Research Progress 1.04

It's about time I posted something with a reasonably strong relation to my Masters research.

[n.b: I am currently fighting off a nasty cold, so I apologise for any mistakes that may be caused by faltering vision, lack of sleep and a persistant cough.]

This posting will summarise current points of departure in the research.

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M.MUS (MUSIC TECHNOLOGY) - POSITIVE FEEDBACK

The research is concerned with the American composer, Alvin Lucier (1931-).



1. THE AESTHETIC OF ALVIN LUCIER.

At the heart of Lucier's work is the phenomena of acoustic sound and space. The objective of Lucier's work is to direct the listener's attention to such phenomena in specific situations and envrionments. Therefore, his work does not restrict itself to the concert hall - as in certain cases - works can be specified or applied to spaces such as rooms, corridors, chambers, vessels and the outdoor environments.

2. THE PHILOSOPHY OF ALVIN LUCIER.

Alvin Lucier's works are often regarded not so much as musical compositions, but more as a series of scientific studies. But whereas the goal of science is explanetory, the goal of Lucier's work is revelatory. This is expressed in Lucier's philosophy and aesthetic - making the listener aware of sounds and their surrounding environment. Also, in a majority of his works, Lucier makes a concerted effort to remove his own self-expression as a composer from his works in composition and performace. This approach ensures the philisophical meaning of his work remains the central focus for the listener, overriding any subjective meaning the work might have.

3. TECHNOLOGY AS INTERFACE

Alvin Lucier uses various technologies to externalise his conceptions and ideas relating to sound and space. Technologies such as tape machines, equalisation, synthesisers, amplifiers and loudspeakers are employed in ways to transmit a work to the listener. Importantly, technology is not necessarily the focus of attention in Lucier's work, it is the means of a technical process that would otherwise be impossible to realise without such technology.

4. EXAMPLES OF WORKS

I Am Sitting In A Room (1970)

Queen Of The South (1972) - a description is given in an earlier blog posting (see archive.)

Vespers (1968)

5. DIRECTIONS FOR FURTHER RESEARCH

Though Lucier is of central focus to the research, from the outset I wished to incorporate a variety of composers and writers whose thoughts which relate to aspects of Lucier's craft (such as acoustic phenomena and space) might offer greater insights into the work of Alvin Lucier.

Currently I am reading texts by the following composers and writers:

John Cage - Silence
The quintessential Cage text - dealing with many facets of sound, silence, experimental music and the avante garde.

R. Murray Schafer - The Tuning Of The World
This has become an essential reading, taking a largely holistic view of acoustic phenomena and sound, selected chapters illustrate the nature of soundscapes, perception, morphology, noise and acoustic design. A term of Shafer's which has become a staple of my own growing vernacular is the: 'Soniferous Garden'.

Robin Minard - Silent Music
As I worked with Robin Minard during the festival period in March, his influence has become very profound - particularly in areas of acoustic space and sound installation. This book is an essential companion to my research.

Alvin Lucier & Sam Simon - Chambers
For a couple of years I was certain I was the only student borrowing this book from our music library, now it seems fellow students have been turned onto the work of Lucier. I am currently awaiting delivery (via Germany) of Lucier's book of scores/articles/interviews: Reflexions (due for arrival in May.) In the meantime, this collection of scores and interviews dating from 1965 to 1977 is a permenant fixture in my reading and referencing.

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As this is an ongoing blog posting, corrections, annotations and additions will be made over the next week. A new research blog will appear next week.