Buch, Englisch, 431 Seiten, Format (B × H): 170 mm x 240 mm, Gewicht: 815 g
Reihe: Edition Musiktexte
Interviews Scores Writings
Buch, Englisch, 431 Seiten, Format (B × H): 170 mm x 240 mm, Gewicht: 815 g
Reihe: Edition Musiktexte
ISBN: 978-3-9813319-7-4
Verlag: Edition MusikTexte
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
Zielgruppe
Kenner und Liebhaber neuer Musik
