Editing La Monte Young (section)

===1935–1959===
Young was born in a log cabin in [[Bern, Idaho]].<ref name="CalifLibrary">{{cite web |title=La Monte Young papers, 1959–2006 |url=https://oac.cdlib.org/findaid/ark:/13030/ft1b69n5jc/ |website=oac.cdlib.org}}</ref><ref name="IRCAM">{{BrahmsOnline|IRCAM-name=la-monte-young|title=La Monte Young}}</ref> As a child he was influenced by the droning sounds of the environment, such as blowing wind and electrical [[transformer]]s.<ref name="OUP">{{cite web |title=Questions about La Monte Young, music, and mysticism |url=https://blog.oup.com/2012/04/q-and-a-la-monte-young-music-mysticism-grimshaw/ |website=OUPblog |language=en |date=10 April 2012}}</ref> During his childhood, Young's family moved several times before settling in [[Los Angeles]], as his father searched for work. He was raised as a member of [[the Church of Jesus Christ of Latter-day Saints]].<ref name="OUP"/> He graduated from [[John Marshall High School (Los Angeles)|John Marshall High School]].<ref name="IRCAM" /> Young began his music studies at [[Los Angeles City College]], and transferred to the [[University of California, Los Angeles]] (UCLA),<ref name="NYTprofile">{{cite web |last=Miller |first=M[ichael] H. |title=The Man Who Brian Eno Called 'the Daddy of Us All' |url=https://www.nytimes.com/2020/07/22/t-magazine/la-monte-young.html |website=[[The New York Times]]|date=22 July 2020}}</ref> where he received a BA in 1958.<ref name="CalifLibrary"/><ref name="IRCAM"/> In the jazz milieu of Los Angeles, Young played with notable musicians including [[Ornette Coleman]], [[Don Cherry (trumpeter)|Don Cherry]], [[Billy Higgins]], and [[Eric Dolphy]].<ref>Henken, J., [https://www.latimes.com/archives/la-xpm-1993-09-04-ca-31590-story.html "Even Minimalists Get the Blues: Music: Influential composer La Monte Young has put together a roadhouse blues band to return to the stompin’ style of his jazz-influenced youth."], ''[[Los Angeles Times]]'', September 4, 1993.</ref> He undertook additional studies at the [[University of California, Berkeley]] from 1958 to 1960.<ref name="IRCAM"/> In 1959 he attended the [[Darmstädter Ferienkurse|Darmstadt International Summer Courses for New Music]] under [[Karlheinz Stockhausen]], and in 1960 relocated to New York in order to study [[electronic music]] with [[Richard Maxfield]] at the [[New School for Social Research]]. His compositions during this period were influenced by [[Anton Webern]], [[Gregorian chant]], [[Indian classical music]], Japanese [[Gagaku]], and Indonesian [[gamelan]] music.<ref>[https://brahms.ircam.fr/en/la-monte-young#parcours] La Monte Young IRCAM</ref>

A number of Young's early works use the [[twelve-tone technique]], which he studied under [[Leonard Stein]] at Los Angeles City College. (Stein had served as an assistant to [[Arnold Schoenberg]] when Schoenberg, the inventor of the twelve-tone method, taught at UCLA.){{sfn|LaBelle|2006|p=69}} Young also studied composition with Robert Stevenson at UCLA and with Seymore Shifrin at UC Berkeley. In 1958, he developed the ''[[Trio for Strings]]'', originally scored for violin, viola, and cello, and which presaged his later work. The Trio for Strings has been described as an "origin point for minimalism."<ref name="nyt">{{cite news|last1=Robin|first1=William|title=La Monte Young Is Still Patiently Working on a Glacial Scale|work=The New York Times |date=August 19, 2015 |url=https://www.nytimes.com/2015/08/23/arts/music/la-monte-young-is-still-patiently-working-on-a-glacial-scale.html|access-date=April 16, 2016}}</ref> When Young visited Darmstadt in 1959, he encountered the music and writings of [[John Cage]]. There he also met Cage's collaborator, pianist [[David Tudor]], who subsequently would [[Premiere|première]] some of Young's works. At Tudor's suggestion, Young engaged in a correspondence with Cage. Within a few months, Young was presenting some of Cage's music on the West Coast. In turn, Cage and Tudor included some of Young's works in performances throughout the U.S. and Europe. Influenced by Cage, Young at this time took a turn toward the [[Conceptual art|conceptual]], using principles of [[indeterminacy (music)|indeterminacy]] in his compositions and incorporating non-traditional sounds, noises, and actions.{{sfn|Duckworth|1995|p=233}}