By Andrea Miller-Keller, Alvin Lucier, Michael Roth, Nicolas Collins, Ronald Kuivila
This small, notable e-book commemorates the occupation of experimental song composer Alvin Lucier, and lines an interview with Lucier and curator Andrea Miller-Keller, essays through Nicolas Collins, Ronald Kuivila, Michael Roth and Pamela Tatge, and info of a symposium, show and certain performances of Lucier’s paintings held at Wesleyan collage, November 4-6, 2011. Lucier has pioneered in lots of parts of tune composition and function, together with the notation of performers' actual gestures, using mind waves in concert, the iteration of visible imagery by means of sound in vibrating media, and the evocation of room acoustics for musical reasons. From 1970 to 2011 he taught at Wesleyan collage the place he was once John Spencer Camp Professor of track. Lucier plays, lectures and indicates his sound installations largely within the usa, Europe and Asia.
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Extra info for Alvin Lucier: A Celebration
I used a Wollensak tape recorder. I remember recording Milton Babbitt’s Composition for Four Instruments. Claudio Abbado and Zubin Mehta were in the conducting class. I studied composition with Lukas Foss. He was an ebullient teacher. Aaron Copland gave wonderful classes in orchestration. He was a generous musical presence. there was harpsichord partita, he exclaimed, “Your music is so direct! ” the grandson, I think, of the famous Polish poet. We also had an accordionist and a trumpet player. On Saturday nights, we’d play until one or two o’clock in the morning.
The title was taken from Joseph Conrad’s novel, The Shadow-Line: A Confession. The 15-minute work was completed on May 19, 2008, in Middletown, Connecticut. Panorama 2, 2011 During the course of the performance the trombonist glisses up and down, for trombone and thirteen strings drawing a part of the skyline of the Williams Fork mountain range, as viewed from Roland Dahinden, trombone Ute Peak, Colorado. As he does so the string players follow his sweeps at pitch members of the Wesleyan University levels above and below those of the trombone, copying the shape of his line as Orchestra best they can.
The title of the work was taken from the surrealist text, Instrumentation (1922), by Luis Buñuel. A Tribute to James Tenney, 1986 Two pure wave oscillators are routed through a mixer to a pair of loudspeakers for double bass positioned on either side of the stage. The bassist stands equidistant between them. and pure wave oscillators Roy Wiseman, double bass During the performance the oscillators are tuned successively to five pairs of whole tones. Against each pair, the bassist plays a series of sustained tones, 33 tuning some of them microtonally, in steps of one-third of a semitone (33 cents).
Alvin Lucier: A Celebration by Andrea Miller-Keller, Alvin Lucier, Michael Roth, Nicolas Collins, Ronald Kuivila