Deluxe bi-lingual book (English/German)
Contents/Inhalt
Prefaces/Vorworte
Pauline Oliveros: Poet of Electronic Music
Poet der elektronischen Musik
James Tenney: The Eloquent Voice of Nature
Beredte Stimme der Natur
Editors’ Note/Anmerkung der Herausgeber
Interview with/mit William Duckworth
Discovery is Part of the Experience
Entdeckung ist Teil der Hörerfahrung
Interviews with/mit Douglas Simon
“... to let alpha be itself” [Music for Solo Performer]
„... Alphawellen sich selbst überlassen.“
“... and listen to the ocean again” [Chambers]
„... wieder auf das Meer lauschen.“
Taking Slow Audio Photographs of the Space [Vespers]
Langsame Raum-Hörphotographien in Zeitlupe aufnehmen.
“Every room has its own melody” [“I am sitting in a room”]
„Jeder Raum hat seine eigene Melodie.“
Imitating one Set of Sounds with Another [(Hartford) Memory Space]
Imitation eines Klangvorgangs durch einen anderen
A Metaphor for One's Life [Quasimodo the Great Lover]
Eine Metapher für das eigene Leben
Composite Identities [The Duke of York]
Zusammengesetzte Identitäten
Imaginary Imagery [Gentle Fire]
Bilder im Kopf
Seeing Sound [The Queen of the South, Tyndall Orchestrations]
Klang sehen.
Making Audible That Which Is Inaudible
[Still and Moving Lines of Silence in Families of Hyperbolas]
Das Unhörbare hörbar machen
“Do you know how robins turn their heads to listen?”
[Outline of Persons and things, Bird and Person Dyning]
„Weißt du, wie Rotkehlchen den Kopf drehen, um besser zu hören?“
The Poetry of Science [Music on a Long Thin Wire]
Poesie der Naturwissenschaft
Sound Shadows [Directions of Sounds from the Bridge]
Klangschatten
Interview with/mit James Tenney
“I’am cutting things down to their simplest form”
The Instrumental Pieces after 1982
„Ich bringe alles auf seine einfachste Form.“
Die Instrumentalstücke seit 1982.
Interviews with/mit Daniel Wolf
“The gods appear out of nowhere”
[Nothing is Real, Music for Piano with Amplified Sonorous Vessels]
„Die Götter erscheinen aus dem Nichts.“
“The sound melts into the environment”
[Fragments for Strings, Navigations for Strings]
„Der Klang verschmilzt mit der Umgebung.“
“The simple is the difficult” [Panorama, Six Geometries]
„Das Einfache ist das Schwierige“
Scores/Notationen
Music for Solo Performer (1965)
Shelter (1967)
Chambers (1968)
Vespers (1968)
The Only Talking Machine of Its Kind in the World (1969)
Hymn (1970)
(Hartford) Memory Space (1970)
“I am sitting in a room” (1970)
Quasimodo the Great Lover (1970)
The Duke of York (1971)
Gentle Fire (1971)
The Queen of the South (1972)
Tyndall Orchestrations (1976)
Still and Moving Lines of Silence in Families of Hyperbolas (1973/1984)
Outlines of Persons and Things (1975)
Bird and Person Dyning (1975)
Music on a Long Thin Wire (1977)
Directions of Sounds from the Bridge (1978)
Ghosts (1978)
Words on Windy Corners (1980)
Lullaby (1980)
Music for Pure Waves, Bass Drums and Acoustic Pendulums (1980)
Risonanza (1982)
Precious Metals (1983)
RPM’S (1987)
Attach‚ Case (1988)
Carbon Copies (1989)
Music for Snare Drum, Pure Wave Oscillator
and One or More Reflective Surfaces (1990)
Music for Cello with One or More Amplified Vases (1993)
Indian Summer (1993)
Writings/Texte
North American Time Capsule 1967
Program Proposal for Pepsi-Cola Pavilion (1972)
Programmvorschlag für den Pepsi-Cola-Pavillion
The Propagation of Sound in Space (1979)
Die Ausbreitung von Schall im Raum
Testing, Probing, Exploring. The Tools of My Trade (1981)
Messen, Erproben, Erforschen. Die Werkzeuge meiner Arbeit
Clocker (1978–1988)
Sferics (1981)
Diary Notes (1981)
Tagebuchnotizen
Seesaw (1983)
Sound on Paper (1985)
Wall with Vertical Slit. Project decription/Projektbeschreibung (1986)
Notes in the Margins. Collaborations with John Cage (1988)
Randnotizen. Zusammenarbeit mit John Cage
Pasta for Tired Dancers (1992)
Nudeln für müde Tänzer
Soba (1992)
Thoughts on Installations (1994)
Gedanken zur Klanginstallation
Skin, Meat, Bone. The Wesleyan Project (1994)
Appendix/Anhang
List of Works/Werkverzeichnis
Sources/Quellenangaben
Index/Register
