Contents/Inhalt

Preface/Vorwort
Pauline Oliveros: Poet of Electronic Music

12

Poet der elektronischen Musik

13

James Tenney: The Eloquent Voice of Nature

16

Beredte Stimme der Natur

17

Editors' Note / Anmerkung der Herausgeber

22/23

Conversation with/Gesprch mit William Duckworth

"Discovery is part of the experience"

26

Entdeckung ist Teil der Hrerfahrung"

27

Interviews with/mit Douglas Simon

"... to let alpha be itself"

48

... Alphawellen sich selbst berlassen"

49

Music

FOR SOLO PERFORMER

"... and listen to the ocean again"

62

... und wieder auf das Meer lauschen"

63

CHAMBERS

Taking Slow Audio Photographs of the Space

74

Hrphotographien in Zeitlupe aufnehmen

75

VESPERS

"Every room has its own melody"

86

Jeder Raum hat seine eigene Melodie"

87

" I AM SITTING IN A ROOM"

Imitating one Set of Sounds with Another

96

Imitation eines Klangvorgangs durch einen anderen

97

(HARTFORD) MEMORY SPACE

A Metaphor for One's Life

106

Eine Metapher fr das eigene Leben

107

QASIMODO THE G R E A T LOVER

Bibliografische Informationen
http://d-nb.info/991403797

digitalisiert durch

Composite Identities / Zusammengesetzte Identitten

116/117

THE DUKE OF YORK

Imaginary Imagery/Bilder im Kopf

128/129

CHAMBERS, GENTLE FIRE, THE QUEEN OF THE SOUTH

Seeing Sound/Klang sehen

138/139

THE QUEEN OF THE SOUTH, TYNDALL ORCHESTRATIONS

Making Audible That Which Is Inaudible

Das Unhrbare hrbar machen

152
153

STILL AND MOVING LINES OF SILENCE IN FAMILIES OF HYPERBOLAS

"Do you know how robins turn their heads to listen?"

Weit du, wie Rotkehlchen ihren Kopf drehen, um besser zu hren?"

170

STILL AND MOVING LINES OF SILENCE IN FAMILIES OF HYPERBOLAS

OUTLINE OF PERSONS AND THINGS, BIRD AND PERSON DYNING

The Poetry of Science

Poesie der Naturwissenschaft
Music ON A LONG THIN WIRE

184

Sound Shadows/ Klangschatten

196/197

185

DlRECTIONS OF SOUND FROM THE BRIDGE

Conversation with/Gesprch mit James Tenney

"Farn cutting things down to their simplest form"
Ich bringe alles auf seine einfachste Form"

208
209

Interviews with/mit Daniel Wolf

"The gods appear out of nowhere"
Die Gtter erscheinen aus dem Nichts"

240
241

NOTHING IS REAL
MUSIC FOR PIANO WITH AMPLIFIED SONOROUS VESSELS

"The sound melts into the environment"

Der Klang verschmilzt mit der Umgebung"

256
257

FRAGMENTS FOR STRINGS, NAVIGATIONS FOR STRINGS

"The Simple is the Difficult"

Das Einfache ist das Schwierige"
PANORAMA, SIX GEOMETRIES

272
273

Prose Scores/Verbalnotationen
Music

FOR SOLO PERFORMER

294/295

SHELTER

296/297

CHAMBERS

298/299

VESPERS

304/305

THE ONLY TALKING MACHINE OF ITS KIND IN THE WORLD

308/309

HYMN

310/311

"I AM SITTING IN A ROOM"

312/313

(HARTFORD) MEMORY SPACE

316/317

QUASIMODO THE GREAT LOVER

318/319

T H E DUKE OF YORK

3 2 V32 5

GENTLE FIRE

328/329

THE QUEEN OF THE SOUTH

33 6/ 337

TYNDALL ORCHESTRATIONS

340/341

STILL AND MOVING LINES OF SILENCE IN FAMILIES OF HYPERBOLAS

344/345

OUTLINES OF PERSONS AND THINGS

356/357

BIRD AND PERSON DYNING

358/359

MUSIC ON A LONG T H I N WIRE

360/361

DlRECTIONS OF SOUNDS FROM THE BRIDGE

364/365

GHOSTS

366/367

WORDS ON WlNDY CORNERS

368/369

LULLABY

370/371

Music

372/373

FOR PURE WAVES, BASS DRUMS AND ACOUSTIC PENDULUMS

RlSONANZA

378/379

PRECIOUS METALS

380/381

RPM'S

382/383

ATTACHE CASE

384/385

CARBON COPIES

388/389

MUSIC FOR SNARE DRUM, PURE WAVE OSCILLATOR AND

O N E OR MORE REFLECTIVE SURFACES

392/393

MUSIC FOR CELLO WITH O N E OR MORE AMPLIFIED VASES

396/397

INDIAN SUMMER

398/399

Writings/Texte
"Our most intesting and beautiful sound source"

402

Unsere interessanteste und schnste Klangquelle"

403

NORTH AMERICAN TIME CAPSULE

"To impose the sound Situation of one space upon another"

412

Program Proposal for Pepsi-Cola Pavilion

Den Klangzustand eines Raums ber einen anderen stlpen"

413

Programmvorschlag fr den Pepsi-Cola-Pavillion

The Propagation of Sound in Space

416

Die Ausbreitung von Schall im Raum

417

Testing, Probing, Exploring. The tools of my trade

424

Messen, Untersuchen, Erforschen. Die Werkzeuge meiner Arbeit

42 5

CLOCKER

450/451

SFERICS

456/457

Diary Notes
Tagebuchnotizen
SEESAW

466/467

SOUND ON PAPER

474/475

WALL WITH VERTICAL SLIT

476/477

ProjectDescription/Projektbeschreibung
Notes in the Margins. Collaborations with John Cage

478

Randnotizen. Zusammenarbeit mit John Cage

479

Pasta for Tired Dancers

492

Nudeln fr mde Tnzerinnen

493

Soba
Thoughts on Installations
Gedanken zur Klanginstallation

498/499
500
501

SKIN, MEAT, BONE. The Wesleyan Project

Appendix/Anhang
List of Works/Werkverzeichnis
Sources/Quellen
Index/Register

513
518
519