User:Li Song/沙盒/Alvin

维基百科，自由的百科全书
阿尔文·路希尔
Music on a Long Thin Wire封面上的阿尔文·路希尔（1980年）
出生 (1931-05-14) 1931年5月14日（92歲）
国籍美国
知名于声音艺术（英语：Sound art）
知名作品我坐在一个房间（英语：I am sitting in a room）


阿尔文·路希尔 (1941年五月14日日）是一位美国的实验音乐（英语：experimental music）、声音装置（英语：sound installation）作曲家，它的作品探索声学现象（acoustic phenomena）和听觉感知（auditory perception）。A long-time music professor at Wesleyan University, Lucier was a member of the influential Sonic Arts Union, which included Robert Ashley, David Behrman, and Gordon Mumma. Much of his work is influenced by science and explores the physical properties of sound itself: resonance of spaces, phase interference between closely tuned pitches, and the transmission of sound through physical media.

早年生活[编辑]

Template:BLP unsourced section Lucier was born in Nashua, New Hampshire. He was educated in Nashua public and parochial schools and the Portsmouth Abbey School, Yale University and Brandeis University. In 1958 and 1959, Lucier studied with Lukas Foss and Aaron Copland at the Tanglewood Center. In 1960, Lucier left for Rome on a Fulbright Fellowship, where he befriended American expatriate composer Frederic Rzewski and witnessed performances by John Cage, Merce Cunningham, and David Tudor that provided compelling alternatives to his classical training. He returned from Rome in 1962 to take up a position at Brandeis as director of the University Chamber Chorus, which presented classical vocal works alongside modern compositions and new commissions.

At a 1963 Chamber Chorus concert at New York's Town Hall, Lucier met Gordon Mumma and Robert Ashley, experimental composers who were also directors of the ONCE Festival, an annual multi-media event in Ann Arbor, Michigan. A year later, Mumma and Ashley invited the Chamber Chorus to the ONCE Festival; and, in 1966, Lucier reciprocated by inviting Mumma, Ashley, and mutual friend David Behrman to Brandeis for a concert of works by the four composers. Based on the success of that concert, Lucier, Mumma, Ashley, and Behrman embarked on a tour of the United States and Europe under the name the Sonic Arts Group (at Ashley's suggestion, the name was later changed to the Sonic Arts Union). More a musical collective than a proper quartet, the Sonic Arts Union presented works by each of its members, sharing equipment and assisting when necessary. Performing and touring together for a decade, the Sonic Arts Union became inactive in 1976.

在1970年，路希尔离开布兰戴斯加入卫斯理大学。1972年，他成为Viola Farber舞蹈公司到底的音乐指导，


作品[编辑]

Template:BLP unsourced section Though Lucier had composed chamber and orchestral works since 1952, the composer and his critics count his 1965 composition Music for Solo Performer as the proper beginning of his compositional career.

I Am Sitting in a Room[编辑]

One of Lucier’s most important and best-known works is I Am Sitting in a Room (1969), in which Lucier records himself narrating a text, and then plays the recording back into the room, re-recording it. The new recording is then played back and re-recorded, and this process is repeated. Since all rooms have a characteristic resonance (e.g., between a large hall and a small room), the effect is that certain frequencies are gradually emphasized as they resonate in the room, until eventually the words become unintelligible, replaced by the pure resonant harmonies and tones of the room itself. The recited text describes this process in action. It begins, “I am sitting in a room, different from the one you are in now. I am recording the sound of my speaking voice…”, and concludes with “I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have,” referring to his own stuttering.[1] This was a seminal work on Generation loss, which inspired other artists to emulate it.[2] It served, at least in part, as the inspiration of The Generation Loss project.[2][1]

其他重要作品[编辑]

Other key pieces include North American Time Capsule (1966), which employed a prototype vocoder to isolate and manipulate elements of speech; Music On A Long Thin Wire (1977), in which a piano wire is strung across a room and activated by an amplified oscillator and magnets on either end, producing changing overtones and sounds; Crossings (1982),[3] in which tones play across a steadily rising sine wave producing interference beats; Still and Moving Lines of Silence in Families of Hyperbolas (1973–74), in which the interference tones between sine waves create "troughs" and "valleys" of sound and silence; and Clocker (1978), which uses biofeedback and reverberation.

电影[编辑]

  • 1976 - Music With Roots in the Aether: Opera for Television. Tape 3: Alvin Lucier. Produced and directed by 罗伯特·阿什利. New York, New York: Lovely Music.

参考资料[编辑]

  1. ^ 1.0 1.1 Residuum. audio I Am Sitting in A Room. January 27, 2005 [September 29, 2016] –通过Internet archive. 
  2. ^ 2.0 2.1 Higgins, Parker. Mad generation loss. parker higgins dot net. October 31, 2015 [September 29, 2016]. Mad Generation Loss is a project exploring media encoding and the ways in which imperfect copies can descend into a kind of digital madness. It takes an audio file—here, a recording of Allen Ginsberg reading an excerpt from his seminal poem “Howl”–and adds another layer of mp3 encoding to each second of the sound. 
  3. ^ Mailman 2013，第137–140頁.

Bibliography[编辑]

  • Cox, Christoph. “The Alien Voice: Alvin Lucier’s North American Time Capsule.” In Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts. Edited by Hannah Higgins and Douglas Kahn. Berkeley: University of California Press, 2009.
  • Lucier, Alvin. “Reflections: Interviews, Scores, Writings 1965–1994.” Köln: Edition MusikTexte, 1995.
  • Lucier, Alvin. “Origins of a Form: Acoustic Exploration, Science and Incessancy.” Leonardo Music Journal 8 (December 1998) — “Ghosts and Monsters: Technology and Personality in Contemporary Music,” pp. 5–11.
  • Mailman, Joshua B. "Agency, Determinism, Focal Time Frames, and Processive Minimalist Music,” Music and Narrative since 1900. Edited by Michael L. Klein and Nicholas Reyland. Musical Meaning and Interpretation series. Bloomington: Indiana University Press, 2013.
  • Moore, Thomas. “Alvin Lucier in Conversation with Thomas Moore.” 1983.

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