Chambers: Scores by Alvin Lucier

Chambers: Scores by Alvin Lucier

by Alvin Lucier, Douglas Simon

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Overview

<P>Chambers is a virtually complete collection of composer Alvin Lucier's major works from 1965 to 1977, interspersed with twelve interviews with the composer by Douglas Simon. Each score is written in prose and may be read by musicians as instructions for performance or by general readers as descriptions of imaginary musical activities. In response to Simon's searching questions, Lucier expands on each composition, not only explaining its genesis and development but also revealing its importance to the vigorously experimental American tradition to which Alvin Lucier belongs.</P><P>Many of his compositions jolt conventional notions of the role of composer, performer, and listener, and the spaces in which they play and listen. His works are scored for an astonishing range of instruments: seashells, subway stations, toy crickets, sonar guns, violins, synthesizers, bird calls, and Bunsen burners. All are unique explorations of acoustic phenomena – echoes, brain waves, room resonances – and radically transform the idea of music as metaphor into that of music as physical fact.</P>

Product Details

ISBN-13: 9780819573087
Publisher: Wesleyan University Press
Publication date: 12/20/2012
Sold by: Barnes & Noble
Format: NOOK Book
Pages: 190
File size: 2 MB
Age Range: 18 Years

About the Author

<P>ALVIN LUCIER was born in Nashua, NH, and attended the Portsmouth Abbey School, Yale, and Brandeis. He lived in Rome for two years on a Fulbright Scholarship. He has performed extensively in the United States and Europe in solo concerts and with the Sonic Arts Union, which he co-founded with composers Robert Ashley, David Behrman, and Gordon Mumma, and with the Viola Farber Dance Company. He has taught and lectured at Harvard, the University of California at Santa Barbara, the Center for Music Experiment at the University of California at San Diego, and from 1962 to 1969 was on the faculty of Brandeis University. He is currently professor of music and chairperson of the music department at Wesleyan University. Lucier has pioneered in many areas of music composition and performance, including the notation of performers' physical gestures, the use of brain waves in live musical performance, the generation of visual imagery by sound in vibrating media, and the evocation of room acoustics for musical purposes. In collaboration with electronic designer John Fullemann, he recently created a completely solar-powered sound piece in the foyer of the City Savings Bank in Middletown, Conn. He has also made music for the theatre, including the Broadway production of John Roc's Fire! and the American Shakespeare Festival production of Henry V. Several of his works can be heard on CBS Odyssey, Mainstream, Source, Cramps (Italy), and Lovely Music records. DOUGLAS SIMON earned both a B.A. and an M.A. in music at Wesleyan University. He has composed music and sound for summer and off-Broadway theater productions. He owns and operates Studio Consultants, Inc., a New York City firm engaged in the acoustic and electronic design of recording studios. He conducted these interviews with Lucier during the period (1968-78) in which most of the scores included in Chambers were composed.</P>

Read an Excerpt

CHAPTER 1

CHAMBERS (1968)

Collect or make large and small resonant environments.

1. Sea Shells
2. Rooms
3. Cisterns
4. Tunnels
5. Cupped Hands
6. Mouths
7. Subway Stations
8. Bowls
9. Shoes
10. Hollows
11. Caves
12. Suitcases
13. Ponds
14. Stadia
15. Water Spouts
16. Bays
17. Tombs
18. Conduits
19. Canyons
20. Boilers
21. Pots
22. Ovens
23. Barrels
24. Bulbs
25. Bottles
26. Cabins
27. Wells
28. Bells
29. Capsules
30. Craters
31. Empty Missiles
32. Cacti
33. Beds
34. Webs
35. Pools
36. Boats
37. Cones
38. Funnels
39. Bones
40. Stills
41. Gins
42. Draws
43. Tubes
44. Theatres
45. Cars
46. Springs
47. Flumes
48. Trees
49. Others

Find a way to make them sound.

50. Blowing
51. Bowing
52. Rubbing
53. Scraping
54. Tapping
55. Moving
56. Fingering
57. Breaking
58. Burning
59. Melting
60. Chewing
61. Jiggling
62. Wearing
63. Swinging
64. Bumping
65. Dropping
66. Orbiting
67. Creaking
68. Caressing
69. Bouncing
70. Jerking
71. Flipping
72. Levitating
73. Hating
74. Skimming
75. Ignoring
76. Talking
77. Singing
78. Sighing
79. Whistling
80. Walking
81. Snapping
82. Cracking
83. Snoring
84. Boring
85. Praying
86. Loving
87. Spraying
88. Bowling
89. Channeling
90. Freezing
91. Squeezing
92. Frying
93. Exploding
94. Poking
95. Screwing
96. Lowering
97. Shaking
98. Impeding
99. Dancing
100. Others

Sounds of portable resonant environments such as sea shells and cupped hands may be carried out into streets, countrysides, parks, campuses, through buildings and houses, until outer limits are reached where minimum audio contact can be maintained by a player with at least one other player.

Sounds of the outer environment encompassed by the players may be heard with reference to the sounds of the portable resonant environments carried by the players. Sounds of determinate pitch in the outer environment may be heard in simple or complex relationships to the pitches of the portable resonant environments. Sounds of indeterminate pitch in the outer environment may be heard to take on the pitch, timbral, dynamic, and durational characteristics of the sounds of the portable resonant environments.

Sounds of fixed resonant environments such as cisterns and tunnels may be made portable by means of recordings, or radio or telephone transmission, and carried into inner or outer environments. When carried into inner environments, such as theatres into beds, the sounds of the now-portable resonant environments may either mingle with or take over the sounds of the inner environment. When carried to outer environments, such as boilers into parks, the sounds of the now-portable resonant environments may be treated as original portable environments.

Mixtures of these materials and procedures may be used.

Increasing and lessening of any characteristics of any sounds may be brought about.

How did I happen to write the piece? Well, it happened in various stages ... let me see ... I remember a film of a Jules Verne book, I think it was a Jules Verne book, something like Twenty Thousand Leagues Under the Sea, or one of those books. There's a wonderful scene where men have built an underwater boat, and to get from the shore to the boat, which is moored under the water, several of them are walking along the floor of the ocean with huge conch shells over their heads, as if filled with air. This was nineteenth-century science fiction and the image struck me as something wonderful, walking on the floor of the ocean with those conch shells. I thought of making a piece with instruments, tubas or French horns, in which the players would do something like that, just an idea. And then I thought of actually getting conch shells, huge ones which I could make into bass instruments, conch shells three or four feet high, bass shells, and the openings could be bowed.

About that time Pauline Oliveros invited me to San Diego to perform Whistlers, a piece in which I tried to get ionospheric sounds in real time with a radio receiver and antenna. There's something about California, being from the East, palm trees and all that, so I asked Pauline, "Can we get any conch shells?" and she answered, "Well, we'll see." Every day we drove along the ocean front, and we used to pass a funny little store that had a sign that said "Sea Shells." One day I asked her to stop the car. The store was filled with hundreds of seas shells of different kinds and sizes, and the man who owned the store said, "You know, people who live in the Islands have blown conch shells for centuries." Where did I just see in a film, someone blowing a conch shell?

Lord of the Flies?

Tibet! I heard a recording of Tibetan chants on which they played conch shells. Now how do they get conch shells up in Tibet? But that's one of their instruments anyway. So I thought it would be wonderful to make a piece using conch shells as musical instruments, either blown, or bowed, or struck. It struck me as very beautiful that the organisms that produce these gorgeous shells are somewhere down on the bottom of the ocean. What a wonderful origin of a musical insturment, to have it be made for a functional purpose, to protect some animal. When the animal dies, it is a remainder, there it is, it's left in the world, and it's such a beautiful thing it should be put to some use.

My first idea was just to have people blow them. I wouldn't compose it very much but would let the natural pitches of each horn, of each shell, be themselves, although for the sake of some change you could let the players vary the pitches a little by putting their hands in the shells, the way French horn players lower and raise the pitches of their horns. I remember that two of the shells that I bought were almost an octave apart but not quite, so they were slightly out of tune and produced beautiful beats, and I was perfectly delighted to let the chords or simultaneities that the shells produced when played together depend on the pitches of the shells themselves and not on anything I did. I thought of asking the players to spin slowly so that the sounds from the openings of the shells would be beamed out in different directions. Then I expanded that idea to have the players actually disperse.

When we first performed it in La Jolla, we did it outside without any announcement but in an environment with people going here and there. The players began playing in a circle, changing their pitches slightly, turning their horns this way and that, spinning around slowly, and then at a given signal, dispersing outward from the central circle to outer points in the environment, moving as far as they could from one another until they reached the threshold of hearing at least one other shell. At that point, the whole area through which they had moved had been described by the sounds of the shells. By the end of the performance, the players must have moved almost a half mile apart.

Later, when we did it in Steinway Hall in New York, we didn't have that wide open situation. We started inside and moved downstairs and went outside onto Fifty-seventh Street. And what I discovered was that by concentrating on the pitches and timbres of the conch shells, the environmental sounds — buses, trucks, people talking, other urban sounds — got perceived in terms of the sounds of those shells. For example, you're trying to hear another shell player who's aiming his or her shell at you or who's trying to keep in contact with you. Then, as you hear trucks pass, the sounds of the tires take on the pitch of the conch shell on which you're concentrating. It's the old idea of the percussion instruments in the orchestra. The bass drum will take on the pitch of the fundamental of a chord that the orchestra is playing. I was also struck by how space intrudes its personality on the sounds that you produce. We're all aware of that, if not consciously, subconsciously. When we talk here, our voices aren't the same as they are in other rooms — they just aren't — because the space does all kinds of processing due to its dimensions and materials. I became very aware of that in Vespers, the piece I did with those echo guns in which you make the audience hear the acoustic characteristics of the performance space. Good performers have always known these things, for example if the reverberation time is such-and-such, it affects the speed at which you play.

When I was asked to write a score of Chambers for publication I decided to expand it. I wanted to make it bigger in the sense that it would imply more, so I extended it to include any resonant environment, large or small, that performers could use to produce or alter sounds in the same way that this room we're in alters our sounds. If a room can intrude its personality on whatever sounds occur in that room, then any other size environment can do the same thing, so for the sake of performing I decided that performers could collect resonant objects into which they could put sounds, and the acoustic characteristics of the objects themselves — shells, pots, pans and so forth — would alter the sounds with their own characteristics. I was making a lot of rooms, but bringing them down to a size with which you could perform. But I didn't say you'd have to use only those objects that you could carry into a performance; you could use environments that you'd find outdoors such as oceans, caves, and football stadia.

You know if you're at a football game you're always impressed by the sound. I used to play in the Yale Band, and we used to form ranks inside the entrance to the Yale Bowl. Everyone would be tuning up and of course the reverberation of that place! Then when we started playing and marched out onto the field, the sound situation changed completely. That experience later gave me the idea that you can do almost anything in a performance of this piece as long as you think of it in terms of physical environments that alter sounds because of what they are.

When we did it at the Museum of Modern Art we used, as you remember, little pots, paper bags, suitcases, ashcans, all kinds of resonant objects; then the problem was to find portable sounds that you could put into them. We used small battery-operated cassette tape recorders, transistor radios and mechanical toys that would operate on their own power, anything that you didn't have to plug into a wall.

Did you feel as if you wanted to tell the audience about resonant environments? Was that a reason for doing the piece?

Yes! I want them to open up their ears to their environments, I certainly do, more now than before I did this piece. I hear a lot of re-verbs now when I listen to TV or the radio, or listen to someone walking on the street. I perceive more now than I ever did, sounds coming from walls, the echoes from them, or when you walk down from the administration building here, how the sounds of your footsteps change when you pass, or when there's a tree or a wall and then you pass the wall and go into an open space, how your footsteps change because of the architecture all around.

Do you feel better about using ... we used a teapot with a radio in it....

What? A teapot?

We used a teapot in the performance.

Oh yes.

Do you feel better about using a found environment like a teapot, as opposed to something you could build, perhaps with specific characteristics?

Yes, I like found environments more. You can find teapots all over the place, and when you go to a town for a performance, you don't have to bring all your resonant environments with you. One could conceivably build an environment that would do something specific to sounds but I'm not interested in that. I don't want to change anything. I simply want to find out what these environments do to sounds, so it's to my advantage not to make them but to take what I can find, and in that way each performance will teach me something.

Do you feel any different toward the objects being used because this is happening in a concert situation?

Oh yes — your idea about a pot. The little teapot now becomes an instrument or part of an instrument, like part of an oboe. You now think of the teapot as something else.

How do you feel toward the audience in a piece using found objects; do you expect the audience to feel different toward the objects too?

Well, I like pieces that are odd, that do something that you don't expect them to do. It's extremely odd to hear a Beethoven symphony coming out of a little pot. You don't perceive all of it because the pot is so small that the low frequencies don't get played, but I like that situation very much. A Beethoven symphony implies a large space, the orchestra has a hundred players and it's tape recorded in a big hall, but when it comes out of a two-inch loudspeaker, it's very strange, when you think about it. On the other hand, to try to recreate an environment and put it into another one is like taking something that belongs somewhere and putting it somewhere else, so you make connections between things that you wouldn't ordinarily make. Doesn't an artist do that anyway? Well, some artists do, I don't know about all. Some of art is that you make connections between things that no one else would ever make.

But are you interested in making connections that only Lucier would make between objects? Or are you taking advantage of connections between found objects? For example, radios happen to fit into teapots.

Right! That's the reason I used the radio, because it goes into the teapot.

But you probably wouldn't be tempted to reduce a Beethoven symphony to a little transistorized device unless it had been done before, or unless people carried around transistor radios.

I would never have thought of it, no.

Are you trying to tell the audience something beyond what they hear?

Yes, I'm trying to make them ... it's just an extension of what you do when you're a little child at the beach and you put a shell up to your ear and hear the ocean. Then you stop. You don't do that as you grow older. Your ear stops doing that because you've got to think about other things, how to make a living and how to speak to people, how to communicate verbally. I guess I'm trying to help people hold shells up to their ears and listen to the ocean again.

CHAPTER 2

VESPERS (1969)

for any number of players who would like to pay their respects to all living creatures who inhabit dark places and who, over the years, have developed acuity in the art of echolocation, i.e., sounds used as messengers which, when sent out into the environment, return as echoes carrying information as to the shape, size, and substance of that environment and the objects in it.

Play in dark places, indoors, outdoors, or underwater; in dimly lit spaces wear dark glasses and in lighted spaces wear blindfolds. In empty spaces objects such as stacked chairs, large plants, or human beings may be deployed.

Equip yourselves with Sondols (sonar-dolphin), hand-held echolocation devices which emit fast, sharp, narrow-beamed clicks whose repetition rate can be varied manually.

Accept and perform the task of acoustic orientation by scanning the environment and monitoring the changing relationships between the outgoing and returning clicks. By changing the repetition rate of the outgoing clicks, using as a reference point a speed at which the returning clicks are halfway between the outgoing clicks, distances can be measured, surfaces can be made to sound, and clear signatures of the environment can be made. By changing the angle of reflection of the outgoing clicks against surfaces, multiple echoes of different pitches can be produced and moved to different geographical locations in the space. Scanning patterns should be slow, continuous, and non-repetitive.

Move as non-human migrators, artificial gatherers of information, or slow ceremonial dancers. Discover routes to goals, find clear pathways to center points or outer limits, and avoid obstacles.

Decisions as to speed and direction of outgoing clicks must be made only on the basis of usefulness in the process of echolocating. Any situations that arise from personal preferences based on ideas of texture, density, improvisation, or composition that do not directly serve to articulate the sound personality of the environment should be considered deviations from the task of echolocation.

Silences may occur when echolocation is made impossible by the masking effect on the players' returning echoes due to the saturation of the space by both the outgoing and returning clicks, by interferences due to audience participation, or by unexpected ambient sound events. Players should stop and wait for clear situations, or stop to make clear situations for other players.

Endings may occur when goals are reached, patterns traced, or further movement made impossible.

For performances in which Sondols are not available, develop natural means of echolocation such as tongue-clicks, finger-snaps, or footsteps, or obtain other man-made devices such as hand-held foghorns, toy crickets, portable generators of pulsed sounds, thermal noise, or 10 kHz pure tones.

Dive with whales, fly with certain nocturnal birds or bats (particularly the common bat of Europe and North America of the family Vespertilionidae), or seek the help of other experts in the art of echolocation.

(Continues…)


Excerpted from "Chambers"
by .
Copyright © 1980 Alvin Lucier.
Excerpted by permission of Wesleyan University Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Table of Contents

<P>Preface<BR>Chambers<BR>Vespers<BR>"I Am Sitting in a Room"<BR>(Hartford) Memory Space<BR>Quasimodo the Great Lover<BR>Music for Solo Performer<BR>The Duke of York<BR>The Queen of the South and Tyndall Orchestrations<BR>Gentle Fire<BR>Still and Moving Lines of Silence in Families of Hyperbolas<BR>Outlines and Bird and Dying Person<BR>Music in a Long Thin Wire<BR>Bibliography<BR>Index</P>

What People are Saying About This

Nam June Paik

“Pythagoras would be very jealous of Alvin Lucier. Whereas Prof. Pythagoras could only speculate about the resonance of sound and the cosmos, Prof. Lucier has managed to penetrate into these resonances cosmologiques through his deep insight into sonic biology, medical electronics, and the most advanced post-modern aesthetics. As a composer he has mastered the subtlety of a sushi cook in orchestrating these heterophonies.”

Steve Reich

"Alvin Lucier's work in live and taped electronic music has produced beautiful and influential results. I particularly admire I am Sitting in a Room as a moving, personal taped speech piece, and Music for Solo Performer as the first work with brain wave generated sounds. Reading Alvin Lucier's reflections on these and many other works gives one a clear insight into both the actual making of these pieces and the lucid and original mind that produced them."

Pauline Oliveros

“Lucier and I met for the first time in Cleveland, where we were giving a concert together with David Tudor. Lucier was performing his Music for Solo Performer. The atmosphere was charged as the electrodes were applied to his scalp in order to detect the brain waves. I kept thinking that he looked like Edison discovering the light bulb…In my mind, Lucier is the poet of electronic music.”

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