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ALVIN LUCIER CHAMBERS PDF

Alvin Lucier – Chambers – Download as PDF File .pdf), Text File .txt) or read online. Alvin Lucier (born May 14, ) is an American composer of experimental. “Chambers” () illustrates another point; before reading my response was: sounds okay, nice enough. It involves various recordings of sound spaces, such. Chambers /​ Scores by Alvin Lucier ; Interviews with the composer by Douglas Simon. Author. Lucier, Alvin. Other Authors. Simon (Douglas). Published.

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This has been an uncharacteristically prolific and creatively fertile year for Benjamin Finger, as he has released three very wonderful albums in three very different directions.

Brainwashed – Alvin Lucier, “Vespers and Other Early Works”

The most notable of the three is arguably Motion Reversewhich can be viewed as a dubbier and more subdued continuation of Mood Chaser ‘s deranged techno experiments. Amorosa Sensitivaon the other hand, is a bit of a wild-card that unexpectedly dips its toes into dissonance, modern composition, free-jazz, and sundry other surprises.

Reviews – Albums and Singles. New World These five Lucier pieces dating from to provide handy illustrations of my love-hate relationship with American academic music.

Its central Theory versus Music dialectic is interesting. Is the theory on which music is based important?

If so, to whom? If a CD makes no sense aesthetically or otherwise until the liner notes are read and the liner notes are in this elevated domain unquestionably important what does that say about the music?

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Alvin Lucier’s Career Celebrated through Installation, Performance | News @ Wesleyan

Does the pleasure of listening depend on the theory or should the pleasure be sought in allvin theory itself? The first illustration on this CD is “Vespers” which involves performers moving around a given acoustic space with directional pulse chabers. I liked the piece before I read the notes but I find it makes even more interesting listening how that I have.

The piece demonstrates the theory that humans perceive physical space through our sense of hearing.

Without the theory, it’s fifteen minutes of attractive clicking sounds but with the theory the listener becomes consciously involved by providing and operating the apparatus for the perceptual half of the experiment, which can lead to deeper understanding and pleasure—it’s rather like having impressionist painting explained to you for the first time.

It involves various recordings of sound spaces, such as a railway station, cafeteria or what-have-you, playing on portable devices, disguised in some kind of wrapping, that are placed within the performance alvinn space—thus chambers i.

Alvin Lucier’s Career Celebrated through Installation, Performance

Now that’s fine and perhaps even witty, in a rather twee academic way, but grasping the concept doesn’t improve the listening experience and I’m beginning to get annoyed by the suggestion that the concept is even relevant to me. On yet another hand, “North American Time Capsule”a performance on the archaic Sylvania encrypting voice encoder without the corresponding decoder, is unlistenable with or without the lcuier deep and interesting levels of meaning provided by its associated theory.

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Contemplating the composition i. And there we have, I fear, the crucible of my irritation: These Cagian exercises must surely be great fun for the composer and may even be pleasing for the performers but the disregard for whether or not the luvier will be any good to listen to is a little irksome to the mere audience member.

The implication is that composing and being a composer is more important than being a listener, even though the former is existentially dependent on the latter composing for its own sake has little to do with music. Such elitism is justifiable and I am thankful for it when the resulting art is good and valuable. But when it is not, which is not the exceptional case in American academic music, I find that I cannot discard it without envy.

Review of the Day Benjamin Finger, “Motion Reverse,” “Pleasurably Lost,” and “Amorosa Sensitiva” This has been an uncharacteristically prolific and creatively fertile year for Benjamin Finger, as he has released three very wonderful albums in three very different directions.