Alvin Lucier: A Celebration by Andrea Miller-Keller, Alvin Lucier, Michael Roth, Nicolas

By Andrea Miller-Keller, Alvin Lucier, Michael Roth, Nicolas Collins, Ronald Kuivila

This small, extraordinary publication commemorates the profession of experimental song composer Alvin Lucier, and lines an interview with Lucier and curator Andrea Miller-Keller, essays by way of Nicolas Collins, Ronald Kuivila, Michael Roth and Pamela Tatge, and information of a symposium, convey and detailed performances of Lucier’s paintings held at Wesleyan collage, November 4-6, 2011. Lucier has pioneered in lots of parts of song composition and function, together with the notation of performers' actual gestures, using mind waves in concert, the new release of visible imagery via sound in vibrating media, and the evocation of room acoustics for musical reasons. From 1970 to 2011 he taught at Wesleyan college the place he was once John Spencer Camp Professor of song. Lucier plays, lectures and shows his sound installations greatly within the usa, Europe and Asia.

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These three films were recently among the first group of experimental films selected to be restored by the American Film Institute. , Founder/Director, AFI: “Dr. ” of John Cage’s Rozart Mix* (1965); Notes in the Margins, program book, hand-written by Alvin Lucier, for the re-creation of the 1965 concert at Brandeis University for the “John Cage at Wesleyan Symposium” (1988); Fellowship (1994), is a composer, saxophonist, clarinettist, flautist, pianist and philosopher. He is professor of music at Wesleyan University, director of the Tri-Centric Foundation and has released well over a hundred albums.

The sound material on each loop could be anything, although Cage suggested a non-popular music version. If a loop splice broke it was to be repaired and put away for future use. Rozart Mix was first performed on May 5, 1965, at the Rose Art Museum at Brandeis University. 41 Lucier Celebration Concert IV: Tributes Sunday, November 6, 2011 2pm Crowell Concert Hall The concert will include compositions by Robert Ashley, David Behrman, Neely Bruce, Alvin Lucier, Gordon Mumma, Pauline Oliveros, and Christian Wolff performed by members of the Wesleyan music commmunity, the West End String Quartet, and Tom Buckner.

Throughout the work the chorus I Small Fish Logo sings an “oo” sound, which is close enough in timbre to a pure wave to create II The Letter X vivid beating patterns. III Right Angle IV Triangle V The Figure 5 VI Plums The form of each movement, with the exception of the first, was taken from an image in a poem by Williams. For example, in Fine Work with Pitch and Copper, men putting a new roof on a house lay down eight-foot strips of copper beaten at right angles. I simply took that image and programmed two pure waves to sweep in the form of a right angle.

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