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

61. The History Of Rock Music. Alvin Lucier: Biography, Discography, Reviews, Links
Translate this page alvin lucier (Copyright © 1999 Piero Scaruffi Legal restrictions -Termini d'uso ) , /10, Links Links to other sites. IN PREPARAZIONE
Alvin Lucier
Piero Scaruffi
Legal restrictions - Termini d'uso
Links IN PREPARAZIONE - AGGIORNATO SOLTANTO AL 1991 Alvin Lucier, nativo del New Hampshire (1931), apporto' i suoi primi originali contributi alla musica moderna nel 1962, nel periodo in cui intraprese l'insegnamento universitario. Da allora ha sfornato lavori sperimentali a ripetizione, sfruttando tecniche e maniere della musica gestuale, elettronica, vocale e dimostrando particolari preferenze per l'impiego di sorgenti sonore insolite e per forme ancor piu' insolite di esecuzione: Action Music For Piano introduce uno "spartito" anche per annotare i gesti dei performer; Music For Solo Performer (1965) genera suoni percussivi dalle onde cerebrali dell'esecutore, catturate tramite due elettrodi e un insieme di altoparlanti (naturalmente ogni performance di questo brano e' diversa da quelle precedenti, poiche' le onde cerebrali non saranno mai le stesse); Whistlers (1967) sfrutta i disturbi magnetici della ionosfera; Chambers (1967) e' costruito a partire dai rumori di alcuni oggetti;

62. - United States - New - Entertainment - Music - Genres - Classical - Co
resource for United States New - Entertainment - Music - Genres - Classical Music- Composers - 20th Century - Composers AZ - Composers L - lucier, alvin.

63. Working With Alvin Lucier
Working with alvin lucier and Johnny DeKam 40 Rooms CDROM project.As this CD-ROM project nears to an end, I find myself looking
Working with Alvin Lucier and Johnny DeKam 40 Rooms CD-ROM project
As this CD-ROM project nears to an end, I find myself looking back over the course of this work and think, "Finally, it's done!" During the course of my normal classwork as a graduate student at the iEAR Studios of Rensselaer Polytechnic Institute I was approached with the prospect of Alvin Lucier coming to do a semester-long project. I was asked "Would you direct it?" It took me only a little consideration (in terms of how long I typically ponder things), to agree to whatever the project might become. There was something in the ecology of Alvin's work, the presentation of the idea in its simplest form, that spoke very deeply to me as an artist and composer. This was 1995.
At that time my knowledge of Alvin's work was primarily his now infamous "I am sitting in a room." I remembered first learning about this piece not in the basement of RPI, but rather in the basement of Clark University's electronic music studios. I heard "I am sitting in a room" and remember my friends and I immediately leaving after class with a tape recorder and microphone, and heading for what we thought would be an acoustically interesting room - the bathroom. It was the first, and perhaps only time that I've been so intrigued with a piece of music that it physically made me get up and make something myself.
After working these past two years with Alvin I've come to think about acoustics in different terms. Rather than some elusive physical commodity which the electronic music composer must harness and perhaps tame, I now think of acoustics as the medium, the tools that come with the trade, that are available for our exploration, and that, with canny invitations, can become compositions. I see Alvin as a musical seeker, finding sounds, sometimes stumbling upon them, revealling these jems in the work.

64. Free Music Download, MP3 Music, Music Chat, Music Video, Music CD, ARTISTdirect
alvin lucier Overview Family Tree. Various Artists, Imaginary Landscapes NewElectronic Music, Performer, Percussion. See All alvin lucier Also Appears On.,,460821,00.html





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document.writeln(""); document.writeln(""); Family Tree A trailblazing force in psycho-acoustic music, avant-garde composer and performer Alvin Lucier was born in Nashua, New Hampshire in 1931; educated at Yale and Brandeis, he also spent two years in Rome on a Fulbright Scholarship before returning to Brandeis in 1962 to teach and conduct the university's chamber chorus. His breakthrough composition, Music for Solo Performer (1964-65) for ... more Sign up to receive the New Age Newsletter for news, contests, discounts and more. Weblinks top All Music Guide ProfileSee All Alvin Lucier Weblinks Add Your Alvin Lucier Weblink Community top Alvin Lucier Message Board Also Appears On top Various Artists Arranger Various Artists Imaginary Landscapes: New Electronic Music Performer, Percussion
document.writeln(""); Join Help Artist Album Song Tour Dates Movie Title Movie Cast/Crew Record Label Radio Musician Resource Retail Outlet Magazine Meta Site Venue Festival Promoter/Agent Ticket Seller Browse Artists by Alpha A B C D ... Z Browse Artist By Genre Browse Artist By Year

65. Wikiaudiolabo
Parent Directory 09Feb-2003 0502 - lucier, alvin 15-Dec-2002 0412 1 Biography.edit delete lucier, alvin 15-Dec-2002 0412 1 GEDANKEN ZU INSTALLATIONEN.

66. Alvin Lucier & Thomas Buckner
In 1993, Subtropics programmed a miniretrospective of the work ofAlvin lucier. He spent about ten days with us, wrote a piece

Click to hear an excerpt from 'Music for Baritone and Slow Sweep Pure Wave Oscilators'

by Alvin Lucier and Thomas Buckner

In 1993, Subtropics programmed a mini-retrospective of the work of Alvin Lucier. He spent about ten days with us, wrote a piece for the Festival's ensemble titled 'Serenade for Oboe and Strings' (his first piece exploring beating patterns without the use of slow sweeping pure tones) and created an installation called 'Music for Piano and Half Closed Lid' which was on display during the Festival at the former Center for the Fine Arts (now known as Miami Art Museum). It was not until 1996, however, that we had a chance to hear 'Music for Baritone and Slow Sweep Pure Wave Oscillators'. That time it was baritone Thomas Bucker who came to Miami as a guest artist for a concert at Subtropics 8. We thought that the live recording of this piece had enough beating in it that Alvin would let us release it. But in retrospect, and compared with the recording by Tom Hamilton included in 'Breath', we agree our microphone was not located in a good place...or something. Thanks to Alvin Lucier, Thomas Buckner and Tom Hamilton for offering this recording and letting us use an excerpt for inclusion on our CD.
Click to hear an excerpt from 'Music for Baritone and Slow Sweep Pure Wave Oscilators'

by Alvin Lucier and Thomas Buckner

67. Alvin Lucier
lucier, alvin (?) b.1931. North American Time Capsule 1967 , The BrandeisUniversity Chamber Chorus(alvin lucier) Odyssey 32 16 0156(RA041).
Lucier, Alvin (•Ä) b.1931
North American Time Capsule 1967
ì‹È”N ”º‘t *‰½”N* –³”º‘t o”Å •s–¾? The Brandeis University Chamber Chorus(Alvin Lucier) -Odyssey 32 16 0156(RA041) áƒCƒjƒVƒƒƒ‹ ‚k‚̍ì‹È‰Æ

68. ::: Interviews :: Anton Rovner : With Alvin Lucier
back to interviews, ROVNER Mr. lucier, you are a composer with a very interesting,individual style of contemporary music, featuring a lot of new inventions
ROVNER: Mr. Lucier, you are a composer with a very interesting, individual style of contemporary music, featuring a lot of new inventions with technology as well as a kind of conceptual style which often could be said to go beyond the level of music or expand the realm of music into new realms. Could you tell us about how you came up with this style, about how it evolved (such as some of your your first pieces like "Vespers" or "I am Sitting in a Room" from the late 60's)? How did this style come up, what were some of your influences in your youth? What people, who were active around that time, or any musical or extramusical concepts influenced your musical style?
I was also influenced by the sonic experiments of John Cage as well as his colaboree David Tudor, who were doing wonderful concerts with their own home-made electronics, which freed them from having to belong to an institution. Usually, if you wanted to make electronic music you had to go to studios of an educational institution, such as, for instance, the studios of Princeton university. Such studios were very confined in their attitude towards contemporary music, and they were not open to everybody. If you made your own electronic music on home-made instruments, you were freed from dependence on the confining atmosphere of such institutions. That was what I started getting interested in.
As I was starting my new musical experiments with the new sound world, which I have recently discovered, I met Edmund Dewan, a scientist, who suggested for me to make a brain-wave piece and I followed his advice using Edmund Dewan's equipment. I was very much open to all sorts of new musical ideas, not yet having come up with any real new ideas of my own. When you are in that state you can really accept and absorb new ideas freely and utilize them in your own work. At that time, I started creating a series of works which used sounds in various acoustical environments. One of the pieces is called Chambers, which consists of putting sounds into various small objects and carrying them around through larger spaces. Another composition, which I wrote, was Vespers, in which players send sharp pulse-waves into a room, as a result of which the listener can hear the acoustics of the room in its various gradations. I created a series of works like that and that got me on that track.

69. - Classical Music And More
Newsletter SignUp Herbert von Karajan Listening To Music lucier. lucier Vespers and Other Early Works. Artist Releases.

70. Index Of /pub/academic/music/American-Music-Resource/subject-
INDEX 06Jun-1994 0000 1k lucbib28-Oct-1993 0000 1k luccmp 28-Oct-1993 0000 2k lucdsc 28......Name Last modified Size

71. Pieces By Alvin Lucier - Electroacoustic Music For Flute
ALL ENTRIES FOR COMPOSER alvin lucier (1). A B C D E F G H I J K L M N O P Q R ST U V W X Y Z. alvin lucier, Self Portrait (1989) For flute and wind anemoneter.

72. H3>ALVIN LUCIER - 1931 U.S.A.
alvin lucier 1931 USA. From Time of Music Programme book The journeyfrom neoclassical ideals to an art form, which for its material
From Time of Music Programme book
The journey from neoclassical ideals to an art form, which for its material even makes use of alpha waves electronically filtered out of the human brain or of electromagnetic disturbances in the ionosphere, would seem, at first sight, to be immeasurably long. Alvin Lucier (b. Nashua, New Hampshire 1931), however, needed only some five years to break free of the conservative atmosphere of Yale University at the end of the 1950s, from which, among others, Charles Ives had been effaced by sheer silence and John Cage by declaring him to be no more than a harmless buffoon.

73. Archives Of Silence, 1998:Q3: Alvin Lucier On Cage
Archives of Silence, 1998Q3 alvin lucier on Cage. From Ronsen onCage ; Maybe reply Anomalous Records Re alvin lucier on Cage ;
Archives of Silence, 1998:Q3
Alvin Lucier on Cage
From: Ronsen, Josh (
Date: Thu Sep 10 1998 - 15:18:03 PDT
Follow the Texts link on the lower left to an essay by Lucier talking
about Cage among other things. "...[in 1965] I invited Cage to do a
concert at Brandeis University, where I was teaching. He made a piece
for eighty-eight tape loops. I asked him why eighty-eight. He said the
number of keys on the piano. It didn't make sense but it was a wonderful
idea." Also two essays by Max Neuhaus.
Does anybody have an idea why Lucier's "I am Sitting in a Room..." is
so... popular? N D has recieved two comps this year (one from Spain and

74. Archives Of Silence, 1998:Q3: Re: Alvin Lucier On Cage
Archives of Silence, 1998Q3 Re alvin lucier on Cage. Next message AnomalousRecords Re alvin lucier on Cage ; Previous message Greg Smith . ;
Archives of Silence, 1998:Q3
Re: Alvin Lucier on Cage
From: Ingvar Loco Nordin (
Date: Thu Sep 10 1998 - 21:12:33 PDT I don't get it. It's a nifty piece and when I first
Some things are easy to do, but usually nobody does them! Lucier does, and
we like it! You name it - we like it!
All places are here! All times are now!
[Searchable Silence archives:
[How to subscribe, unsubscribe, etc:
[ or email with the text "info silence" ]

75. Theme - Alvin Lucier From
Theme alvin lucier. Composer lucier Released 01/01/2000 Label Lovely MusicUPC 74529550112 Theme - alvin lucier Classical lucier Only $ 12.74. MORE
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  • 76. >> Ãðóïïû è Èñïîëíèòåëè >> Alvin Lucier
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    77. Alvin Lucier

    Translate this page TOP-LINK, UP-LINK, DISCUSSION, SEARCH, INDEX, HELP. lucier, alvin. WLW Produkt-Suche.alvin lucier ( GLEICHE KATEGORIE DEUTSCHLAND INTERNATIONAL.
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  • 79. TIM PERKIS: Review Of Lucier & Dimas CDs
    CD Review Sound Baths. Crossings alvin lucier Lovely Music, Ltd. LCD 1018.Digital Music Emanuel Dimas de Melo Pimenta Mode Records mode 21.
    Alvin Lucier
    Lovely Music, Ltd. LCD 1018 Digital Music
    Emanuel Dimas de Melo Pimenta
    Mode Records mode 21

    Of all his contemporaries who came to public attention in the sixties, Alvin Lucier has taken most seriously the prime edict of Minimalism: find one simple idea and stick to it. His work, like the work of his contemporaries David Tudor, Gordon Mumma, Pauline Oliveros and David Behrman, has largely been about redefining music in terms of a meditation upon the physical properties of sound. Working often as composer/performers, these musicians also articulated a new social role for composers as solitary explorers, akin to the heroic stance taken by visual artists. In fact, often times their work would be presented in gallery/installation settings, rather than in a traditional concert situation. Lucier's work has been built upon the minimalist faith that the world itself provides infinite interest, and that the artistówhether he be working in light, space, or soundó can just focus his work to present nearly natural phenomena as clearly as possible. In Lucier's case, this most American of ideas has worked out well. Over the last twenty-five years, one strand of his work has explored the acoustic properties of various objects by driving their resonances with the simple sine oscillator. In different works he has explored the response of a brick wall (Still and Moving Lines of Silence in Families of Hyperbolas) , an eighty foot long steel wire (Music on a Long Thin Wire), and a chest of drawers (Job's Coffin) ; in other pieces he has used ice, water, briefcases, teapots and a canoe.

    lucier, alvin (Augustus) (b Nashua, NH, 14 May 1931). American composer.He was educated at Yale (BA 1954) and Brandeis (MFA 1960 encyclopedias/grovemusic/Lucier, Alvin (Augustus).
    grovemusic.comLucier, Alvin (Augustus) (b Nashua, NH, 14 May 1931). American composer. He was educated at Yale (BA 1954) and Brandeis (MFA 1960) universities, where his teachers included Boatwright, Arthur Berger, Irving Fine, and Shapero; he also studied under Copland and Foss at the Berkshire Music Center (1958, 1959). After two years in Rome on a Fulbright fellowship, Lucier joined the Brandeis faculty in 1963 as director of the choral union; later he was head of the electronic music studio. In 1970 he moved to Wesleyan University, where he was later appointed John Spencer Camp Professor of Music. He was a co-founder of the Sonic Arts Union, music director of the Viola Farber Dance Company (1972–7) and a fellow of the DAAD Kunstlerprogramm in Berlin (1990). He has received grants from the Rockefeller Foundation, the New York State Council on the Arts, the Connecticut Commission on the Arts and the NEA. Many of his works were commissioned by American and European leading organizations. In the mid-1960s Lucier began to explore sonic environments, particularly sounds that ‘would never – in ordinary circumstances – reach our ears’. Using performers, electronics, instruments, architecture and found objects, he devises open-ended processes specifically adapted to the phenomena he chooses to investigate or reveal. Some works exploit unusual sound sources such as brain waves (Music for Solo Performer) or radio frequency emissions in the ionosphere (Sferics), while others focus on the physical characteristics of sound waves. In Vespers (1968), performers take the acoustical measure of a room by means of echo-location devices, thus simulating bats and dolphins, while I am Sitting in a Room uses a tape loop (successively recording its own playback) to transform spoken text in accordance with the room’s resonant frequencies. In Chambers (1968), the timbres of self-sounding objects are altered after being placed in boxes or pots and are in turn influenced by the rooms and hallways through which they are carried during performance. Lucier has also explored diffraction of sound waves around moving or stationary objects (Outlines of Persons and Things); the visualization of sound disseminating from a stringed instrument with the aid of lights and a sweep oscillator (Directions of Sounds from the Bridge); freely vibrating surfaces and solids as visual equivalents of sound (The Queen of the South); the processing of wave forms – seen and heard – using common surfaces (Music for Pure Waves, Acoustic Pendulums and Sound on Paper); and the employment of solar power to integrate flows of light and sound (Solar Sound, Spira Mirabilis). In Music on a Long Thin Wire (1977), temperature, air current, footsteps and other factors influence a wire’s vibration to produce subtle changes of pitch, timbre and rhythm. In 1982 Lucier began composing for traditional instruments (some with oscillators and resonating objects) focussing on the audible beating between closely tuned pitches. WORKS acoustic (selective list) Orch: Partita, fl, hpd, str, 1954; Sweepers, 1997; Cassiopeia, 1998; Diamonds, for 1, 2, or 3 Orchestras, 1999 Chbr and solo inst: Fragments for Str, 1961; Chambers, pfmrs, resonant environments, 1968; (Hartford) Memory Space, any no. of insts, 1970; Risonanza, resonating object, 3 insts, 1982; Fideliotrio, va, vc, pf, 1987; Navigations, str qt, 1992; Panorama, trbn, pf, 1993; Spider Paths, lute/gui, 1994; 2 Stones, pfmr, 2 pieces of basalt, 1994; Music for Vn and Alto Sax, 1995; Q, vn, cl, trbn, db, 1996; Op with Objects, pfmr(s), resonant objects, 1997; Rare Books, pfmrs, 1997; Small Waves, trbn, pf, str qt, 1997 Vocal: The Sacred Fox, 1v, sonorous vessels, 1994; Theme (J. Ashbery), vv, sonorous vessels, 1994; Unamuno, 4 equal vv, 1994; I Remember (J. Brainard), vv, resonant objects, 1997; Wave Painting Songs, 1v, 1998; Man Ray, female v, vc, 1999 Kbd: Action Music, pf, 1962; Music for Pf with One or More Snare Drums, 1992; Hands, org, pfmrs, 1994 electro-acoustic Dramatic: Skin, Meat, Bone, actors, resonant objects, tape recorders, moving wall, pure wave oscillators, 1994, collab. K. McDermott and R. Wilson; incid music and TV film scores With inst(s): Music for Solo Pfmr, perc, amp brain waves, elec, perc, 1965; Crossings, small orch, oscillator, 1982–4; In memoriam Jon Higgins, cl, oscillator, 1984; 1985; Septet, 3 wws, 4 str, pure wave oscillator, 1985; Homage to James Tenney, db, oscillators, 1986; Kettles, 5 timp, oscillators, 1987; Silver Streetcar for the Orch, amp triangle, 1988; Carbon Copies, sax, pf, perc, environmental recordings, 1989; Music for Snare Drum, Pure Wave Oscillator, 1 or more reflective surfaces, 1990; Nothing is Real, pf, amp teapot, tape recorder, 1990; Music for Pf with Amp Sonorous Vessels, 1991; Music for Cello with One or More Amp Vases, 1992; Music for Pf with Slow Sweep Pure Wave Oscillators, 1992; Music for Accdn with Slow Sweep Pure Wave Oscillators, 1993; Distant Drums, amp perc, 1994; Music for Gamelan Insts, mics, amp, loudspkr, 1994; Spira Mirabilis, b inst, elec light, 1994; Music for Pf with Magnetic Strings, 1995; Wind Shadows, trbn, oscillators, 1994; Still Lives, pf, slow sweep pure wave oscillator 1995; 40 Rooms, vn, cl, trbn, vc, db, Lexicon Acoustic reverberance system, 1996, arr. orch, reverberance systems, 1997; CW25, pf, slow sweep pure wave oscillator, 1997; Sizzles, org, amp b drums with fine strewn materials, 1997; Islands, 5 insts, amp snare drums, 1998; other el-ac works with insts With voice: The only Talking Machine of its Kind in the World, spkr, tape delay, 1969; I am Sitting in a Room, v, elec tape, 1970; The Duke of York, v(v), synth, 1971; Still and Moving Lines of Silence in Families of Hyperbolas, vv, insts, dancers, perc, 1973–4, rev. as 11 Solos and a Duet, S, insts, oscillators, 1982–4; Tyndall Orchestrations, female v, sensitive flame pfmrs, bunsen burners, glass tubes, recorded birdcalls, 1976; Words on Windy Corners, vv, mics, moving loudspkrs, 1980; Intervals, vv, sound-sensitive lights, 1983; 6 Geometries, SATB, oscillators, 1992; Music for Baritone with Slow Sweep Pure Wave Oscillators, 1993; Music for Soprano with Slow Sweep Pure Wave Oscillators, 1993 Live elec works: Shelter, vibration pickups, amp, enclosed space, 1967; Vespers, pfmrs, echolocation devices, 1968; Quasimodo the Great Lover, relays of amp systems, 1970; Gentle Fire, multiple synths, 1971; The Queen of the South, pfmrs, resonant environment, live video, 1972; The Fires in the Minds of the Dancers, 4-track playback environment, 1974; Bird and Person Dyning, pfmr, binaural mics, amps, loudspkrs, elec birdcall, 1975; Outlines of Persons and Things, pfmrs, mics, loudspkrs, oscillators, 1975; Clocker, pfmr, galvanic skin response sensor, elecs, 1978; Ghosts, pfmr, light, oscillator, loudspkrs, 1978; Reflections of Sounds from the Wall, moving wall, elecs, 1981; Sferics, antennas, tape recorders, 1981; Amplifier and Reflector One, umbrella, roasting pan, amp clock, 1991; other elec works Sound installation: Music on a Long Thin Wire, audio oscillator, elec monochord, 1977; Directions of Sounds from the Bridge, 1 str, oscillator, sound-sensitive lights, 1978; Solar Sound I, solar elec music system, 1979; Music for Pure Waves, Bass Drums and Acoustic Pendulums, 1980; Seesaw, 1983; Spinner, 1984; Sound on Paper, paper, loudpkrs, oscillators, 1985; Chambers (installation version), self-sounding objects in resonant vessels, 1988, Locales, 1995; Empty Vessels, resonant objects, 1997; Sound on Glass, 1997; other installations Principal publishers: Material Press, Frankfurt WRITINGS ‘Three Points of View: with Ellie Siegmeister and Mindy Lee’, MQ, xlv/2 (1979), 286–90 with D. Simon: Chambers (Middletown, 1980) ‘The Tools of My Trade’, Contiguous Lines, ed. T. DeLio (Lanham, 1985), 143–60 Reflections/Reflexionen: Interviews, Scores, Writings (Cologne, 1995) ‘Origins of a Form’, Leonardo Music Journal, viii (1999) BIBLIOGRAPHY G. Mumma: ‘Alvin Lucier's Music for Solo Performer (1965)’, Source, ii (1968), 68–9 J.D. Simon: ‘Vespers: an Interview with Alvin Lucier’, Arts in Society, ix/2 (1972), 277–85 R. Reynolds: ‘Alvin Lucier: Music for Solo Performer (1965)’, Mind Models (New York, 1975), 200–04 W. Zimmermann: Desert Plants: Conversations with 23 American Musicians (Vancouver, 1976), 137–48 A. Sondheim: ‘Alvin Lucier’, Parachute, xii (1978); repr. in Ear, iv/8–9 (1978–9) T. DeLio: ‘Avant-Garde Issues in Seventies Music’, Breaking the Sound Barrier, ed. G. Battock (New York, 1981), 254, 267–9 T. DeLio: Circumscribing the Open Universe: Essays on Cage, Feldman, Wolff, Ashley and Lucier (Lanham, MD, 1984), 89–105 T. Johnson: The Voice of New Music (Eindhoven, 1989), 31–3, 68–9, 288–91 M. Parsons: ‘Beats that can Move Sugar’, Resonance, iv/10 (1995), 10–16 [interview] A. Rovner: ‘I am Sitting in a Room with Alvin: Lucidity from Lucier’, 20th Century Music, v/10 (1998), 1–4 W. Duckworth: 20/20: 20 New Sounds of the 20th Century Demystified and Explained (New York, 1999) LINDA SANDERS/KEITH MOORE © Macmillan Publishers Ltd, 2001-2002 How to cite

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