Age, Biography and Wiki

Earle Brown was born on 26 December, 1926 in United States, is an American composer (1926–2002). Discover Earle Brown's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 75 years old?

Popular As N/A
Occupation N/A
Age 75 years old
Zodiac Sign Capricorn
Born 26 December 1926
Birthday 26 December
Birthplace N/A
Date of death 2 July, 2002
Died Place N/A
Nationality United States

We recommend you to check the complete list of Famous People born on 26 December. He is a member of famous composer with the age 75 years old group.

Earle Brown Height, Weight & Measurements

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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Earle Brown Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Earle Brown worth at the age of 75 years old? Earle Brown’s income source is mostly from being a successful composer. He is from United States. We have estimated Earle Brown's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
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Source of Income composer

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Timeline

1926

Earle Brown (December 26, 1926 – July 2, 2002) was an American composer who established his own formal and notational systems.

1944

He initially considered a career in engineering, and enrolled for engineering and mathematics at Northeastern University (1944–45).

1945

He enlisted in the U.S. Air Force in 1945.

However, the war ended while he was still in basic training, and he was assigned to the base band at Randolph Field, Texas, in which he played trumpet.

The band included saxophonist Zoot Sims.

1946

Between 1946 and 1950 he was a student at Schillinger House in Boston, which is now the Berklee College of Music.

Brown had private instruction in trumpet and composition.

Upon graduating he moved to Denver to teach Schillinger techniques.

John Cage invited Brown to leave Denver and join him for the Project for Music for Magnetic Tape in New York.

1950

Brown was married first to the dancer Carolyn Brown, who danced with Merce Cunningham from the 1950s to the 1970s, and then to the art curator Susan Sollins.

1952

Among his most famous works are December 1952, an entirely graphic score, and the open form pieces Available Forms I & II, Centering, and Cross Sections and Color Fields.

This graphic style was more gestural and calligraphic than the geometric abstraction of December 1952.

Beginning with Available Forms I, Brown used this graphic notation on the staff in some sections of the score.

December 1952 is perhaps Brown's most famous score.

It is part of a larger set of unconventionally-notated music called FOLIO.

Although this collection is misconstrued as, historically, "coming out of nowhere", musical notation has existed in many forms—both as a mechanism for creation and for analysis.

Brown studied what is now called Early Music, which had its own systems of notation; he was a student of the Schillinger System, which almost exclusively used graph methods} for describing music.

1955

Brown was an editor and recording engineer for Capitol Records (1955–60) and producer for Time-Mainstream Records (1960–73).

Brown's contact with Cage exposed David Tudor to some of Brown's early piano works, and this connection led to Brown's work being performed in Darmstadt and Donaueschingen.

Composers such as Pierre Boulez and Bruno Maderna promoted his music, which subsequently became more widely performed and published.

Brown is considered to be a member of the New York School of composers, along with John Cage, Morton Feldman, and Christian Wolff.

Brown cited the visual artists Alexander Calder and Jackson Pollock as two of the primary influences on his work.

He was also inspired by author, Gertrude Stein, and by many artists he was personally acquainted with such as Max Ernst and Robert Rauschenberg.

1959

In 1959, with Hodograph I, Brown sketched the contour and character abstractly in what he called "implicit areas" of the piece.

1966

However, by Modules I and II (1966), Brown more often used stemless note heads which could be interpreted with even greater flexibility.

1980

Brown was the creator of "open form," a style of musical construction that has influenced many composers since—notably the downtown New York scene of the 1980s (see John Zorn) and generations of younger composers.

1998

He was awarded a Foundation for Contemporary Arts John Cage Award (1998).

Brown was born in Lunenburg, Massachusetts, and first devoted himself to playing jazz.

2002

Earle Brown died in 2002 of cancer, in Rye, New York, United States.

A great deal of Brown's work is composed in fixed modules (though often with idiosyncratic mixtures of notation), but the order is left free to be chosen by the conductor during performance.

The material is divided in numbered "events" on a series of "pages".

The conductor uses a placard to indicate the page, and with his left hand indicates which event is to be performed while his right hand cues a downbeat to begin.

The speed and intensity of the downbeat suggests the tempo and dynamics.

Brown's first open-form piece, Twenty-Five Pages, was 25 unbound pages, and called for anywhere between one and 25 pianists.

The score allowed the performer(s) to arrange the pages in whatever order they saw fit.

Also, the pages were notated symmetrically and without clefs so that the top and bottom orientation was reversible.

Through this procedure, no two performances of an open form Brown score will be the same, yet each piece retains a singular identity, and his works exhibit great variety from work to work.

Brown relates his work in open form to a combination of Alexander Calder's mobile sculptures and the spontaneous decision-making used in the creation of Jackson Pollock's action paintings.

Although Brown precisely notated compositions throughout his career using traditional notation, he also was an inventor and early practitioner of various innovative notations.

In Twenty-Five Pages, and in other works, Brown used what he called "time notation" or "proportional notation" where rhythms were indicated by their horizontal length and placement in relation to each other and were to be interpreted flexibly.