The 101 strangest records on Spotify: Alvin Lucier – Extended Voices
[2024-01-12 21:37:55]
In two years since I wrote this column, I encountered a couple of things and thought about that. "Let's make funny" Although it may be rare, "Please keep on with it" Well, the sound of expansion certainly belongs to the latter category. In 1966, Columbia Records started the Odyssey as a reissued classic, but one year later, nine contemporary composers like Pauline Oliveros, Toshi Ichivanagi, Richard Maxfield and our discovery of today, and Awesome Alvin Lucier, everyone recorded and released new music. At the end of 1967, like a Cyber for a new LP such as Steve Reich's Come Out and Gordon Mumma's Cyber sonic Bandoneon - hitting Oh - so - rack, Lucier 's amazing expanded Sound appeared in the world. . Or, at least, a small amount of money in the world that is spent on doing a very rare super-contemporary music record over a long period of time.
Like most of Lucier's work, this album is not interested in melody and harmony, but I am not interested in the influence of physical space on the sound itself. The enlarged sound found that Lucier led the Brandeis College Choir Choir in a series of completely modern works and then changed the results electronically with synthesizers and vocoders. If you are thinking, this is wonderful, yes, you are moving in the right direction. So Oliveros' sound mode, Cage's solo for voice 2, Feldman's chorus and instrument (II) 1967, and Russier's own North American time capsule 1967 were turned over and pushed into a strange shape (part of the cage It is very strong). There is no secular way to explain such things by pushing back. This is a highly explorative and open album, sometimes roaring - happy, happy, Radiophonic Workshop Mad - Melody experimentalism, other super-discreet, deeply moving HD album (checked against Morton Feldman) Depth is the work of 1963, Christian Wolff of Cambridge. Lucier, 83, a professor of music at Wesleyan University until 2011. A film about his wonderful work was released earlier this year - there is no idea but In Things
Alvin Lucier's idea of "I am sitting in a room" is the same. This work included Lucie reciting the poem, recording his speech, then playing it in the room, recording it, playing it, and so on. When the sound changes and the resonance frequency of the space inherits the sound, it turns into this brilliant drone. The sound changes, but the idea and intention do not change. Applying this reasoning widely to modern album formats is not an easy task. In this case, this is definitely a more abstract perspective, but not only to play into the room, Cage's assertions, music, or in our case we emphasize the album. Direction and intention of sounds, themes, artists. Immortality is awful, but it is very interesting, it has artistic weight that can help restore the cultural relevance of LP
In two years since I wrote this column, I encountered a couple of things and thought about that. "Let's make it strange" Although it may be rare, "Please keep on with it" Well, the sound of expansion certainly belongs to the latter category. In 1966, Columbia Records started the Odyssey as a reissued classic, but one year later, nine contemporary composers like Pauline Oliveros, Toshi Ichivanagi, Richard Maxfield and our discovery of today, and Awesome Alvin Lucier, everyone recorded and released new music. At the end of 1967, like a Cyber for a new LP such as Steve Reich's Come Out and Gordon Mumma's Cyber sonic Bandoneon - hitting Oh - so - rack, Lucier 's amazing expanded Sound appeared in the world. . Or, at least, a small amount of money in the world that is spent on doing a very rare super-contemporary music record over a long period of time.
This looks like Econ 101. Spotify uses most of its income to license music rights. The label pays a small amount of money to the artist. In the era such as record press, disc encoding, logistics, such an intermediary is necessary. Today, the broker seems to be out of date. Of course, these tags are said to be doin