{"id":654,"date":"2004-04-27T09:44:40","date_gmt":"2004-04-27T16:44:40","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2004\/04\/quick_kicks\/"},"modified":"2004-04-27T09:44:40","modified_gmt":"2004-04-27T16:44:40","slug":"quick_kicks","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2004\/04\/quick_kicks.html","title":{"rendered":"QUICK KICKS"},"content":{"rendered":"

Kyle Gann, postclassical composer extraordinaire<\/FONT><\/EM><\/B><\/A> and fellow
\nArtsJournal blogger<\/FONT><\/EM><\/B><\/A>, says he gets no kicks from public performances
\nof his music. So where does he get them? Alone, in the studio<\/FONT><\/EM><\/B><\/A>, writing his stuff. Here’s the<\/FONT><\/EM> stuff he
\nwrites<\/FONT><\/EM><\/B><\/A>. We get our kicks from listening to it, especially his piano
\nstudies. Stuff like “Nude Rolling Down an Escalator,”<\/FONT><\/EM><\/B><\/A> “Bud Ran Back Out”<\/FONT><\/EM><\/B><\/A> and “Folk
\nDance for Henry Cowell.”<\/FONT><\/EM><\/B><\/A> And here’s something for adventurous
\nopera buffs: an excerpt from the chamber opera “Cinderella’s Bad Magic.”<\/FONT><\/EM><\/B><\/A><\/P><\/p>\n","protected":false},"excerpt":{"rendered":"

Kyle Gann, postclassical composer extraordinaire and fellow ArtsJournal blogger, says he gets no kicks from public performances of his music. So where does he get them? Alone, in the studio, writing his stuff. Here’s the stuff he writes. We get our kicks from listening to it, especially his piano studies. Stuff like “Nude Rolling Down […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-654","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-ay","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/654","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=654"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/654\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=654"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=654"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=654"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}