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 NAMESweiterlesen