension of disbelief, moving seamlessly from typically pianistic passages to figures almost too complex to comprehend. The strata of mictrotonal pitch and polytempo provides an unfamiliar lushness. Hyperchromatica is a mammoth work, more than two years in the making. After years of working with a variety of microtonal tunings, Gann devised a tuning that provided him with enough heft to cover the piece’s two and half hours. By covering the gamut of styles and techniques, Gann has created a touchstone of microtonal music. The future is now, and Kyle Gann is leading is the way. Link to stream and buy in our bio.
🌈 Savage 1960s Program Design 🌈 The Other Minds A 🌈 Savage 1960s Program Design 🌈 The Other Minds Archives delivers again, with a printed program for performances of "The Marriage of Figaro", presented by The Fresno Opera Association on May 10-11, 1967. Includes advertisements, list of association and guild members, program notes, cast and synopsis, as well as orchestra, chorus, and ballet personnel, and production staff. Last pages include upcoming season dates and patron and member lists.
📀 Werner Durand's "To Be Continued: Early Recordin 📀 Werner Durand's "To Be Continued: Early Recordings 1978-1980" 📀 Werner Durand has been active since the 1980’s both as a solo performer, and in collaborations with Amelia Cuni, Arnold Dreyblatt, and Sam Ashley, among others. To Be Continued comprises three long form pieces that are important documents of the development of the audio processing techniques for which Durand is now known. To Be Continued is presented in chronological order, tracing Durand’s move from his home in Karlsruhe, Germany to his influential trip to India and subsequent move to Berlin, including the only recording existent of the artist playing the bansuri flute. The influence of his studies in India are apparent, as is the influence of his teacher Ariel Kalma. The music is hypnotic and subdued, the sound of a trailblazing artist taking his first steps into the brush. On the trilogy "Triptychon,” subtitled “Three Afternoon Songs,” Durand, along with collaborator Tom Dietz, weave together fragmented organ and synthesizer arpeggios into a dense field of kaleidoscopic sound. “The Road to Trichy” finds Durand in a more contemplative mode, skirting around the edges of New Age, a harder-edged Joanna Brouk or something akin to Alice Coltrane. The album closes with the short piece for soprano saxophone titled “BerlIndia.” As indicated by the elision of the title, there is a clear influence of Indian classical music here. Repeated raga figures over a central drone dominate the sound field. Link to stream and download in our bio.
📻 Yoko Ono on Music from Other Minds 📻 Yoko Ono, 📻 Yoko Ono on Music from Other Minds 📻 Yoko Ono, born February 18, 1933, is a pioneer in performance art, film, and conceptual art, and is known for her activism for peace and social justice. The first hour of last night's Music from Other Minds surveys Ono’s life and art, drawing from “Music of the Mind,” a retrospective of her work organized by the Tate Modern in London. The second hour features electronic and instrumental music by Toshi Ichiyanagi (February 4, 1933 - October 7, 2022). He and Ono were married 1956–1963. Together they arranged John Cage and Merce Cunningham’s first visit to Japan. Ichiyanagi was a preeminent Japanese composer, writing chamber and orchestral music, multimedia pieces, operas, electronic music, and music using traditional Japanese instruments. Hosted by Ed Herrmann. Link to stream in our bio.
🌷 The Bouquet Stays in the Picture🌷 Mauricio Kage 🌷 The Bouquet Stays in the Picture🌷 Mauricio Kagel during Speaking of Music series at the Exploratorium with host @odetogravity , March 17, 1988.
📀 Curran's Inner Cities 8 📀 “What began in 1993 a 📀 Curran's Inner Cities 8 📀 “What began in 1993 as a mere 28-minute piano piece on an A major triad in first inversion, has now grown to a major (for me) series of solo piano works, of which this last-number 8-is one of the most rarified and rigorous, most lush and longest (50 minutes plus)…” @eve.egoyan , piano. Recorded at the Cowell Theater, Fort Mason, San Francisco, California on March 10th, 2001. Link to purchase in our bio.
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For questions regarding accessibility, please contact Joseph Bohigian at joseph@otherminds.org or (415) 934-8134. © ℗ 2026 Other Minds. All Rights Reserved. Privacy Policy
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