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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Chambers is a virtually complete collection of composer Alvin Lucier’s major works from tointerspersed with twelve interviews with the composer by Douglas Simon. New World These five Lucier pieces dating from to provide handy illustrations of my love-hate relationship with American academic music. Comments and reviews What are comments?

Amorosa Sensitivaon the other hand, is a bit of a wild-card that unexpectedly dips its toes into dissonance, alvib composition, cbambers, and sundry other surprises.

Alvin Lucier’s Career Celebrated through Installation, Performance

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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 chsmbers, that are placed within the performance sound space—thus chambers i. You also may like to try some of these bookshopswhich may or may not sell this item. Such elitism is justifiable and I am thankful for it when the resulting art is good and valuable.

Without the theory, it’s fifteen minutes of attractive clicking sounds but with the theory the listener becomes lavin 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. In response to Simon’s searching questions, Lucier expands on each composition, not only explaining its genesis and development but alvvin revealing its importance to the vigorously experimental American tradition to which Alvin Lucier belongs.


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 the theory itself? Skip to content Skip to search. Other Authors Simon Douglas.

Set up My libraries How do I set up “My libraries”? Without cookies your experience may not be seamless. The piece demonstrates the theory that humans perceive physical space through our sense of hearing. Music for Solo Performer pp. Review of the Day Benjamin Finger, “Motion Reverse,” “Pleasurably Lost,” and alvim 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.

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Is the theory on which music is based important?

But when it is not, which is not the exceptional case in American academic music, I find that I cannot discard it without envy. Public Private login e. 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 various deep and interesting levels of meaning provided by its associated theory.


Book English Show 0 more libraries 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?

Music in a Long Thin Wire pp. Each score is written in prose and may be read by musicians as instructions for performance or by general readers as descriptions of imaginary musical activities.

And there we have, I fear, the crucible of my irritation: Wealeyan University Press, His works are scored for an astonishing range of instruments: These 2 locations in All: This website uses cookies to ensure you get the best experience on our website.

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These 2 locations in Victoria: 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.

Many of his compositions jolt conventional notions of the role of composer, performer, and listener, and the spaces in which they play and listen. luciwr