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Five 'Classical' Pieces That Blew Dan Deacon's Mind

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The delirious, ecstatic music of composer-provocateur Dan Deacon stands alone. Though perhaps best known for his dance music — beat-heavy assaults of musique concrete, audience-triggered electronics and heavily manipulated acoustic instruments — the classically trained Deacon has also written extensively for chamber ensemble, film, and recently, orchestra.

Deacon's last album, the critically-acclaimed "Bromst" was released in 2009 and he's slated to release his next proper album, "America," via Domino Records later this month, but he hasn't been resting on his laurels in the interim. Instead, he's become a major player in the new-music scene, with world premieres at the Ecstatic Music Festival in both 2011 and 2012, performances at So Percussion's Summer Institute and the premiere of a John Cage-inspired piece at Carnegie Hall during last March's transcontinental American Mavericks festival.

We asked Dan to offer a Top 5 list of "classical" (any categorical boundary presented to someone who thrives in eclecticism as much as Deacon does require quotation marks) music pieces that blew his mind and changed the way he thought about music.

→Watch Dan Deacon's recent appearance on WNYC's Soundcheck

Top 5 "Classical" Pieces That Blew Dan Deacon's Mind
and Changed His Music-Making Trajectory

1. Conlon Nancarrow - Study for Player Piano No. 21 (Canon X)
2. Terry Riley - Poppy Nogood And The Phantom Band
3. Iannis Xenakis - ST/4-1,080262 
4. Meredith Monk - Turtle Dreams 
5. Raymond Scott - Portofino 2