Reflections

Von:

Alvin Lucier

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Beschreibung

PREFACES • Pauline Oliveros: Poet of Electronic Music • James Tenney: The Eloquent Voice of Nature INTERVIEWS WITH DOUGLAS SIMON • . . . to let alpha be itself. Music for Solo Performer • . . . and listen to the ocean again. Chambers • Taking Slow Audio Photographs of the Space. Vespers • Every room has its own melody. I am sitting in a room • Imitating One Set of Sounds with Another. (Hartford) Memory Space • A Metaphor for One's Life. Quasimodo the Great Lover • Composite Identities. The Duke of York • Imaginary Imagery. Gentle Fire • Seeing Sound. The Queen of the South, Tyndall Orchestrations • Making Audible That Which Is Inaudible. Still and Moving Lines of Silence in Families of Hyperbolas • Do you know how robins turn their heads to listen? Outlines of Persons and Things, Bird and Person Dyning • The Poetry of Science. Music on a Long Thin Wire • Sound Shadows. Directions of Sounds from the Bridge INTERVIEWS WITH DANIEL WOLF • The gods appear out of nowhere. Crossings, Nothing is Real • The sound melts into the environment. Fragments for Strings, Navigations for Strings • The simple is the difficult. Panorama, Six Geometries CONVERSATIONS • Creating a new kind of a music for me (Barney Childs) • . . . when you stutter, you scan the language (Walter Zimmermann) • With and without a purpose (Robert Ashley) • Discovery is part of the experience (William Duckworth) • I'm cutting things down to their simplest form (James Tenney) • The form of the piece is a search (Arne Deforce) • You never know what's going to happen (James Saunders) ABOUT OWN WORK • Music for Solo Performer 1965 • The Making of North American Time Capsule • Program Proposal for Pepsi-Cola Pavilion • The Propagation of Sound in Space • The Tools of My Trade • Clocker • Sferics • Seesaw • Wall with Vertical Slit • Sound on Paper • Pasta for Tired Dancers • Thoughts on Installations • Skin, Meat, Bone • String Quartets • Origins of a Form • My Affairs with Feedback • Fruits and Vegetables ABOUT OTHERS • A Letter to Frederic Rzewski • An Open Letter to the Artistic Director of the Ojai Music Festival • I Remember Morty • Collaborations with John Cage • Soba • The Sonic Arts Union • Avant-garde and Experiment • The Future of Our Music • Preface to Robert Ashley's book Outside of Time • Notes on Verbal Notation • The Local is the Universal • In Memoriam David Tudor, Robert Ashley, Reinhard Oehlschlägel, Pauline Oliveros SCORES • Music for Solo Performer • Shelter • Chambers • Vespers • The Only Talking Machine of Its Kind in the World • I am sitting in a room • (Hartford) Memory Space • Hymn • Quasimodo the Great Lover • The Duke of York • Gentle Fire • The Queen of the South • Tyndall Orchestrations • Still and Moving Lines of Silence in Families of Hyperbolas • Outlines of Persons and Things • Bird and Person Dyning • Music on a Long Thin Wire • Directions of Sounds from the Bridge • Ghosts • Words on Windy Corners • Lullaby • Music for Pure Waves, Bass Drums and Acoustic Pendulums • Risonanza • Precious Metals • Attaché Case • Silver Streetcar for the Orchestra • Carbon Copies • Music for Snare Drum, Pure Wave Oscillators and One or More Reflective Surfaces • Indian Summer • Music for Cello with One or More Amplified Vases • Music for Piano with Half-closed Lid • Empty Vessels PROGRAM AND LINER NOTES LIST OF WORKS TEXT CREDITS PHOTO CREDITS INDEX OF NAMES