Bill Dietz: Interactions with »Listening Mind« − Maryanne Amacher's Glial Instrumentations

Paranoia. Grenzerfahrungen elektronischer Musik im Kontext von
Iannis Xenakis’ Schaffen | Symposium


Thu May 31, - Jun 02, 2012


In keeping with Maryanne Amacher's post-Cagean conception of
musical composition as articulation of "ways of hearing," between
1968 and 1991 the composer created no significant works involving
acoustic instruments. Responding however to acommision from the
Kronos Quartet, in the early 1990s, Amacher came to an
"endotonal" solution for integrating acoustic instruments onto
her "interactive scenarios" whereby instruments and electronics
alike would function together to "einforce" listeners'
"interaural processing." By examining GLIA (2006), a composition
conceived after the model of and including material from the
unfinished string quartet, I approach Amacher's fundamentally
refunctioned conception of "electro-acoustic" composition.