This is the first study of U.S. composer Maryanne Amacher (1938-2009), an elusive and original figure in music composition, sound art, installation, and media aesthetics. Wild Sound animates her creative and speculative approaches to how sound can be heard: as a fictional narrative, as a long distance connection, as a music composed of tones that originate inside the listener's inner ear.
This is the first study of U.S. composer Maryanne Amacher (1938-2009), an elusive and original figure in music composition, sound art, installation, and media aesthetics. Wild Sound animates her creative and speculative approaches to how sound can be heard: as a fictional narrative, as a long distance connection, as a music composed of tones that originate inside the listener's inner ear.
Amy Cimini is Assistant Professor of music at UC San Diego in the Integrative Studies Area. Her research, teaching and performance engage 20th century philosophy and political thought with an emphasis on embodiment and ethics in experimental practice. Dr. Cimini is co-editor of Maryanne Amacher: Selected Writings and Interviews (2021). She is also a violist who has recorded and toured extensively with experimental music ensembles and as a solo artist.
Inhaltsangabe
* Acknowledgments * List of Figures * List of Tables * CHAPTER ONE: "I want to make a music" * Introduction * Tenses and Moods of the Audible * Book Overview and Selected Works: 1965-1990 * Amacher Among the Musicologies and Other Studies * Life in a Sound and its Figurations * Life in an Eartone and its Figurations * The Archive and The Title * "Dear Parents:" Desires and Plans, 1965 * CHAPTER TWO: Adjacencies and its Negations * Introduction * A Tape and Untaken Pictures: Learning Adjacencies * How to Wish for Sound: Negative Notation * The Space Notebook: An Analysis in the Subjunctive * Life in a Frequency Spectrum and its Figurations * Here - (ish): Another Tape and City-Links, WBFO Buffalo, 1967 * "A Page From a Musical Composition:" In City, 1967 * Conclusion: Adjacencies and the Phone Block * CHAPTER THREE: Scenes from a Long Distance Music: City-Links 1973-1975: * Introduction * How to Glow in the Dark: 1970s Textual Experiments * Dirty Water and the Microphone at Pier 6, 1973 * Tone at the Harbor and Three Long Distance Musics on Tape * Incoming Night, Blum at Pier 6, May 1975 * Long Distance Music at the Center for Advanced Visual Studies: Anywhere City (1974) * Telephones, Telepaths and Other Linkless Listenings: Presence (1975) * Leased Lines and Direct Distance Dialing: Obsolescing City-Links (1989) * Televisions and Mirrors: No More Miles - An Acoustic Twin (1974) * Conclusion * CHAPTER FOUR: Eartones and Third Ears: * Introduction * Stereoscopic Cochlea and "Live Space" on Paper * Intervals and Interchanges in "Head Rhythm" and "Play Thing" (1999) * Doublings and Coils in "Labyrinthitis" (2008) * Life in a Third Ear and its Figurations * "The Phantasm Coming From My Head!" and Other Interaural Genealogies * OBSERVE:POTENTIAL: Inside the Tone Scans * Conclusion: The Levi-Montalcini Variations (1992) * CHAPTER FIVE: Amacher's House for Strange Life: * Introduction * A Walk into Living Sound (Patent Pending) * The Tribute at 223 Grotto Street * CLUE I: MID RANGE Microbes and Other Creative Recyclers * Enchanted Cablecasts and Structure-Borne Sound: 1974-1979 * CLUE II: Orchestral Metabolisms and Unheard Microbial Music * CLUE III: Diamond v Chakrabarty Among the Third Men * Acoustical Research as Dramatic Form in Amacher's Other Laboratories * Conclusion * AFTERWORD: Notes with Ears * Notes * References * Index
* Acknowledgments * List of Figures * List of Tables * CHAPTER ONE: "I want to make a music" * Introduction * Tenses and Moods of the Audible * Book Overview and Selected Works: 1965-1990 * Amacher Among the Musicologies and Other Studies * Life in a Sound and its Figurations * Life in an Eartone and its Figurations * The Archive and The Title * "Dear Parents:" Desires and Plans, 1965 * CHAPTER TWO: Adjacencies and its Negations * Introduction * A Tape and Untaken Pictures: Learning Adjacencies * How to Wish for Sound: Negative Notation * The Space Notebook: An Analysis in the Subjunctive * Life in a Frequency Spectrum and its Figurations * Here - (ish): Another Tape and City-Links, WBFO Buffalo, 1967 * "A Page From a Musical Composition:" In City, 1967 * Conclusion: Adjacencies and the Phone Block * CHAPTER THREE: Scenes from a Long Distance Music: City-Links 1973-1975: * Introduction * How to Glow in the Dark: 1970s Textual Experiments * Dirty Water and the Microphone at Pier 6, 1973 * Tone at the Harbor and Three Long Distance Musics on Tape * Incoming Night, Blum at Pier 6, May 1975 * Long Distance Music at the Center for Advanced Visual Studies: Anywhere City (1974) * Telephones, Telepaths and Other Linkless Listenings: Presence (1975) * Leased Lines and Direct Distance Dialing: Obsolescing City-Links (1989) * Televisions and Mirrors: No More Miles - An Acoustic Twin (1974) * Conclusion * CHAPTER FOUR: Eartones and Third Ears: * Introduction * Stereoscopic Cochlea and "Live Space" on Paper * Intervals and Interchanges in "Head Rhythm" and "Play Thing" (1999) * Doublings and Coils in "Labyrinthitis" (2008) * Life in a Third Ear and its Figurations * "The Phantasm Coming From My Head!" and Other Interaural Genealogies * OBSERVE:POTENTIAL: Inside the Tone Scans * Conclusion: The Levi-Montalcini Variations (1992) * CHAPTER FIVE: Amacher's House for Strange Life: * Introduction * A Walk into Living Sound (Patent Pending) * The Tribute at 223 Grotto Street * CLUE I: MID RANGE Microbes and Other Creative Recyclers * Enchanted Cablecasts and Structure-Borne Sound: 1974-1979 * CLUE II: Orchestral Metabolisms and Unheard Microbial Music * CLUE III: Diamond v Chakrabarty Among the Third Men * Acoustical Research as Dramatic Form in Amacher's Other Laboratories * Conclusion * AFTERWORD: Notes with Ears * Notes * References * Index
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