Composition 1960 are a series of text‑based scores created by La Monte Young in 1960 that blur the boundaries between music, conceptual art, and performance. Rather than traditional notation, these pieces consist of simple written instructions or actions that redefine what constitutes a musical event. Examples include releasing a butterfly into the performance space, holding a perfect fifth (B–F♯) “for a long time,” or directing performers simply to “draw a straight line and follow it.” These works challenge conventional concert norms and foreground indeterminacy, silence, duration, and everyday gestures as musical material, reflecting the influence of John Cage and early Fluxus. Compositions 1960 are considered foundational in the development of conceptual music and minimalism.

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Composition 1960 #10 (to Bob Morris), dated October 1960, is dedicated to Young’s artist friend Robert Morris. The score simply instructs:

“Draw a straight line and follow it.”

A minimalist and conceptual work, it transforms a simple action into a performative exploration of movement, space, and duration.

During the first Fluxus concert, held in Wiesbaden, Germany, in 1962, Paik performed La Monte Young’s text-based score Composition 1960 #10 (to Bob Morris), which reads, “Draw a straight line and follow it.” Paik dipped his head into a bowl of ink and proceeded to produce a line with his hands, head, and necktie as he moved down the length of a large sheet of paper laid on the floor. This performance—which gained notoriety for Paik’s rather flamboyant interpretation and execution—became known as Zen for Head.

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Details taken from Wikipedia and MoMA.