1. A recording of the first group discussion for August 18, 1989 in Telluride, Colorado during the 1989 Composer to Composer Festival. The composers discuss Music Criticism.

Charles Amirkhanian begins by talking about the upcoming panel discussions and setting the stage for a talk about Music Criticism. He also introduces visiting music critic Alan Rich from the Los Angeles Herald Examiner.

The composers discuss issues with music criticism, including poor writing, problems with subjectivity in music, critics not being trained in music, commercial stations and news outlets having their own agendas in the music writing, and egos involved with music writers. 

John Cage talks about the lessons he learned from Gertrude Stein in how to write proper music criticism. 

The composers also investigate whether music criticism actually carries much weight in the long term career of a composer, how much faith can be put into a reader being informed, and the need for a forum for composers and listeners to discuss music.

The recording ends abruptly during conversation and concludes on the next tape (part 2).

2. Tape begins with end of the criticism discussion and Charles Amirkhanian explaining the differences between funding sources for radio stations before the composers break. 

After the break Amirkhanian makes some announcements about upcoming events and introduces the guests in the room; Richard Heyman and Iris Brooks from Ear magazine. After a rundown of some logistics, John Lifton is introduced. 

Lifton begins by discussing his background as an architect, and about his early work with computers and plants (green music). He then plays an excerpt of his “Green Music” and explains how it informed his desire to influence the music as a “composer” rather than a scientist or natural artist. Next he plays an excerpt from his opera about Harry Houdini.

He then explains and plays an excerpt from “Neptune Comes to Hopi” (text by Pamela Zoline), and sings his “Love song for unaccompanied Parrot.” He finishes by taking questions from the group. 

The composers move on to a general discussion about self expression, the lack of a common language in late 20th century music, issues with identity and expression, and their general experiences at the festival. 

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