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Alvin Lucier

Reflections / Reflexionen: Interviews, Scores, Writings 1965–1994 (Book)

Label: MusikTexte

Format: Book

Genre: Sound Art

Out of stock

528 pages. Bilingual (English/German) collection of Interviews, Scores and Writings by American composer Alvin Lucier during the years 1965–1994. Alvin Lucier (1931) is an American composer of experimental music and sound installations that explore acoustic phenomena and auditory perception. A long-time music professor at Wesleyan University, Lucier was a member of the influential Sonic Arts Union, which included Robert Ashley, David Behrman, and Gordon Mumma. Much of his work is influenced by science and explores the physical properties of sound itself: resonance of spaces, phase interference between closely tuned pitches, and the transmission of sound through physical media.

Prefaces  • Poet of electronic music (Pauline Oliveros) • The eloquent voice of nature (James Tenney) • Editors’ note      Interviews  • Interview with William Duckworth: Discovery is part of the experience • 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?” [Outline 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] • Interview with / mit James Tenney: “I’am cutting things down to their simplest form”. The instrumental pieces after 1982 • Interviews with Daniel Wolf: • “The gods appear out of nowhere” [Nothing is Real, Music for Piano with Amplified Sonorous Vessels] • “The sound melts into the environment” [Fragments for Strings, Navigations for Strings] • “The Simple Is the Difficult” [Panorama, Six Geometries]      Scores  • Music for Solo Performer (1965) • Shelter (1967) • Chambers (1968) • Vespers (1968) • The Only Talking Machine of Its Kind in the World (1969) • Hymn (1970) • (Hartford) Memory Space (1970) • “I am sitting in a room” (1970) • Quasimodo the Great Lover (1970) • The Duke of York (1971) • Gentle Fire (1971) • The Queen of the South (1972) • Tyndall Orchestrations (1976) • Still and Moving Lines of Silence in Families of Hyperbolas (1973/1984) • Outlines of Persons and Things (1975) • Bird and Person Dyning (1975) • Music on a Long Thin Wire (1977) • Directions of Sounds from the Bridge (1978) • Ghosts (1978) • Words on Windy Corners (1980) • Lullaby (1980) • Music for Pure Waves, Bass Drums and Acoustic Pendulums (1980) • Risonanza (1982) • Precious Metals (1983) • RPM’S (1987) • Attach‚ Case (1988) • Carbon Copies (1989 • Music for Snare Drum, Pure Wave Oscillator and One or More Reflective Surfaces (1990) • Music for Cello with One or More Amplified Vases (1993) • Indian Summer (1993)      Writings  • North American Time Capsule 1967 • Program Proposal for Pepsi-Cola Pavilion (1972) • The propagation of sound in space (1979) • Testing, Probing, Exploring. The tools of my trade (1981) • Clocker (1978–1988) • Sferics (1981) • Diary Notes (1981) • Seesaw (1983) • Sound on Paper (1985) • Wall with Vertical Slit. Project decription (1986) • Notes in the Margins. Collaborations with John Cage (1988) • Pasta for Tired Dancers 1992) • Soba (1992) • Thoughts on installations (1994) • Skin, Meat, Bone. The Wesleyan Project (1994)      Appendix  • List of Works • Sources • Index

Cat. number: 978-3980315128
Year: 2019