alvin lucier, music 184, by nic collins
DESCRIPTION
Faximile of notes taken during music courses by Alvin LucierTRANSCRIPT
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SEOW AND TELL AT
least two media will mix to_niEht and tomorrow at 3 rn
ih; Kitchen, that chsmber ot.lectronic vrondement rn tneMercer Ans Cente!, 240 MeF.Fr st.eet, The vork to be
nerforfled is Allin Lucier'sLrte oueen of the Souih, a
last vdar's Diece tY the com-Dosei. who will also bt one+ rh; si{ Derformers llayingiL Mr. Luiier, who has beenrs$.iated wit) the sonrcAfts un,on and wesleyanitmversity. is an old-guardNant.earde music man wnohas lmg been se,rchrng rortle esthetic in unusuar
Multimsdia Music ls Basedl
on Vibration PrinoiPlss
Tiis Diece is billed "forolavers,
-tesponsive surf a'es.;rr;wn material ard clos€d-.ircuit television moortorEvstens." Whar haPpens Eiiis: six synthesize6 are.6n.ected. two eafh, to th!€eJ"tiiii o''it'" pt."q *"
'u'a;nd other material that l,g'ste to the tune of lhe synthe-!iai. nre resutt can be
heard bY the &udience drl<^ seen (the strewn srurl s
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for eny number of plafers lrho lrould llke to pay thoLT rospectsto alL Living croatures vrho inhablt dark places *rd wtio, overtho year.s, _trs.ve d€voloped aculty in tho art of echolocaiion, 1.e.,gounds used as messenqers !,rhi ch, lihen sent out l"nto the environ, -
tnont, return as gchoes oarrfin€i lnforraatlon as to tbe shap6,sLzo and substence of ttrat envinoment and tho obJects in l!.Play ln dar.k places lndoot3s, outdoors or. underuateri in dinl"y-1it spaces qear d.ark glasses and ln ltghted spaces woar blind-fol"als. fa en4rty spaces objects such as stscked chafus, larg6plants or hunafr beiilgs na.y be deployed.
Equlp younsolYeslocatlofj devices$hose !.opotition
lrlth Sondol.s ( qo4ar-4o-lphln ) , hand-held ootro-uhich epdt fasq-shai$;' nar ror'r-be aned. clicksrate can be va?ied raanually,
Accept and porform ttre task of acoustic ortentatlon by scarmingthe envirob$ent axd nonitoring the chatlging
"e]atlonehlps be-
tweolr the outgoibg and returning cllcka. Ey cbangiaE ttle reps-tltion r:ate of th€ outgolng ellcks, using &s a relerence polnta speed at which tbe retu"ning ollcks are half\ray betLreen thooutgoing cLicks, distances can be measureil, su"faces can be madeto sound and cloar slEnatures of the enlrlrorinent ca.!r be made. Bfchanglnq the angle of refl"eqtion of tho outgoing clicks agelnstsutnfaces, t11ultLple echoes of dtfferent pltches can be prod.ucedsJld moved to different goograptrlcal ].ocatlons ln the spaso. Scan-nlng patterns should be slot{, contlnuous and non-ropett-tLve.
llove as non-truiran migrators, artLflclsl gatherers of ilforuationor slo!.t ce]'emonial dancers. Dlscover r.outes to goa1s, flnd. clea"ps?hwsys to cent6r' polnts or outer limlts and avold obstaoles.
Doolsions as to speed and dl.rection of outgolng click€ must banede onlf on ths basis of usefulness 1n tho pr?ocess of echo]-o-catlng. Any sltuatLons that arise frorn porsonal p?€fer€4cea basedon ldess of texture, densittr, lmprovLsation or coroposition tbatato not alirectly senvs to articulate the eolmd p€r.sona1lty of theenvl.roErnent should b€ con€ldered deviations frot the task of echo-]'ocatLon.
Silences nay occun lrhen echoLoc.^tlon is made impossible by themasklnq dffost on the pleyersr r,.€tu"ning echoes due to tho sat-u?atl.on of th6 spase by both the ouigoing and !€turntng clicks,by lnterfe?ences due to audLenee pa!'tlclpation or bf ulrexp€ctod.erbLent sound events. Players should stop €rd tait for cLearsituatLons or stop to make c.Lear: sltuatLons for ottle? players.
Elalngs nay occur l'tben goals are reachedr pattelrns trac€d. orfirrther movemeat nads lfipossible.
For perfozrnances ln nhlch Sondols are not avallable, developDatu?al mesns of echolocation Buqh as tolguo-clt,cks' flnger-snapsor footstepe o" obiain other man-lrade devlses such as hanil-hEldfoghorns, toy crickets, po"tablo genor"ato?s of pulsEd souads'tbe:!le1 nolse o? 10'O0O cps pure tonesr
3:,:.::* yl:l::: f-ly.4ih-certain nocturnsl blrds op baf,s (per,-ErcurarJy the cornnon bat of Burope aod llorth Anerlca of tbe'ian-lly vespe.r.tl].lonldae ) or seek thi help of, otfron-eipenis fn- re'atl oI' eottolocatlon.-Actlvltlos sucb as bluiards, squash_ and water-akl]irnlng rnay beconsidered kind!.ed porforraanles -of thLs work. -.---
Notoi a kl.t of four SondoLson lental firom eithst 6?!t orq.hanke to Donald R. Grtffln.
is avaLlablethe conposer.
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I.@&!#-45
\^r'ESLEYAN UNIVERSITY' IIIDDLETOWN, CONNECTICUT 06ttt
Dlt^it aNt of tlutlc
preacnta
.A CONCERT OF CO}TPUTEB }IUS IC AND FILI4S
RIrtSIld 1- the Blrd Of BreDcn Flles TlhrouRh I?re lloua€a Alvln Luclerof rte Burslglg ( 192)
An lrla8lnarT b1rd, lts wlnas flapplng 50 tluesper seoontl, flle8 throuah a dlaltal eorputs
_(progran) at the speed of aolnal. Vla dlaltal,/anal-og oonverters, flltetsr voltete-oontrollcdar0p11f1ers anil a lcverbcratlon unlt' tbc co[putcrshulateE changes 1n the 812€ and aoouatlccharacterlatlos of a aource rooB ln whloh laaleployed an onnl-d lrectlonal nlcrophone. Thcposltlons of the blrdrs wlngs' at saEpled DoDents 'deter:olne the r{ldth, length anal hel8ht of thenerdly Benerated 100[6 plus the reflectlve analabsorptlve quaLltles of the Eaterlals of l{hlohthe roolos are laale.
FfiSIliI 1ls concelved. aa a real-tlEe envlronnentalF5ffid 6qntrol aysten. T'he present verslon ls a sterconlx of a 4-chalulel reco!d!.ng.
CIRCLES---;-uslc by }torton Subotnlok
POEI PIEf,D NUI4BEE 1
SEE SAW SEEMS
@E4qtE !2LAPIS - s.\-, .l^L -
Dorls cha8e
Stan Vanalerbeek
Stan Vanderbeek
John Stehura
Janea whltncy
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Wy 25, 26, 27 , 2973
The Sonie Arts Unlon is an electronic music ensemble. Its tnenberaare Robert Ashley, Davtd Behrman, AIvh Lucier, aDal Gordon l{unfia.Thei.r purpose i3 !o make posslble lhe perfomance of nuslcal' ldeaalhsi 1ie oulside lhe scope of ordlnary concerl siluatloDs and toexplore resources ol sound Production ithlch re6ull from lhe broedealapp lice!ion of elecEroni.c lechnology.
During lheir rhree days at WBAI the group till ptovide e varietyof sonic experience6 throughou! the eflernoon and evenlng.lhe situation is informel so lhat the audience cen cor.re end go eleili, at any line during the day. The Sonlc Arla Union Presentelionnakes tbe pIgggs! of eleclronic music ecc€ssible in s nore infodral.almosph€re than is usually as6ocieted vilh the tradilional concerl
Robert. Ashley is dlrector of lhe Tape Husic Center of lttlts College'o,kl'nd- California.
David Behrhan is a composer and nusician tllh lhe llerce-CunninghamDance Conpany, and producer of conlenPorary rnuslc recordinga inNe$ York City.
Alvin Lucler is on lhe tl|usic faculty of !'l€sleyen Univer6ily'f'lfaatet"r", Connecticut, and music director of Ehe Viola FerberDance Conpany.
cordon ltunms 13 a composer snd rnuslcj an uilh the uerce CunnlnghanDance Compeny, end erl author end electronic designer in Iew York City.
Music by lhe Sonic Arls Union is reeorded on Mainslream Mli 5010'
Adninis trat lon:
This progren is made posslble bY afron the llew York Stece Councll on
463 West S!.Nelr York, N.Y, 10014(212) 989-49s3
grent !o the Soni.c Arts Itnlonthe Arta.
Gordon llumma: notes fot CYIIFRSUNIT CANTILEVTRS
CYBER5UNIC CANTILEVTRS is a p1339gg of music Anyone may palticipate
CYEERS0NIC CANTILEVTRS is related to other pr:ocesses in whichpeop.Ie participate in discovery, FelcePtual and inte.IIectualcha-I.Lenge, and entertainrnent. Anong these pxocesses aresatellite cornmunication' data processing, biD-medica.L telenetry'and space exploiation. These are processes in which informationis electronical]y transformed.
The electionic sound transformations of CYBTRSLINIC CANTI LEVERS
xange fxom very simple to extrenely complex. The rnost extr:emepro;essing of CYUETtSUNIC CANTILEVERS transforms the origina.Isounds inio entirely new soLlnds, which may have no pexceptableresembfance to the origina.I.
The proeess is in five stages. A-Il are stereoPhonic. The firststage consists of sound sources (for exatrple' microphones'casiette recorddxs' electxonic circuits. ) Stages two, three, andfuur axe electronic transformations !,/hich change the pitch,axticulation, and tirnbre of the sound sources. The Iast stagepresents the transforrnations in a quadraPhonic environment.
to rnonitor any stag-. of the process.stations participants !nay hea! (withand see (with stereotrhonic oscilloscopes)
they choose. Alsu, Frarticipants areunds of the process' and may bring theiron cassette tapest or produce sound
Particitrants aie invi te dAt ts.Lectronic moni Loringstereophonic headphones)any staqe of ihe Pr(lcessinvited to add to the soown Pre-recolded suunds1ivts through micro'rhones
A ;or-E;bout
t Y IJE ri 5i tJ tr| c: qlhel --fiom the Gxeek "kybernan" to stee! or guide.(Cybernetics, the science of controL and comrnunication'is concexned with interactions between automaticcontro-L and living orqanisrns. )
lgllg --pertairring to sound.
In CYBERStiIJIC CANTILEVeRS sonre irf the efectronictransformations ane automatically derived fxoft thesounds themselves, and sone frum the interaction ofpeonle with the electronic system.
CANTlLtVEfl5: Cantilever --a projecting beam' anchored at one end'and su'rt)orting a load a ong its length by means oftensions and compressions which are distributedwithin the beam. (Typical cantilevers; flagpoles,
ai1|rIane winqs' djving boa.rds' certain bridgestructuxes, and the seesaw. )
Anchored in the original sounds, or: in paxts of the modificationFrocess, the sonic iransforftations of CYBEIIS0NIC CANTILEVERS areprojected through the su!'porting stages of the electronic system.
0avi d Behrman: notes for HBI4E [4ADE SYNTHTSIZER lvluSIC WITH SLIDlNGPlTCHES
Many people qre now working directly with the raw nateria-Is ofelectronic technology io rnake sounds, lights, or video images.Ihe availability of cheap integrated circuits and papei-backhow-to books has made it possible for a self-styled musicianto design his or her own efectronic music synthesiTerl just as,in the stone age, the availabillty of the chisel riade it Possibleto fashion oners own hand-hewn !,/ood-l-og drum. The practice ofmaking oners own instrurnent is a venerabfe one, though it may havebeen inhibited during the past industria-L centuries.
Although several bran(ls of comrnercia.l music synthesizers havebeen around for half a decade, they tendr when used aIone, to.Producesounds which are quickly used up by our cufture (become cIi.ch6s. )
This is probabfy because they are desiqned as generaf-purPose 'sa-Leable packages adept at producing everything frotn TV commercial
sound effects to initation of convent-iona-L instruments.
The instrument Lrsed in "Home ltlade Synthesizer plusic{ is incapab-leof r,aking most kinds of efectnonic sound. But it does make onevariety (extreme-Ly dense, sIowIy shifting harmony) rnore easllythan even thrFre or four of the largest' nost exFcnsive coinmercialsynthesizer:s. It cost about one-tenth of its equivalent instore-bouqht units and is small and .Iight enough tct be packed intotwo su i tca se s.
Frogrammed initially and then left to itsetf, it can provide. a sound environment of indefinite duration. It can also be
p1€yed by one or tL{o peopfe. A flashlight photoce.ll signal-' dis't-ri.bution -Sjis-tdm- mEt -be ddtied foi a'-f,ffi5d -of'f6-tritfi-'F.rayAr.-'
0r it can be used by an j-mprovisatory ensemble--s!ch as the onecurrent.Ly maklng music coincident !rith the lvlerce CunninghamDance Conpany.
Its hardware consists of 32 stable voltage-contro.l.Lable osci lators'eight envelope generators, eight voltage-controlled amplifiers,and mixers. Tuning during performance can be done with frequencycounters. The sound is best heard surrounding its .listeners viaa fou r c hann e -L Ioudspeake r systen.
Robext Ashlev: notes for IN 5ARA, l'IENCKEN, CHRIST AND nEETH0VEN" IHFRi I'EnE Ftl\ AND t,,/:rl'4El\ (1972)
lext bv John Bartorr v/olganot (1944). Frinted privately in t!'ro
'Jiit"i. iof which this readintJ is the fatter), differing in tjtle,.i--..""t.af" --- tlrouqh I have not had the oppoxtunity to confirmlli! --'-re.qtrr (one page ) A poem of 128 stanzas,.each stanzath" u.t" ."it"n.. with four variabfes' three of which are names
or name qi:ouos or name cunstructions, the fourth, the adverb ofii. ..iiJ' '!'u. To mv rrind one of the irost'unusual and beautiful(and memory-defying) sentences in Engfish'
!'In its very truLy great manners of Ludwig vdn Beethoven veryfr"r.i..rrv il. veiy'cru"t1y ancestr:al death of Sara Fowetf Haardthad verv -r' nical Iy c )rrP arnong'! his vcry DeFIIy 'JrEnd mPn and
..nen fo RafaeI 5dbaLrni, l,eorgc Ade. Iarg'reL :-toLm^Jameso''ir.J fy"a." Hueffer, Jean-Jacques Bernard, Louis BrDmfiefd'frirOri"f' Vlilhe.Im Nietzsche and Helen Brown Norden very titanically
lhe ,,ErmuLaLioc of tLF Tour variaoles ovPr the 128 stanzas grve;;; l;;;;-;-;i;;r ',..,sicor rorm (sueeesting both rusue and sonata),iinalno tooutf,".r qroups of names and adverbs into "themes" that... "='ot tiotn ani as difficult to paraphnase as music' Fouxteennur"= ("uu"n each rnen and women) realrPeax in var'ious numberf'lrr.."fi"= throughout the poem. These I understand to be thei.r".r"r ."a heroinJs of the story. 0ther nanes are repeated,-pp".""ifV as secondary rtthemes." And finaLly there qre hundredsoi nu*r. itot o..ut on.ly once(alI of the great names. of Vy'estern
cr.:1ture since the Greek-philosophers, with the fist becomin0 rnore
.orpt.f'"ntluo and enigmatic as it includes the American fiterary""a *u,ti"af cuftu:e oi the early 20th century)' whose poeticfonction I have not deciPhsred.
14v score su rne5ts a' alternatjve of two efectronic sPttinqs jn
'iitf ifi" p Je'-ney be-'r'eat. *-thes€'-aTe- dis+iTrggisH b-v reading;;;;; .;; tv the ifrect of the e.Iectronic devices on the vocal.;;;;.. The settinq from which this realization is derived
"ii.r.'r.' it'. po=uiliritv of any number of thickenings that folfowtnu "tunt,
structu!e of tlle poen synchronously' and j_ncludes
instru*e"taf accompanimcnt, vocal embellishrnents, and elaboratjonof ift" pf'yti""f environment in visual, temperature and tactilemodes.
In this realization the sounds of the voice are analyzed by means
.i iiit"ti"g to plot the frequency of trccurxence of seven different
"or.J ".toti".ts (p.Losive attacks, fundamentaf frequencies' and
iiu" f'-ttl.i.tt, each of which guides the synthesizer in synchro-,rirutiun with tlre reading of the poem. The seven tracks of syn-;;;;;;;; ".ti"ity
are miied tosether with the voice and rlistributedc'ver the four channel rnatrix.
(reafization for t'4oog synthesizer by FauL Del'larinis anrl RobertAshley, January, 1973 )
Robert Ashley: notes for STRING QUARTET Dt5CRIBING THE l,l0TIUNSur LART,L Rr AL BODll | 11972)
For the past few years I have been interested in the phenonrenonof the identity of sounds--holv we distinguish among sounds bytheir causes or origins or meanings, These interests !rete expres:redin various ways in the form of four Irieces, cafled ILLU5I0N pl0DELS,which we!e desiqns for hypothetical, computer-controLled soundenvironments. ln an attenpt to illustrate the ideas of theILLUSlUN IiIUDELS I designsd performance pieces that were based r..rn
thE same principfes as the hypothetical models, hoping to suggestthrough technical concepts ho!,/ the aura-L illusions might occurin th- time dLrrin uf arusic.
Frorn the technical solution to the requirrient of one of theperfornance pieces (extrernely precise synchronization of veryshort sounds) came the ideas of ihe 5TRING QUARTEI DESCRIBING THEIl4llTI0NS UF LAfIGE REAL B0DIE5, in which, through the proce€sof mixin! togethex shoxt sounds from dilferent points of originin tirne, a sinqte 'lineo of sounds of different "identities{ issynthesized from each instrument.
There are two kinds of sotrnd in the STRING QUAFTET DE5CRIDINGTHE i']OTIONS UF LARGE REAL BOI]IES,from the string instrurnents (frornand those same pu1$es delayed andtlro kinds of sounds (identities)delay mechanism operating on onesone of which are "originall andidentity chan ged efectronically.
quasi-randorn, discrete pu-Lsesa particular manner of playing)electronically modified. The
are intermingled, because of theof them, to form a series of pulses,others of which lrdve had their
The ensembLe factor of the work (a iquartetrr) is composed not inthe ac.l"i..rn s.. !r.f:. the pe.ilormers---eaGb in6trumerrta-f-i.s.t e-a'xies outthe.rerluirements of the score independently---but in the inter-connection of the electronic compontrnts, where the aLteration ofthe sound natexia ls is dependent ]lpon the coincidence of eve n tsfron thP Vari ous i nst runent5 .
The tit.Le comes from the irnages that kept occuring to me whileI was reading !iorlds in CoLIision (Immanuel VeLikovsky) for thef irst tirne, which coinEicied \,v j.th \,,/orking on the STRIiiG QI.IARTETIItSCRIBIi'JG THE l'l0T I tJi\ls UF LARIIi REAL, UUDIES.
Realization by Robert Sheff and Robert Ashley, January, 1972
Robert Ash.teyr notes for REVI5ED, FINALLY (APRIL, 1961 -AI-RlL, 19?3),FI]R GORDIJN I4UI\414A
'For any number of pairs of players of similar sounds. The idea ofthe composition has been to provide a s.ituation whexe the playertssense of tempo is used in a way that is similar to the use of hissense of pitch re.l"ations in part-singing. The title refers to myproblem of finding a musica.I representation of this idea and to thetinje !,/hen so.many of my musicaf thoughts wexe inspired by myassociation vrith Gordon lvlumma. I think this !evision is final.
notes for QUARTET (1965) for any numbet: of windor string instruments
A program of sound-actions for any number of players actingindependentiy, not a tirne schedu-le of enselnble events. Eachaction has its oh/n duration, based on the nrechanics of soundproduction for the instrument involved (bxeath length fox windinstruments, bow length for strings. ) Thr score suggests opticrnalactions fox peafoxnances by moxe than one player that xecoqnize theensemb.Ie situation without restrictinq the individual playerrsfreedom, including the possibility that the pfayers may deve.Iopean ensernble si.lence of indefinite length. ThE title refers tothe design of the score and to the fact that the prc.:gran wasderived from an earlier work, @
Alvin Lucier: notes for Fl'15Ilvr 1, THE IllRll 0F BREl4tl'J FLIEs THR0UGH
I THE H0U5ES !F THr IIURGHERS (1972)
Robe rt Ashley:
An imaginary bird\ its wings flapping 50 times per second, fliesthrough a di'litaI \omputer (program) at the speed of sound. Via4_',s,_i}ev,€!.el-q g._s o ll9J-!!fe , ,Jr.l!9 rs., *'"1tie.._._?ll_rjll!_a!p l{i9l:;;-A; re v;. ib; i;Tidi-iiii, -t}le Crjmputei s i m-iil J'tb s--Eh a- ffd-iii-TFE" -size and acoustic charActelistics of a source xoorn in whlch isdeployed an ornni-directional microphone. The positions of thebiid's wings, at sampled noments, determine the sidttl, fengthand height of the ne!./1y generated roons plus the reflective andabsorptive qua.Iities of the material6 of !,/hich the rooms are made
Rt'5M .1 is conceived as a real-tine environmental sound controlsystem. The present version is a 4-channel rectrxding.
RlisIf'l .l was commissioned by Radio Brenen fox the 1972 PxoIvlusica Nova Festival. It ',ras conposed and recorded at the\r'/esleyan University Computer Arts 5tudio,
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