使用者:Li Song/沙盒/Alvin

阿爾文·路希爾
Music on a Long Thin Wire封面上的阿爾文·路希爾（1980年）
出生	(1931-05-14) 1931年5月14日
國籍	美國
知名於	聲音藝術
知名作品	我坐在一個房間

阿爾文·路希爾 (1941年五月14日日）是一位美國的實驗音樂、聲音裝置作曲家，它的作品探索聲學現象（acoustic phenomena）和聽覺感知（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

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，路希爾離開布蘭戴斯加入衛斯理大學。1972年，他成為Viola Farber舞蹈公司到底的音樂指導，

作品

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

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. This was a seminal work on Generation loss, which inspired other artists to emulate it. It served, at least in part, as the inspiration of The Generation Loss project.

其他重要作品

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), 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.

電影

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

Bibliography

• 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.

延伸閱讀

• eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012). Montréal: Canadian Electroacoustic Community.

外部連結

• Alvin Lucier's website (Wesleyan University)
• Alvin Lucier scores published by Material Press
• Lovely Music Artist: Alvin Lucier
• CDeMUSIC: Alvin Lucier
• Volume: Bed of Sound: Alvin Lucier
• Alvin Lucier in conversation with Thomas Moore
• Template:NewMusicBox
• I am sitting in a room (1969) by Alvin Lucier real-time realization by Christopher Burns (2000)
• Alvin Lucier在MusicBrainz上的頁面（英文）
• Alvin Lucier papers, 1939-2015 Music Division, The New York Public Library.

試聽

• Lucier on UBUWeb – includes original 1969 recording of I Am Sitting In A Room.
• Music for Piano with One or More Snare Drums (1990) performed by Hildegard Kleeb.
• Island (1998) performed by The Other Minds Ensemble at the Other Minds Music Festival in 1999 at Cowell Theater in San Francisco.
• Nothing Is Real (Strawberry Fields Forever) (1990) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco.
• I Am Sitting in a Room. Recreation in 2005, Internet Archive.
• I Am Sitting in a Room (1969). Performance by Trevor Cox from 2014 using the acoustics of the Inchindown oil tanks that hold the world record for the 『longest echo‛.

電影

• Music with Roots in the Aether (1975) from UbuWeb