![]() While it plays on the relation of sight and the sonic actor, what is seen and unseen takes on a dynamically different role. ![]() When viewed in the immediate context of Vespers, it presents as an unexpected inversion of what was to come. As a total work, Chambers contends with the relationship between the knowing and understanding of what we hear, our perception of the source of a sound, and its relation to space. Chambers, composed the year before in 1968 and embedded with the wry humor which lingers below much of the composer's output, explored the theme on a brilliantly miniature scale. Despite the radical leap it presented within the history of the sonic arts, Vespers was not the first of Lucier's works that began to specifically address the relation between sound, perception, and space. Written as a poetic "prose score", for the realization of Vespers, each performer is equipped with a "Sondol" and asked to move blindfolded within a defined space, moving from one point to the next using only echolocation, taking what Lucier describes as "sound photographs" that reveal discrete details of the given area. ![]() Conceived following a chance encounter with hand-held echolocation technology "the Sondol", a pulse oscillator that emits short, sharp pulses at variable repetition speeds, producing echoes from the reflecting walls of a space to register relative location and orientation. First released as Lucier's contribution to the Sonic Arts Union's lone LP, Electronic Sound (1972), Vespers is a work generated by two equal actors: the performers and the space that they occupy. It is a completely new way of defining what music is, and the definition is given to us in a purely realized form." - Robert AshleyĪlvin Lucier is among the most important, influential, and radical of the second generation of the post-war avant-garde composers. There is nothing like Vespers in the literature of music. " This is the fulfillment of a dream for a new kind of music.
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