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Lucier Alvin: more detail

Chambers: Scores by Alvin Lucier by Alvin Lucier, Douglas Simmon, 1980-01-01
Notes in the margins by Alvin Lucier, 1988
Circumscribing the Open Universe: Essays on John Cage, Morton Feldman, Christian Wolff, Robert Ashley, Alvin Lucier by Thomas Delio, 1984-04
Source: Music of the Avant Garde, Issue 10
Alvin Lucier by James Tenney, 1988-11
Reflections: Interviews, scores, writings = Reflexionen : Interviews, Notationen, Texte (Edition MusikTexte) by Alvin Lucier, 1995
The machine;: A political satire, by Alvin Joseph Lucier, 1908
Resonant things (Bayou books) by Alvin Lucier, 1991
Music for solo performer 1965 by Alvin Lucier, 1967
Chambers: Scores by Alvin Lucier, 1980
RESONANT THINGS- 16 CARD STOCK PRINTS (IN AN EDITION OF 500) by Alvin Lucier, 1991

lists with details

Mary Lucier With Phong Bui - The Brooklyn Rail
Rail So, as you were making sculpture, you met alvin lucier, the Avant Garde composer, who was teaching music at your school and had an impact on you as a
http://www.brooklynrail.org/2007/3/art/mary-lucier

Extractions: Dec 2007/Jan 2008 November 2007 October 2007 September 2007 July/August 2007 June 2007 May 2007 April 2007 March 2007 February 2007 Dec 2006/Jan 2007 November 2006 October 2006 September 2006 July/August 2006 June 2006 May 2006 April 2006 March 2006 February 2006 Dec 2005/Jan 2006 November 2005 October 2005 September 2005 July/August 2005 June 2005 May 2005 April 2005 March 2005 February 2005 by Phong Bui In the midst of preparing for her new video installation The Plains of Sweet Regret, which will be on view at Lennon, Weinberg, Inc. from March 10 through April 28, 2007. The artist Mary Lucier took time from her busy schedule to talk with Rail Publisher about her life and work. Phong Bui (Rail): Mary Lucier: Rail Lucier: Not at all. I just naturally loved building things, I went on to college at Brandeis University where I earned a degree in English and American Literature because, in those days, everybody was an English Major, and I came from a somewhat literary background, so it seemed like a natural inclination, but I was studying sculpture at the same time. Rail And what sorts of sculpture were you making then?
Christopher Burns: Realizations: I Am Sitting In A Room (1 Of 2)
alvin lucier s I am sitting in a room (1969) is an electroacoustic classic. The work, which questions the distinctions between speech and music,
http://ccrma-www.stanford.edu/~cburns/realizations/lucier-1.html

Extractions: real-time realization by Christopher Burns (2000) Alvin Lucier's I am sitting in a room (1969) is an electroacoustic classic. The work, which questions the distinctions between speech and music, is conceptually rich, sonically beautiful, and is achieved with an extraordinary economy of means. The score begins: "choose a room the musical qualities of which you would like to evoke." A text is then read and recorded in that room; the recording is played back through a loudspeaker, and the playback itself recorded; and the cycle of playback and recording is continued through a variable number of generations. As the text is repeated over and over into the room, the acoustic properties of the room assert themselves. Echoes elongate and smear the speech, and the resonances of the room enhance some of the frequencies present, while others are eliminated. Gradually, the speech is transformed into music: the text becomes a complex weave of pitches, based upon the intersections of the recorded voice and the resonant frequencies of the room. By the end of the score, Lucier is explicitly licensing experiment with his basic process: "Make versions in which one recorded statement is recycled through many rooms. Make versions using one or more speakers of different languages in different rooms. Make versions in which, for each generation, the microphone is moved to different parts of the room or rooms. Make versions that can be performed in real time." Lucier's work invites realization in part because of the opportunity to experiment: different rooms, different texts, and different recording techniques all produce changes in the resulting tape or real-time performance.
Instalaciones - Esculturas Sonoras
lucier, alvin, Bird and person Dyng, Milán, Cramps Records, 1975. lucier, alvin, I am sitting in a room, Nueva York, Lovely Music, 1990.
http://www.uclm.es/artesonoro/Discografa/html/Instal.html

Extractions: SINGLE ABRAMOVIC, Marina, Sound Environment Sea , Belgrado, 1972. AGAM Yaacov, Tast-und Tonbild , Kaiser Wihelm Museum, s.f. Performance JULIUS, Rolf, RUTHENBECK, Reiner, Daschskulptu TINGUELY, Jean, Sound of Sculpture , Tokio, Minami Gallery, 1963. LP BERTOIA, Harry, Sonambient (Bellissima, Bellissima, Bellissima. Nova), s.f. Sonambient (Space Voyage, Echoes of Other Times), s.f. Sonambient (Unfolding. Sounds Beyond), s.f. Sonambient (All And More. Passage), s.f. Sonambient (Swift Sounds. Phosphorescence), s.f. Sonambient (Gong Gong. Elemental), s.f. Sonambient (Energizing. Mellow Top), s.f. Sonambient (Continuum. Near And Far), s.f. Sonambient (Ocean Mysteries. Softly Played), s.f. Sonambient (Swinging Bars. Vulcans Plays), s.f. Sonambient (Here And Now. Unknown), s.f. 4 Espaces sonores DAVIES, Hugh, Shozyg: Music for Invented Instruments FOX, Terry, Linkage (Acoustic Wire Sound) , Lucerna, Kunstmuseum Luzern, 1982. Berlino/Rallentando , Eindhoven, Apollo Records/Het Apollohuis, 1988. FULLMAN, Ellen
Online Events
alvin lucier performs one of his works Photo courtesy alvin lucier The American composer alvin lucier was an early pioneer of sound works which use
http://www.tate.org.uk/onlineevents/archive/open_sound_systems/

Extractions: Archive Overview The American composer Alvin Lucier was an early pioneer of sound works which use systems as a generative device. He has since produced innovations in many areas of musical composition and performance, including the notation of physical gestures, the use of brain waves in live performance, and the evocation of room acoustics for musical purposes. His recent works include a series of performances in which, by means of close tunings with pure tones, sound waves are caused to spin through space. For this series of performances, Lucier presents work that has a strong connection to the artistic strategies represented in Open Systems: Rethinking Art c.1970. The programme features four compositions by Lucier; one piece by his former student, the late British composer, video artist and filmmaker Stuart Marshall; work by noted British composer John White; as well as new work in the spirit of Lucier's practice by emerging composers John Lely, Andrew Morgan, and Tim Parkinson. The composers will perform their work in collaboration with a group of emerging musicians.
Avantgarde Music. Alvin Lucier: Biography, Discography, Reviews, Links
A guide to alvin lucier biography, discography, reviews, links.
http://www.scaruffi.com/oldavant/lucier.html

Extractions: Vespers (New World, 2002), 6/10 Links Alvin Lucier has been active since 1962 in the field of "concrete" music. He has introduced new paradigms to the field, by employing bold and radical methods to process unusual sources of sound and to perform scores in ever more unconventional manners. Over the years, he has been exploring the acoustic properties of organisms, objects and environments. Works such as Music For Solo Performer (1965), that used the performer's brainwaves
Jazz Record Mart Web Store
lucier, alvin / I AM SITTING IN A ROOM CD *LOVELY MUSIC New Music CD LOVELY MUSIC 1013. $14.99. LUSSIER,RENE+TETREAULT,MARTIN/QU -CD New Music CD DAM
http://jazzrecordmart.com/product/nm.htm
CDs - Lucy Scribner Library, Skidmore College
I am sitting in a room for voice on tape, lucier, alvin. M1473 .L82 1990 .. E16 U65 2005. Vespers and other early works, lucier, alvin. M1473 .L82 2002
http://www2.skidmore.edu/library/cds/cds.cfm?browseby=genre&&whichgenre=Other&&w
McIntire Department Of Music
The McIntire Department of Music is pleased to present an alvin lucier festival Classic and new concert works by American music pioneer, alvin lucier,
http://www.virginia.edu/music/pressrelease/06-07/lucier091506.html

Extractions: The McIntire Department of Music is pleased to present an Alvin Lucier festival on Friday, September 15th 2006 in Old Cabell Hall. Lucier is one of the pioneers of electronic music. His achievements in the use of physical gestures, brain waves and room acoustics have revolutionized the world of electronic music. This festival is an Arts Enhancement Event, supported by the Provost's Office to increase the awareness of and support for the arts at the University of Virginia. For directions or more information please call the Cabell Hall Box Office at 434-924-3984. Music on a Long Thin Wire (Installation)
Alvin Lucier- Music On A Long Thin Wire
Interview with composer alvin lucier.
http://www.furious.com/Perfect/ohm/lucier.html

Extractions: Q: What are your thoughts on the piece, looking back at it today? I just installed it in Germany in a big church high above the audience in the altar. It was very long- I don't know how many meters. It just sounded wonderful, better than almost I've ever heard. Do I think it stands up over time? I think it does. It's got this other-worldly quality about it. I can't see the wire very well. You can if it's installed in a gallery, three or four feet above the ground. We had it installed high above a church and you could barely see it, depending on the light that came in during the day or the lighting at night. This quality, this amazing sound which is always moving, always changing, you don't see how it's produced but you know it isn't on tape. It doesn't have that lifeless quality of sounds on tape. You know, the live organism. Q: Could you talk about the genesis of the original piece? I was sharing an acoustics class here at Wesleyn with a physics instructor. We were doing the Pythagorian experiment with a monochord on a table. We had an electro-magnet that was driving the string and an oscillator. It was sort of a cut-and-dry sound experiment. I just got the idea to extend that in size- to have an really extraordinary long wire would really generate something amazing. When I started making the piece, I just didn't bother to do any analysis or learning about the wire tension, mass and weight. I just set it up between a couple of tables and discovered that the imperfection of the way it was installed made a very interesting and wonderful sound. It was always changing. That's the interesting thing about it- it isn't fixed like a string on a piano. It's subject to all kind of internal and external things.
Alvin Lucier / Ben Manley
In a new realization of alvin lucier s The Queen of the South, Studio 5 Beekman presents a sound and light installation by Ben Manley that features
http://diapasongallery.org/lucier.manley.html

Extractions: S t u d i o F i v e B e e k m a n sound and intermedia gallery home information presentations news ... links Alvin Lucier The Queen of the South a realization with water and reflected light, by Ben Manley Saturdays 2 - 9 PM July 11 - 25, 1998 In a new realization of Alvin Lucier's The Queen of the South, Studio 5 Beekman presents a sound and light installation by Ben Manley that features slow-sweep sine tones and the reflected light of vibrational waves in water. With loudspeakers driving shallow pools of water, light is directed onto complex wave patterns to create shifting visual images on the walls of the darkened gallery. Following Lucier's open-ended score that calls for "making visible the effects of sound," a natural, ever-changing correspondence between sound, water, and light is observed. Alvin Lucier has pioneered in many areas of music composition and performance, including the notation of performers' physical gestures, the use of brain waves in live performance, the generation of visual imagery by vibrating media, and the evocation of room acoustics for musical purposes. His recent works include a series of sound installations and works for solo instruments, chamber ensembles, and orchestra in which, by means of close tuning with pure tones, sound waves are caused to spin through space. Born in Nashua, New Hampshire in 1931, he studied at Yale and Brandeis and spent two years in Rome on a Fulbright scholarship. He has performed and lectured extensively in the United States, Europe, and Asia. Several of his works are available on Cramps (Italy), Source, Mainstream, CBS Odyssey, Nonesuch, and Lovely Music Records. Since 1970 he has taught at Wesleyan University where he is John Spencer Camp Professor of Music.
DAVID TUDOR: Testimonials
We called it the Tudor Fest and it featured the music of John Cage, alvin lucier, Toshi Ichiyanagi and my Duo for Accordion, Bandoneon and Possible Mynah
http://www.emf.org/tudor/Life/testimonials.html

Extractions: TUDOR testimonials Your submissions are welcome Date: Sat, 17 Aug 1996 From: Renko Ishida Dempster For David - Who once shared that he would be a weaver like me were he not already weaving his wires together. Who taught me how to add a dash of lemon juice after the curry simmered, slowly and leisurely on the stovetop. Who lightened life with his playful genius, bright smile, kind gentleness, persevering patience, generosity of spirit, and joie de vivre. Whose memory will remain in my heart forever with much fondness and love. - Renko Ishida Dempster Date: Sat, 17 Aug 1996 From: Stuart Dempster - Stuart Dempster Date: Mon, 19 Aug 1996 From: Pauline Oliveros David Tudor came into my life - to my good fortune - during an intense period of my development as a composer in San Francisco in 1963. Much to my surprise and delight I received and invitation to meet David at his request at the home of Olive Cowell. I was told that he was interested in my music. This interest was very important to me as I knew what a wonderful musician he was. Little did I know that I was meeting a wonderful friend to be and that his encouragement would be central to my career. David was learning to play the Bandoneon at the time and expressed an interest in performing with me. He was staying in Berkeley with Maro Ajemian and Lionel Galston. I proceeded to compose a duo for accordion and bandoneon. We worked on it together along with Ahmed the Mynah Bird who insisted on imitating our phrases during the rehearsals. Eventually it seemed only right to include Ahmed in the performance which we did.
Register Of Betty Freeman Papers - MSS 0227
17, 6, lucier, alvin, 1992 1993. Includes the program for WIRES. 17, 7, Lutoslawski, Witold, 1990 - 1994. Includes the Green Umbrella program,
http://orpheus.ucsd.edu/speccoll/testing/html/mss0227a.html

Extractions: University of California, San Diego Extent: 28.30 linear feet (39 archives boxes, 2 records cartons, 1 cardfile box, 20 art bin items and 64 oversize folders) Betty Freeman was born in Chicago, Illinois, in 1921 and was raised in Brooklyn, New York. She was graduated from Wellesley in 1942, where she had studied music. She later took classes at the Juilliard Institute. Freeman began her activities as a philanthropist and supporter of musicians in 1961 by contributing to a young musician's legal defense. Since then, she has assisted more than 30 contemporary composers. Beginning in 1964, Freeman has served on the board of "Encounters," the Pasadena Art Museum's concert program, and beginning in 1981, she hosted her Monday Evening Musicales, a venue for the new works of composers, in her Beverly Hills home. She is currently on the board of the Los Angeles Philharmonic, having supported for over a decade the orchestra's New Music Group until its close in 1991. Betty Freeman is an accomplished photographer. Her exhibit "Music People," a collection of photographs of leading figures in the world of contemporary music, toured internationally and was published as a book entitled MUSIC PEOPLE AND OTHERS (1987). She also produced a documentary film about Harry Partch entitled THE DREAMER THAT REMAINS (1972).
Alvin Lucier
(Excerpts from Bakers Biographical Dictionary of Music) alvin lucier studied with H. Boatwright, Richard Bonvan, David Kraehenbuhl, and Quincy Porter at
http://www3.uakron.edu/ssma/composers/Lucier.shtml

Extractions: Photo by Nancy Walz b. 1931 - (Excerpts from Bakers Biographical Dictionary of Music) Alvin Lucier studied with H. Boatwright, Richard Bonvan, David Kraehenbuhl, and Quincy Porter at Yale University (1950-54); continued his training with A. Berger, I. Fine, and H. Shapero at Brandies University (1958-60): also studied with Lucas Foss and Aaron Copland at the the Berkshire Music Center in Tanglewood (1958, 1959). With Robert Ahsley, David Berhman and Gordon Mumma, he founded the Sonic Arts Union (1966), an electronic music performing group with which he toured the U.S. and Europe. He joined the faculty of Wesleyan University (1970) and was music director of the Viola Farber Dance Company (1972-77). He contributed many articles to music journals and other publications. In 1990 he was in Berlin on a Beutscher Akademisher Austaushdienst fellowship. His works exploit virtually all known musical and non-musical resources available to the creative artist. Music for Snare Drum, Pure Wave Oscillator
High Performance Index 33-40, A-L
alvin lucier (review). By Judith Spiegel. 38, 64 Summer 1987. lucier, Mary. Chartres Bleu/Ohio At Giverny (review). By Phil Anderson. 39, 99 Fall 1987
http://www.mcgilvery.com/hpindex/hp_33-40_A-L.html

Extractions: For list of all issues, please see Available runs, single issues, etc. A Abatemarco, Tony. Plato's Symposium (feature). By Jacki Apple. #36, 22 Winter 1986 Abatemarco, Tony. Notes: On Performance (review). By Jacki Apple. #33, 64 Spring 1986 Abeles, Kim. The Image of St. Bernadette (review). By Linda Burnham. #37, 98 Spring 1987 Abeles, Kim. Artist Books (column). By Judith Hoffberg. #36, 8 Winter 1986 Abell, Jeff. Vegetable Love (review). By J. Hamera. #37, 94 Spring 1987 Abell, Jeff. Why We Can't Work Together (review). By J. Hamera. #35, 93 Fall 1986 Abraham, Ralph. Andra Akers and International Synergy (feature). By Linda Burnham. #34, 59 Summer Abrams, Benita. 18 Revelations Court (review). By Linda Novak. #34, 79 Summer 1986
Robert D. Farber University Archives And Special Collections Department | LTS |
Davidson, Lyle, 1938 Music of Davidson (n.d.) Music of Yehuda Yannay, Richard Lerman, Lyle Davidson, and alvin lucier (1965); Deutsch,
http://lts.brandeis.edu/research/archives-speccoll/collections/archives/soundrec
Alvin Lucier - Ever Present
alvin lucier s (b. 1931) works on this CD, for solos and trios, continue to explore his unique sound world, exploration of microtones, and use of unusual
http://www.moderecords.com/catalog/178lucier.html

Extractions: Piper is probably one of the few avant-garde pieces composed for the bagpipe. The piper is asked to walk slowly around the performance space, sounding his instrument as he does so. From time to time he detunes the chanters, creating beating patterns of slightly varying speeds and minor spatial disturbances (imaginary dopplers). In Fan , 4 koto players play a long series of plucked tones over a 12-minute time span, gradually stepping up to 4 semitones above the starting tone and slowing down to 1 beat every 2, 3, 4, and 5 seconds. As they do so, audible beating at various speeds occurs among the plucked sounds of the instruments. During the course of , 4 pure tones are sounded in all their combinations. As they do so a flutist sustains closely tuned long tones against them, creating audible beats at speeds determined by the distances between her tones and those of the pure waves. The farther apart the faster the beating. At unison no beating occurs. Occasionally the flutist bends her pitches a few cycles per second causing the beating patterns to slow down and speed up.
Pauline Oliveros - Discography 20th Century Choral Music. Ars Nova
Side A. Music for solo performer (alvin lucier) (1320) Side B. Music for solo performer alvin lucier, Pauline Oliveros, performers. Recorded Jan.
http://www.amrhome.net/contents/olidsc.txt
Internet Archive: Details: Margaret Leng Tan Performs Alvin Lucier's Nothing Is
alvin lucier Margaret Leng TanMargaret Leng Tan performs alvin lucier s Nothing Is Real (Strawberry Fields Forever) at Other Minds 5, 1999 (March 26,
http://www.archive.org/details/OM5LengTanLucier

Extractions: Web Moving Images Texts Audio ... Radio Programs Search: All Media Types Wayback Machine Moving Images Ephemeral Films Movies Non-English Videos Open Source Movies Prelinger Archives Sports Videos Video Games Vlogs Youth Media Texts American Libraries Canadian Libraries Universal Library Open Source Books Project Gutenberg Children's Library Biodiversity Heritage Library Additional Collections Audio Grateful Dead Live Music Archive Netlabels Non-English Audio Open Source Audio Podcasts Radio Programs Software CLASP Tucows Software Library Education Forums FAQs Advanced Search Upload Anonymous User login or join us Run time: 00:10:56 VBR M3U (Hi-Fi) ( flash Bookmark Report errors This audio is available in streaming format embedding and help Margaret Leng Tan performs the west coast premiere of Alvin Lucier's piece Nothing Is Real (Strawberry Fields Forever) (1990) at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco.
Stevenleiberbasement.com - Search Steven Leiber's Collection Of Artists' Books,
ASHLEY, ROBERT / BEHRMAN, DAVID / GLASS, PHILIP / lucier, alvin / MUMMA, GORDON / OLIVEROS, PAULINE / RILEY, TERRY Music With Roots In the Aether.
http://stevenleiberbasement.com/search.php?Submit=yes&mf=Music
Musicworks - Back Issues
lucier, alvin. Crossings alvin lucier in conversation with James Tenney. 41. bullet, Ludwick, Patricia. Alone (excerpt from dramatic script). 31.
http://www.musicworks.ca/backissues-authorlist.asp

Extractions: Adams, John D. S. David Tudor: Spirit Beyond a Life; Giant OscillationsThe Birth of Toneburst (2 articles). 69. Adams, John D. S.; Donovan, Erin; Oliveros, Pauline. Still Listening: Reflections on the Life and Music of David Tudor. 70. Adams, John Luther; Young, Gayle. Sonic Geography of the Arctic. 70. Adams, John Luther. From Winter Music, a Composer's Journalmusic inspired by the subarctic winter light. 82. Adams, John Luther. Commentary: Global Warming and Art. 86. Adams, John Luther. Commentary: The Immeasurable Space of Tones. 91. Adams, John Luther. Sonic Geography Alaska. 93. Ajzenstat, Sandor. Tape Recorder Sculpture. 26. Alasuak, Alassie; Nungak, Nellie. Katajaiit (Throat Games). 23. Amacher, Maryanne. God's Big Noise, an interview with Maryanne Amacher, by Gordon Monahan. 41. Anson, Peter; Mattes, Al; Parker, Evan. Talk with Evan Parker. 10. Anson, Peter. Linear Operators and Autoregressive Music. 41.

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