ADAMS, JOHN LUTHER
Rhodessa, "Big Butt Girls, Hard-Headed Women." top
and the Great Weather (1990)
A work about the sonic geography of the Arctic National Wildlife Refuge
in northeastern Alaska, and about the voices of the elements. From the
texture of wind, rain and melting ice, flowing water, animal cries and
birdsong, emerges the sound of drums playing the pulsing 5/8 and 7/8 beats
of Inupiaq Eskimo drumming. At other times, the deep whooshing of bullroarers
and the ethereal voices of aeolian harps grow out of the sounds and recede
again. And within this sonic space, the voices of a woman and two men
talking and reciting in English, Latin, and Inupiaqleading us toward
the Eskimo shaman's song from which the piece derives its title. Commissioned
by NEW AMERICAN RADIO. [Listen]
JOHN LUTHER ADAMS
has made his home in the boreal forest near Fairbanks, Alaska for
the past 20 years. From there he has created a unique musical world grounded
in the elemental landscapes and indigenous cultures of the North.
Adam's music embraces a wide
range of media (including works for orchestra, chamber ensembles, radio,
film and television) and is recorded on the Cold Blue, New World and New
Albion labels. Three new recordings are scheduled for release in 2002-03
on Cold Blue, New World and Mode.
Adams has worked with many prominent performers
and venues, including Bang On A Can, Almeida Opera, the Paul Dresher Ensemble,
FLUX Quartet, the California E.A.R. Unit, the Sundance Institute and Arena
Stage. He has received awards and fellowships from Meet the Composer,
the National Endowment for the Arts, Lila Wallace Arts Partners, the Rockefeller
Foundation, Opera America, and the Foundation for Contemporary Performance
He has served as composer in residence with the
Anchorage Symphony, Fairbanks Symphony, Arctic Chamber Orchestra, Anchorage
Opera, and the Alaska Public Radio Network. He has taught at the University
of Alaska, Bennington College and the Oberlin Conservatory of Music, and
has served as president of the American Music Center.
Articles about John Luther Adams and his music
appear in The New Grove Dictionary of Music, Baker's Biographical Dictionary
of Music and Musicians, American Music in the 20th Century (G. Schirmer),
Music in the United States (Prentice Hall) and The Avant Music Guide (Japan).
de la Musique Concrète (1990)
An homage to some of the masters of musique concrète. Composed
of processed excerpts from such works as Etudes des bruits by Henry Schaeffer,
Diamorphoses II by Yannis Xenakis and Exit Music II by Kenneth Gaburo,
the piece is shaped into a surreal voyage through the early days of electronic
music. It features two "story lines" that interact and complement one
another: a machine sound lineevolving literally from machine sounds
into more instrument-like elements; and a human voice lineevolving
from nonlinguistic sounds to a "conversation." Commissioned by Dutch National
(Hilversum, Holland) studied piano at the Conservatory in Arnhem and
electronic composition at the Institute for Sonology in Utrecht. An editor
for contemporary music at Dutch radio VPRO's Channel 4, Alberts also composes
music for traditional instruments, and creates electronic tape compositions
and radio pieces. Currently, his main interest is in the relationship
between music and visual arts. He is the artistic director of VPRO's International
Audio Art Project. top
Jacki, "Redefining Democracy in America, Parts 1, 2, and 3: Episodes
in Black and White." top
Sound Education (1990)
(20:00) With visual artist Ward Tietz. The work contains humorous and
informative lessons on speaking and writing English; on whistling as a
forgotten form of communication; on the past, present, and future tenses.
Commissioned by NEW AMERICAN RADIO.
(Philadelphia, PA) is a video and performance artist. He studied independently
with composer Pauline Oliveros, performance artist Carolee Schneemann
and sound artist Jackson Mac Low. For years he has made the human whistle
an integral part of all his performances and video work.
(Philadelphia, PA) is a visual artist who developed his concept of
"word sculpture"i.e., the objectification of words as sculpture
which lexically addresses its environmentwhile an undergraduate
in the creative writing department at Carnegie-Mellon University. He has
received two commissions from the City of Providence, Rhode Island, to
create temporary word sculpture installations in a large public park.
The first of these was selected for a major retrospective exhibition on
installation art in New England. top
|See Allen, Jo
Harvey, "Every Three Minutes."
Three Minutes (1989)
With Bukka Allen. Every three minutes in the U.S., a child is abused;
each day three children die from abuse. This is the story told by the
Allens, mother and son, making use of many hours of authentic material:
interviews with abused teenagers, statements by their abusers, stories
of neglected children recorded by themselves. The materials are combined
with statistics and original music by the two artists to shape a powerful
plea for humane treatment of children. Commissioned by NEW AMERICAN RADIO.
JO HARVEY ALLEN
(Santa Fe, NM) came to national attention as a playwright/performer
while touring her critically acclaimed plays Counter Angel, Hally Lou,
and her one-woman show As It Is in Texas; and as actress and co-writer
in her co-starring role as "The Lying Woman" in David Byrne's film True
Stories. Her other film credits include Cold Sassy Tree, Fried Green Tomatoes,
and The Client. Her most recent plays include collaborations with her
husband, multimedia artist Terry Allen, in the opera Pioneer and in the
avant-garde country and western musical Chippy, presented at the American
Music Theater Festival in Philadelphia and at Lincoln Center in New York
a musician and songwriter, collaborated with Jo Harvey, Terry and Bale
Allen in the critically acclaimed family play, Do You Know Where Your
Children Are Tonight? He is a graduate of the Berklee College of Music
in Boston, and is currently the keyboard player for the highly acclaimed
rock and roll group, The Ian Moore Band. top
(1990) A fictional audiobiography of
an enigmatic Texas gambler, religious fanatic, possible gangster, magician,
and hemophiliac. With a riveting voice performance by actress Jo Harvey
Allen and original music by Terry Allen. Commissioned by NEW AMERICAN
(1993) The fictionalized history of two people: a man born in the
late 1800s who runs away from home to play baseball, and a woman born
in the early 1900s in a half-dugout (a small house partially built into
the side of a slope or hill), who grows up to be a piano player and a
beautician. Told by Terry Allen, Jo Harvey Allen, and Katie Koontz, with
music by Terry Allen. Commissioned by NEW AMERICAN RADIO. [Listen]
(A Return to Juarez) (1992) Written
as a movie screenplay, this work entails a series of simultaneous events
described from a variety of vantage points. Its four main characters:
a Texas sailor, a Mexican prostitute, a Mexican-born pachuco (gangster)
and his girl friend, an enigmatic "witch." Moving in violent motion through
the modern-day American West, they are as much atmospheric conditions
hurtling through space as they are human beings of flesh and bone. Told
in a sonic environment of raw musics and sound effects, Reunion is a desperate
journey across the borderlands of the American psyche, the dreams of surviving
it and passing through the wilderness to the promised land . . . that
hopeless rapture. Told by Jo Harvey Allen with music by Terry Allen. Commissioned
by NEW AMERICAN RADIO. [Listen]
Hell (1987) Written as a movie screenplay,
Torso Hell's darkly surrealistic plot centers around the fate of four
soldiers blown to pieces in Vietnam and brought back to life by "some
weird miracle." The hero is literally a torso. A radio horror movie, Torso
Hell is also a commentary on Hollywood Vietnam films. With voice performance
by Terry Allen and Jacki Apple and original music by Allen. Created for
Soundings, KPFK-FM, Los Angeles (host: Jacki Apple), and High Performance.
(Santa Fe, NM) was born in Wichita, Kansas; raised in Lubbock, Texas.
He studied at Chouinard Art Institute, Los Angeles and received a B.F.A.
in 1966. He has been an independent artist since 1966 pursuing a wide
variety of artistic interests, including musical and theatrical performance,
sculpture, painting, drawing, video, radio works and installations that
incorporate any and all of these media. From 1983-86 he worked almost
exclusively on a body of work called Youth in Asia-pieces on the collective
trauma we know as the war in Vietnam. His solo exhibits include: Big Witness
(living in wishes) at the San Francisco Art Institute in 1989; A Simple
Story (Juarez) at the Wexner Center for the Visual Arts, Columbus, OH;
Publik Works at the Laumeier Sculpture Galley, St Louis, MO (1998); and
Study Drawings by Terry Allen, Gallery 68, Austin TX (2001). His performance,
Warboy (Dugout, Part 3 work-in-progress) was presented at the Dallas Museum
of Art, Dallas, TX in 2002 and will be shown concurrently at L.A. Louver
Gallery, Santa Monica Museum of Art & LACMA Institute of Art &
Culture, Los Angeles, CA in 2004. Dugout (Part 1), an installation, was
exhibited at Pillsbury/Peter Fine Art, Dallas, TX (2002).
In addition to his numerous one-man and group
exhibitions, stage performances and music recordings, Allen produced four
major works for NEW AMERICAN RADIO. He is the recipient of National Endowment
for the Arts Fellowships in 1970, 1978, 1985; Awards in Visual Arts (AVA),
1982; Guggenheim Fellowship, 1986; Bessie Award, New York, 1986 and numerous
others; and was inducted into The Buddy Holly "Walk of Fame"
Lubbock, Texas in 1997. (12/02) top
and Seek (1989)
(3:04) With Christina Egloff. A dreamlike encounter with a chimpanzee
who communicates in sign language.
Whales (1989) (1:26) With Christina
Egloff. Killer whales and what they sound like.
Ark (1989) With Christina Egloff.
And the question is: do animals suffer when they die in the slaughterhouse
or don't they? And who's to say?
(Woods Hole, MA) is one of the country's leading independent radio
producers. Over the last eighteen years, often with his partner Christina
Egloff, he has created hundreds of radio documentaries, dramas, special
series, and audio art pieces for national and international broadcast,
most often for National Public Radio's All Things Considered. Allison
has won most of the major awards in the industry, including two Peabody's
and the duPont-Columbia. He teaches radio production around the United
States, helped create the Association of Independents in Radio, and is
the founder and host of the Radio Producers Forum on the WELL computer
conferencing system. He is also president of Cape and Islands Community
Public Radio, an organization he founded to build a new community public
radio station in his hometown on Cape Cod, Massachusetts. Allison's essays
have appeared in the New York Times Magazine and he is a special producer/reporter/
cameraman for ABC News Nightline.
(Woods Hole, MA) is a longtime producer for public radio. Often working
in partnership with Jay Allison, she has created dozens of documentaries
and special series for National Public Radio and other venues. She also
works as a consultant and editor for other public radio producers. Her
collaborations and productions have won numerous broadcasting awards,
including the Clarion, CPB, AIR, and Ohio State. Egloff also writes, produces,
and consults in film and television. top
(20:00) A sound exploration of a uniquely Philadelphia phenomenon: "From
Alexis de Tocqueville to W. C. Fields to David Lynch, people have come
away (from Philadelphia) with such strongly negative impressions that
it hardly seems reasonable to blame it on the city alone. Yet they doeven
the people who live here. New Yorkers may hate the fast-paced enormity
and danger of their city, but they take pride in the fact that they endure
it. In Philadelphia you see intense loyalty to the neighborhoods that
make up the city, but a distinct loathing for the city as a whole." (Alls)
An eerie and humorous sound composition. Commissioned by NEW AMERICAN
JAMES ALLS received
his B.A. in communications from Temple University in 1990. Since then
he has collaborated with a number of independent media producers in various
aspects of sound production, and produced music for various community-based
organizations in the city. He is currently employed as technical coordinator
at the Neighborhood Film/Video Project, a media arts center in West Philadelphia.
Opidan Skew is his first work for radio. top
Dining: A Working Woman's Moment (1989)
Drawing from her own experience as a waitress, Allyn creates song-narratives
that offer fascinating insights into a world usually unnoticed by customersthe
bizarre and very human world of the over-worked waitress. It's a world
of men showing off their improvisational genius for sexual word play;
of ambiguous relationships to the union; a world where an old and forgotten
lady, who once introduced American radio audiences to broccoli is rediscovered.
Combining perceptive writing with a skillful delivery, a folksy sound
score by Bob Davis of Earwax Productions, and a delightful sense of down-home
humor, this work will change your image of American diners and their waitresses
forever. Commissioned by NEW AMERICAN RADIO. [Listen]
Dining: A Working Woman's Moment (Part 2)
(1991) Jerri Allyn returns to bring us more stories about waitressing.
Perceptive and skillful, with a delightful sense of humor.
Have Been Sent To Me (1991) With
soundscore by Helen Thorington. Poignant and humorous stories about Allyn's
ninety-year old immigrant grandmother, Maria Alvarez, and her cronies
in a critical care home. Interwoven with music and hospital sounds: wheelchairs,
medical equipment, alarms, and the voices of patients and staff. Allyn's
insightful writing and skillful delivery, and Thorington's imaginative
sound score are reminders that there are human beings behind the health
care budget. And that they are as alive and passionate about their existence
as any one of us. [Listen]
Obscenity (1991) (5:17) A selection
from Allyn's series of performance commentaries on censorship. Allyn reflects
on the contradictory relations between Christian worship, art censorship,
and bilingual education. With sound by Helen Thorington.
(New York, NY) creates interactive
installations and performance art events that become a part of public
life and build connections with various audiences and the art world. An
artist and educator with 20 years of experience introducing contemporary
art to new publics, the artist develops structures that allow for participation
and a spectrum of opinions to be voiced.
Raised in the North East and
trained on the West Coast, Allyn has been influenced by the Art
/ Life Performance School of Thought that seeks to blur the lines between
high art and real life. Allyn has additionally embraced the objectives
of the Feminist Art Movement, which strives to raise issues, invite dialogue
and ultimately transform culture.
Grant funded and commissioned for 20 years, most of
Allyn's work is in a narrative or storytelling form and deals with communication
theory. The artist strives for aesthetic innovations, incorporating historical
facts, contemporary insights, community views and a satiric wit. The adage
"the personal is political" continues to fuel her work - the
synthesis of "lived experience" resonating with timely social
concerns. In allegiance to no particular medium, Allyn uses the most appropriate
form, depending on the ideas and intentions of a piece, working extensively
in site specific public performance and installation art; audio, video,
electric signs, and billboards; artists books, graphic multiples and page
Allyn has also been a part of many collaborative
groups and partnerships, and notes that one plus one never simply equals
two. In collaborations, with other artists, organizations, or specific
communities, one plus one always equals something greater than two individuals
can accomplish on their own. Allyn's training in cognitive and aesthetic
development focused on how we learn as human beings and she provides audiences
with multiple opportunities to access issues raised in a work of art.
Brought up a Quaker, the artist continues to be an
activist, most recently advocating for national policies on culture and
art education. Allyn received a Masters of Art in Art and Community from
Goddard College, Vermont, through an independent study at the Los Angeles,
California campus. Two years were spent on studio art, research about
new forms, and 20th century art and community art movements through The
Feminist Studio Workshop at The Woman's Building: A Public Center for
Women's Culture. The program included a cross-disciplinary, multi-cultural
pedagogy in Women's Studies. In her third year, Allyn participated in
an innovative Teacher
Training Program that introduced progressive methodologies
and strategies to have students realize their creative potential by: drawing
out the individual voice and rich variety of multi-cultural experiences
among students through experiential exercises.
BOB DAVIS, music
for American Dining, Part 1. (see Earwax Productions)
sound design and composition, Angels Have Been Sent To Me and Religious
Obscenity. (see Thorington, Helen) top
Classic radiophonic proto-rap with America's lost practitioner of text-sound
composition. The work includes a 100th birthday salute to musicologist Nicolas
Slonimsky, who achieved the century mark on 27 April 1994 in Los Angeles.
Mental Radio is a retrospective of Amirkhanian's classic analog speech tapes
along with some recent Synclavier digital updates: Radii (1971), Chu Lu
Lu (1991), Just (1972), Heavy Aspirations (1973), Vers Les Anges (1990),
Dot Bunch (1981), and Mugic (1974). Produced especially for NEW AMERICAN
(1997) Miatsoom explores the composer's ancestral roots and American heritage
through the eyes of his 77 year old father, Benjamin Vresh Amirkhanian,
who visited the ancestral home with his son for the first time in 1995.Incorporating
many sounds recorded in Armenia, and manipulated on a Synclavier digital
synthesizer, Miatsoom is a sound-music composition akin to an oriental carpet
of textures and images from this ancient culture. [Listen]
de Voix (Portrait of Samuel Beckett,
1987) (1986-87) "An impressionistic, cyclical, narrative sound portrait,
touching on various aspects of Samuel Beckett's life." (Amirkhanian) Created
from ambient recordings of the lobby of Beckett's apartment building,
the open-air Metro stop across the street, the bells of Notre Dame, a
sound sculpture, plus some extended-technique electric guitar sounds and
a selection of sonic bodily functions. Commissioned by Westdeutscher Rundfunk,
as Usual (1989) A series of audio
explorations incorporating both abstract (instrumental) and representational
(ambient) sounds, processed in the synclavier studio of Henry Kaiser.
Featured are the gong collections of Lou Harrison and Toni Marcus and
an assortment of talking parrots. Commissioned by NEW AMERICAN RADIO.
Tune (A Room-Music for Percy Grainger)
(1986-87) An homage to Australian-American composer Percy Grainger. Grainger's
Walking Tune for solo piano was conceived in 1900 during a tramp through
the Scottish Highlands. In this work, Amirkhanian uses the Synclavier
digital synthesizera tool Grainger would have embraced eagerlyto
combine sounds recorded out-of-doors (tramping in Utah; the shriek of
geese; a swarm of humming birds)with musical sound. And he shapes a sensual
and powerful sound-music piece that is true to Grainger's own song of
praise to the natural world. Commissioned by NEW AMERICAN RADIO. [Listen]
(El Cerrito, CA) was born January 19, 1945, in Fresno, California,
composer, percussionist, sound poet and radio producer Charles Amirkhanian
is a leading practitioner of electroacoustic music and text-sound composition.
He is widely known for his live and taped works utilizing speech (or sound
poetry) elements in rhythmic patterns resembling percussion music. His
Ka Himena Hehena (The Raving Mad Hymn, 1997) for tape and four voices
speaking in classical Hawaiian was premiered by the Ensemble Intercontemporain
at Cité de la Musique in Paris on December 19, 1998.
In his recent works, produced
with the Synclavier and Kurzweil digital synthesizers, Amirkhanian
incorporates sampled acoustic environmental sounds (which he calls "representational
sounds") and traditional musical pitched sounds ("abstract sounds")
to develop dreamscapes which act as disjunctive narratives, evoking a
world of memory-triggers which induce a trance-like listening state. Sounds
are chosen both for purposes of reference to a subject and for their sculptural
and gestural beauty. His Walking Tune (A Room-Music for Percy Grainger),
is perhaps the most important example of this genre, combining natural
sounds recorded in Grainger's native Australia with haunting violin melodies
and fragments of a J.C. Bach aria. The piece was commissioned by New American
Radio in 1987 and released by Starkland Records on Amirkhanian's first
solo CD in 1998, along with four other selections.
Other works have been commissioned by the West German
Radio (Cologne), the National Endowment for the Arts, Meet the Composer,
the Australian Broadcasting Corporation, Radio VPRO (Netherlands), New
American Radio, Swedish Radio/Fylkingen, the 1984 Summer Olympics, Radio
Luxembourg, the Arch Ensemble, and choreographers Anna Halprin, Bill T.
Jones, Margaret Fisher, Nancy Karp, and Richard Alston of Ballet Rambert
His music has been recorded on Starkland Records, Centaur,
1750 Arch Records, CRI, Perspectives of New Music, Giorno Poetry Systems,
Fylkingen Records (Sweden), S Press and Wergo (Germany), OU Records (England),
Ars Electronica (Austria), Baobab and "Music for Swimming across
the Pacific" (Italy) and Empreintes Digital (Canada).
Aside from his composing, Amirkhanian has been instrumental in the dissemination
of contemporary music through his work as Music Director of KPFA/Berkeley
from 1969 to 1992. He also directed the Speaking of Music series at the
Exploratorium in San Francisco (1983-1992) and was the founding Co-Director,
with John Lifton, of the Composer-to-Composer Festival in Telluride, Colorado
that took place for four years (1988-91), sponsored by the Telluride Institute.
From 1993-1997 he served as Executive Director of the Djerassi Resident
Artists Program in Woodside, California. Currently he is Executive &
Artistic Director of Other Minds, Inc. (http://www.otherminds.org) a new
music organization in San Francisco. He has curated the annual Other Minds
Festival of music since 1993 and in 2002 inaugurated Eyes & Ears,
the Other Minds Film Festival, focusing on contemporary composers and
In 1984 the American Music Center honored him
with its annual Letter of Distinction for service to American composers
through his work at KFPA Radio, and in 1989 ASCAP conferred on him its
Deems Taylor Award "in recognition of his special contribution to
innovative programming and imaginative radio broadcasts." In 1997
he was awarded residencies at the Tyrone Guthrie Centre in Ireland and
the Rockefeller Foundation's Bellagio Study and Conference Center in Italy.
In 1999-2000 he was awarded the first Ella Holbrook Walker Fellowship
for a yearlong residency at the Bellagio Center where, with Mark Grey,
he installed and composed in a new electroacoustic music studio which
will remain for future residents of the center. He resides in El Cerrito,
California. 11/02 top
(13:08) From The Amazon, The Mekong, The Missouri, and The Nile, a four-part
work exploring language and colonization. This collaboration between http://audiofiles.newamericanradio.org/performance
artist Jacki Apple and composer Bruce Fowler is a rich mix of "animal"
vocalizations, human incantations, Brazilian instrumentation, and Fowler's
haunting trombone. A powerful evocation of the destruction of nature and
culture. (#15,90 with Moss and Whitehead)
of the Field (1989) (10:20) Drawing
upon texts by leading theoretical physicists, this piece is a hypnotic
incantation that transforms scientific theory into a poetic cosmic narrative,
a fluctuating field of sonic waves and textual particles in which form
and content, matter and mind are interchangeable. With music by Ruben
Garcia, and Harold Lott's Spirits of the Drum.
in the Night (1990) With writer,
performer Keith Antar Mason. Frenzy in the Night is about growing up black
and male in America, finding your own voice and becoming an artist, the
pain of racism, and the dream of freedom. It is a spiritual quest for
cultural and personal affirmation. A poetic suite in three parts, it traverses
the American landscape from the "banks of the muddy Mississippi" of Mason's
St. Louis boyhood, through a mythical "free state of Illinois," to his
artistic coming of age in the "boom box of L.A." Mason's provocative,
emotionally charged text is set in Apple's lush cinematic sonic landscape
of West African tribal drums and wailing jazz saxophones, riverboats,
police sirens, street rappers, birds, all caught in the ebb and flow of
the river that is replaced by the freeway, as it travels from a bittersweet
blues in the night to an urban frenzy. Commissioned by NEW AMERICAN RADIO.
Word at a Time (1993) The Traveler
"clicks" through twenty three "stories" set in sonic spaces that shape
a virtual journey exploring consciousness, life, art, language, the universe,
and the whole ball of wax. . . Composed of discrete yet linked vignettes,
geographies, inhabitants, information, instructions, conversations, and
cross referencing wordplays, situated in real and imaginary time, real
and virtual space, that can be traveled through along any number of paths
as we explore how thought materializes in the world, how we perceive,
understand, and communicate the nature of our existence and what we define
as "reality." This solo piece evolved from the narrative work, Going Between,
by Helen Thorington which became Going Between\One Word at a Time\Docs**,
a collaborative performance duet with Helen Thorington at the 1993 On
The Air Festival, Transit Art/ORF, Austria.
A Cliffhanger in Five Acts (1987)
Set in the precarious emotional terrain between the thought (the disembodied
voice) and the act (the vocal body), a fractured "narrative" traverses
male-female relationships on the edge of a cliff. Accounts assemble and
reassemble as remembered, as imagined, as desired, as perceived, as experienced.
In riveting vocal and musical performances Jacki Apple, Jeff McMahon,
and David Moss create a quick-cutting montage of cinematic images counterpointing
evocative interior texts set in a dissonant soundscape. Produced and directed
by Jacki Apple as a site specific performance spectacle commissioned by
the Santa Monica Arts Commission for the 1987 SMARTS Performance Festival,
Santa Monica, California.
Democracy in America, (1991-92)
A six-part series confronting the deep schisms and contradictions in an
America in crisis: includes,
Parts 1, 2, & 3: Episodes in Black and White
(1991) With collaborating writer/performers Linda Albertano, Keith
Antar Mason, and Akilah Nayo Oliver. Raises questions about who speaks,
who is listened to, who is heard, who is silenced, and how that has shaped
our present social reality. In various poetic and narrative forms underscored
by sound and music, the two black and two white Los Angeles artists explore
issues of race, sex, money, power, drugs, family, children, violence,
language and censorship. Interior voices of hope, rage, despair, tenderness,
indignation, pain, pride, fear, desire, angels, and madmen are juxtaposed
against the exterior voices of "the witness," "the reporter," and "the
judge." The social and creative process of making art together played
an important part in the development of this powerful and uncompromisingly
honest multicultural piece. Commissioned by NEW AMERICAN RADIO.
4 & 5: The Voices of America 1992 (1992)
With KPFK-FM, Los Angeles. Posed the questions "What would you say to
your fellow citizens if you were running for president? What should we
aspire to and how should we get there?" In the fourth and fifth parts
of this series, Americans across the political and cultural spectrum speak
out on education, the environment, racism, greed, government, the power
elite, spiritual values, and more, as they struggle to articulate a vision
for our future. Their voices, compiled from two months of on-air listener
call-ins at KPFK (before and after the L.A. "uprisings") with additional
contributions from KPFT, Houston, orchestrated into a multilayered montage
of hopes, dreams, frustrations, angers, and fears, spanning the distance
from utopian ideals to cynical pessimism.
6: A Leap of Faith (1992) With writer,
performer Keith Antar Mason. A (white) Euro-American woman and a (black)
African-American man born in America in the middle of the twentieth century
on opposite sides of the dividing line, take us on an imaginary journey
through time as they wait for the ghost train in the place where our dreams
are born and die. They traverse a landscape that reveals the schisms between
official history, memory, and experience, as we eavesdrop on their private
conversations in post-rebellion Los Angeles. . .This piece is, in part,
a personal response to the conditions, events, and rhetoric surrounding
the L.A. "uprisings" of 1992, and an attempt to place such events in both
a broader historical and intimate personal context. [Listen]
(1993) A portrait of Apple's long-running (1986-95) weekly one-hour
live radio show, featuring performance and audio art at KPFK-FM, Pacifica
Radio, Los Angeles. With commentary by Apple and the voices of Anna Hommler,
David Moss, Meredith Monk, and others.
Lake (1989) A satiric, ironic film
noire "ballet" for radio, the original Swan Lake narrative is recast and
resituated amidst the glittering surfaces and dark underside of late eighties
Los Angeles where dreams are manufactured in medialand, art and entertainment
tongue kiss, the third world coexists in a parallel realm, and the weather
is unnatural. Using radio as a cinematic medium, Apple's remake employs
various pop genres including Raymond Chandler's detective novels, TV fashion
commercials, and a sensational murder trial. This filmic version is about
seduction, voyeurism, and the consumption of images, with the Swan playing
the part of Art. The lush romanticism of Tchaikovsky's original ballet
music is juxtaposed against a percussive, techno-eclectic, edgy filmscore
by L.A. composers Joseph Berardi and Kira Vollman. Commissioned by NEW
AMERICAN RADIO. [Listen]
Culture of Disappearance (1991)
A radio "opera" about extinction, and the conditions of loss and denial
endemic to industrial and post-industrial society. It is a dirge for the
exterminated species of the nineteenth and twentieth centuries, a grieving.
It raises questions about the terms of human survival in a social order
that defines us as "separate," and reveals how those values are manifested
in our socio-economic and political relations -- i.e., conquest vs. cohabitation,
consumption without regeneration. We eradicate cultural memory just as
we eliminate species. The sung "mass" of names of the dead from insects
to languages is sometimes obliterated by the relentless pounding of machinery.
Embedded in the litany are anecdotes of annihilation.
Garden Planet Revisited (1982/1992)
Past and present history resonate through ruins of the future as American
astronaut Captain Charlie, a paragon of late twentieth century technological
man, hurtles through time and space. Stranded on a station, abandoned
and alone, he is on a mission without end. Simultaneously, the Inhabitants
of an unnamed place search amongst the architectural remains, gather stories,
rumors, myths from Messengers and Witnesses, as they try to reconstruct
what happened in the time before "the cities shifted and the Earth turned."
Is it a memory, a dream, a hallucination, a prophecy? Originally presented
as a thirteen scene, hour-long multimedia performance written, with music
by trombonist Bruce Fowler, the audio was edited and remastered by Apple
as a twenty-eight minute work for radio in 1992. [Listen]
in the Dark (1991) A radio work
for outer and inner space, in four sections. The cosmos is an audio archive
of information broadcast to the stars, a repository of human (and perhaps
other) histories in which time melts and language dissolves into signals.
All those "voices" traversing the universe looking for a pick-up! Imagine
gridlock in the big data bank in outer space. Voices in the Dark is about
interstellar conversations, radio waves, and sonic archaeology. Is there
anyone listening and how do they interpret what they hear? How do we/they
distinguish between real events and people, and media-generated fictions?
Are we the "they"? We say we want to make contact with the Other, when
in fact what we search for is a mirror of ourselves. This composition
combines a narrative text with various musical, vocal, and sound components
snatched from the airwaves, overdubbed, sampled, remixed, and electronically
You Don't Need A Weatherman (1997) was inspired by the great floods of the past four years, particularly those in the heartland of the midwestern United States; by images of Grand Forks, North Dakota, and by Mississippi blues. "You don't need a weatherman, when the ram's a comin down, and the street is like a river, runnin through the town ... " The physical forces of nature slam headlong into human will and the constructs of our imagination from Noah to the Red River to Europa, from lost Atlantis to the southwest desert. Along the way, the artifacts of
lives and cultures float to the surface like pieces of a picture puzzle. Read the signs, listen to the wind, and watch the skies.
(Los Angeles, CA) Spanning more than three decades, the 70s in New York
and the 80s and 90s in Los Angeles, visual, performance and media artist,
audio composer, writer, director, and producer Jacki Apple's diverse artistic
career has encompassed a wide range of media and formsinterdisciplinary
performance, multimedia installations, audio, radio, video, film, photography,
artist books, drawings, conceptual works, and commissioned public art
works. Her works have been performed, exhibited, and broadcast in art
spaces, galleries, museums, theaters, festivals, on radio and cable TV
throughout the United States and Canada, and in Europe, Australia, and
In addition to creating her
own pieces, Apple has also produced other artists works. From 1982-95,
she was the independent producer/ host of Soundings, a weekly one hour
radio show featuring performance and audio art, new music and interviews,
at KPFK-FM, Pacifica Radio, Los Angeles. In 2000 she conceived and produced
EARJAM Music Festival, which has since become an annual festival.
(Los Angeles, CA) Collaborated on Redefining Democracy in America,
Parts 1, 2, & 3: Episodes in Black and White. Albertino is an iconoclastic,
neo-feminist performance poet/artist with a satiric political bent whose
work has been seen at numerous Los Angeles venues since the early eighties.
Her work is on several New Alliance spoken word anthology CDs.
(Los Angeles, CA) Collaborated on The Amazon. Fowler is a composer/musician
is renowned for his exploration of the numerous sound possibilities of
the trombone. His musical repertoire encompasses everything from experimental
new music to jazz to rock to film scores. Since the early seventies he
has played with everyone from Frank Zappa and Captain Beefheart to Toshiko
Akiyoshi and Barbara Streisand (for her opening night in Las Vegas), as
well as with his own performance band The Enormous Bones, and the Fowler
brothers' band Airpocket. He appeared in Robert Altman's film Short Cuts,
and his recent CDs include Ants Can Count, Terra Nova Records, 1990, and
Bruce Fowler Entropy, Fossil Records, 1993.
KEITH ANTAR MASON
(Los Angeles, CA) Collaborated on Frenzy in the Night; Redefining
Democracy in America, Parts 1, 2, & 3: Episodes in Black and White, and
Part 6: A Leap of Faith. Mason is a poet, playwright, performance artist,
and founding director of Hittite Productions, a black male performance/
theater collective. His controversial and often inflammatory works about
being black and male in America have earned him international notoriety
and have been presented at major venues throughout the U.S. Atlantic Crossing:
The People's Journey, a spoken word epic written and performed by Mason
and Blackmadrid, is on a CD from New Alliance Records.
AKILAH NAYO OLIVER
(Boulder, CO) Collaborated on Redefining Democracy in America, Parts
1, 2, & 3: Episodes in Black and White. Oliver is a poet/performance artist
who brings a powerful feminist and spiritual perspective to the African-American
experience. She is a member of the Sacred Naked Nature Girls collaborative
performance group. top
Guillermo, "I Don't Speak English Only, Vato!"; "Menage-a
Trade"; and "Temple of Confessions." top
|ARS ACUSTICA SPECIAL #1 is comprised of two sound works that deal with the theme of 'water':
Water Memories (16:30) by Nicola Sani was inspired by Leonardo da Vinci's "Pensieri", a painting that expressed an idea of the rapport between the life of man and the passing of time, symbolized by the continuous flow of water. The acoustic material of this radiophonic composition consists of electronically altered water sounds, and other natural and electronic instrumental sounds that are reminiscent of the sound qualities of water and its particular timbre. A metaphorical story emerges. It is as if on its endless journey through history, the flowing water collected sounds - that were transformed into poetic vision by the composer - and can now be relived by his listeners.
My Whale Is Still Alive (9:30) is created from the sounds of water, whales, wind and musical instruments. "My life, food and medicine: my whale. As long as my whale is well and alive so am I. My whale is still alive."
NICOLA SANI was born in Ferrara, Italy, in 1961. His compositions include instrumental and electronic works as well as operas and multimedia projects on which he has collaborated with many of today's leading directors and visual artists, such as Michelangelo Antonioni, Nam June Paik and Mario Sasso. From 1986-88, Sani organized the music section of the Electronic Arts Festival in Cameriono, Italy, and since 1993 he's directed the electronic arts program of the Roma Europa Festival in Rome. He presently hosts a series of classical music programs for RAJ Radio.
MIKKO LAAKSO (Helsinki, Finland) has been a sound engineer in television for 20 years and a sound designer and creator of special effects for Yleisradio's Special Productions Department since 1981. Laakso has also realized several performances with the sonic arts group, ProTon, in Finland and abroad, and participated in the European Broadcasting Union's Ars Acustica Program Exchange.
ARS ACUSTICA SPECIAL #2 is comprised of the following two works:
Working Day (5:50) by Igor Lesnik is a musicalized sound-picture of a day in a musician's life: from waking and morning rush hour to the evening concert and cleaning-up sounds late at night. A commission of HRT, Radio Croatia.
Shifted Spirits (21:00) by Ragnar Grippe is a composition that uses words and phrases spoken by people who escaped persecution in their own countries and came to Sweden in order to survive. They had no knowledge of their new homeland's language, and it had no inherent meaning or semantic value for them. In Shifted Spirits, the composer alludes to this experience by exposing the listeners of his work to languages they do not understand. In the process, the words take on a musical quality which only the lack of understanding can give them.
IGOR LESNIK (Zagreb, Croatia) was born in 1956. The founder and leader of the "Supercussion" and "Jazzbina" ensembles, he is also an orchestral musician, solo performer, producer and composer. Lesnik teaches percussion at the Zagreb Academy of Music, and is a member of the Croatian Radio and TV Symphony Orchestra.
RAGNAR GRIPPE (Stockholm, Sweden) was born in 1951. He studied cello and music history in Stockholm and composition in Paris and Montreal. His compositions range from electroacoustic music in conjunction with ballet and feature films, to chamber music and symphonies.
ARS ACUSTICA SPECIAL #3 is comprised of two works that deal with water-related themes:
Gefion (11:10) (1997) by Morten Carlson was first performed as a sound installation at the Gefion Fountain in the center of Copenhagen, Denmark. It illustrates an old Nordic legend: After the god Odin had settled on a Danish island, he desired more land. He sent his young daughter Gefion north to search for it. When Gefion came to the court of the Swedish king Gylfe, the king promised her as much land as she could plough in one day and one night. The goddess transformed her four sons into oxen, who ploughed out a patch of king Gylfe's land. This the goddess cast into the sea, where it became known as "Sealand" or Denmark. Composed of the sounds made by the Gefion Fountain, the radio version presented here, includes brief texts about the Gefion myth, performed in Old Norse and in Danish. Gefion is beautifully recorded and produced, and resonates with the spirit of the medieval myth.
Ponte Del Molino (10:50) (1997) is a collaboration between Goetz Naleppa, Germany, and Inge Faarborg, Denmark. It tells of the destruction of a bridge near Naleppa's house in Italy during a flood and its subsequent reconstruction. The work is also a reflection on bridges build between people and on their destruction. With brief texts in German, English and Danish, and with the sounds of the river Prino in Liguria, Italy. Preceded by a brief interview (in English) with Naleppa.
MORTEN CARLSON: bio not available at this time.
GOETZ NALEPPA (Berlin, Germany) has been a freelance radio playwright and director as well as a staff editor at the radio drama department of DeutschlandRadio Berlin (formerly RIAS Berlin) for many years.
INGE FAARBORG (Copenhagen, Denmark) is a staff editor at the radio drama department at Danish Radio. She is a member of the group overseeing the recently established radio art series at her station.
Horizontal Radio #1 and #2 presents some of the most exciting samples from more than one hundred hours of radio programs produced and distributed world-wide in 1995.
"Horizontal Radio" was a media art event organized by the Ars Acustica Group of the European Broadcasting Union (EBU) and developed in cooperation with TRANSIT (Austria), the radio art series "Kunstradio/ Radiokunst" (Art Radio/Radio Art) at Austrian Radio, and with many other international radio centers.
The aim of this telematic simultaneous event was to clear the EBU broadcasting radius for a period of 24 hours in order to allow artists from all over the world to communicate through all currently available electronic means: satellite, internet, short wave radio, telephone etc. The underlying theme of the event: "Migration". More than 200 artists from Australia, Europe, and North America participated.
"Horizontal Radio can neither be reconstructed nor documented. It is fleeting and unrepeatable. What remains is the memory in the minds of the participants/ users." (Heidi Grundmann, Austrian Radio). And yet, there is an imprint of acoustic memory in the samples presented here: Hearing them two years after the original event, they still convey a vivid sense of artistic possibility, playfulness and connection.
the Elements of Rust (1993)
With poet Mbali Umchlaba Umoja and pannist Collin Mauge. Blends chants
and wails, rap music and the rhythm of steel drums, and poetry to celebrate
music and words as tools for cultural survival and healing. Commissioned
by NEW AMERICAN RADIO. (#6,93 with Levin, Postcards)
PA) is a painter, poet, and performer originally from Trinidad/Tobago.
He has appeared as a performer throughout the United States, in South
Korea, Germany, and Russia. He is co-founder of several artist organizations
that promote art as a tool for affecting positive change.
Trinidad born COLLIN
MAUGE (Philadelphia, PA) is a pannist,
who for the last twenty-seven years has developed both the art and concept
of steel drum music. In Trinidad, he performed with such bands as The
Silvertones, Motown, and most notably, The Steel Kings. Mauge has also
toured the United States and Canada. More recently he has been involved
in experimental work fusing steel pan with other musical instruments and
MBALI UMCHLABA UMOJA
(Philadelphia, PA) is a poet whose work has appeared in numerous anthologies
and literary magazines. She is also an art therapist. Mbali's stage performances
include Tomorrow the Whirlwind, directed by Amira Baraka in New York City.
She is the former host of The Spoken Word radio program on WXPN in Philadelphia,
and she has been heard nationally on Pacifica Radio and on National Public
Radio's All Things Considered. top
(1995) With composer, musician Bruce
Odland. A fascinating series of short sonic compositions that make the
hidden hearable. Works include: (1) Rome: Traffic Mantra"In an installation
in the Trajan Forum, three Roman amphorae were used as resonators to transform
the sounds of passing cars, busses, trucks, and motorcycles into melodic
pools of harmonics. A microphone inside sent the real-time sound to a
solar powered planet speaker placed in the archway over an old Roman road."
And, (2) Yampa"On a rafting trip down the Yampa River in Colorado
we collected oar strokes, and many types of wind, through the interface
of a small wind harp." (the artists) Uniquely expressive sound-music,
with commentary by Bruce Odland, edited and produced by Regine Beyer.
of Time (1992) With composer, musician
Bruce Odland. Explores different types of time: car time, metal time,
water time, people time, linear and non-linear time. It communicates in
the international language of sound. Recordings of the crumbling infrastructure
of modern cities become a rhythmic alphabet spelling out the dance of
metal time. Reiterative syllables of water strain at the strings of a
demon harp interface, singing a song of water and stone time. Time tumbles
like a fractal tree, backwards and forwards, through an electro-acoustical
alphabet of sound removed from the impact of its function. King of Time
is based on Russian futurist Velimir Khlebnikov's sound language of the
future. Commissioned by NEW AMERICAN RADIO. [Listen]
(Linz, Austria) is a composer, musician, and conceptual artist who
has realized many projects under the name of SWAP with Werner Pfeffer.
Auinger has also presented several major installations, including, an
interactive Sound Cosmology at Linz Castle on the Danube; and a Sonic
Drama for the City of Salzburg on the occasion of the 200th anniversary
of Mozart's deathboth with long-time collaborator, Bruce Odland.
[see Odland, Bruce]
See also Cloud Chamber with Odland, Bruce, top
BIMSTEIN, PHILLIP KENT
Alarm (1987) A "colloquial operetta" commissioned
by David Moss for his OpeRadio project in 1987 (with Thorington and Whitehead).
See How She Sorrows
(1998) is "a colloquial operetta, drawing on events from my own life
and on my acquisition of a Haitian Loa flag, a piece of religious folk
art made of beads and sequins, visually representing a Loa (god/spirit).
The Loa of my flag is Erzulie Danthor who, as I understand it, is the
goddess of love in her dark incarnation. Though I relate to the flag as
a piece of art, I cannot help but be affected by its visual imagery of
hearts, knives and blood and by the almost palpable energy that emanates
from the object. As well, the piece uses imagery relating to the Catholic
female icon, the Virgin Mary, to address the larger issues of the personal
nature of religious expression, succor in emotional turmoil and the reclamation
of traditional elements in an idiolectic spirituality." - the artist
Musically the composition explores the relationship
between multiple vocal lines which build upon each other to form a textual
audio landscape punctuated by loosely narrative lead voices. A stunning
and deeply moving piece of music ritual. [Listen]
(1998) is a choral piece that features the artist
and members of her yoga class. It uses stringing pearls as a metaphore
for breathing: each breath is a pearl. Optimally, a fine round, even parl,
yet none canbe discarded no matter how rough or uneven. Like life...
(New York, NY) is a composer and vocal performer who uses the multitrack
capabilities of the recording studio as an added compositional tool to
produce solo, primarily vocal works. top
An excerpt from Barber's composition for five bellfries. Commissioned
by the town of Valencia, Spain.
LLORENC BARBER (Spain) Biography unavailable.
of Hama (1992)
With writer Martin Hebel. A docu-fiction with an original sound score
about the bombing of the Syrian city of Hama by its president Hafez al-Assad
in 1982. This massacre, which was intended to stop rebellious dissent,
killed thousands of innocent civilians and went almost completely unnoticed
by the Western media. The story is told through four fictitious interviews
with survivors and with Assad himself. The instrumentation for the sound
score includes experimental home-made percussion instruments, Middle Eastern
folk instruments, and electronic instruments. Commissioned by NEW AMERICAN
(Philadelphia, PA) is a musician and composer who specializes in studio
recording. He has written and recorded many scores for modern dance and
theater groups, including Philadelphia's ZeroMoving Dance Company and
Mum Puppet Theater. Barnes has also released ten albums of his compositions
and songs. Many of his recent compositions include experimental percussion
instruments which he designed and constructed from industrial materials
such as PVC tubing, threaded rods, springs, and conduit piping.
MARTIN D. HEBEL (Philadelphia,
PA), writer. Hebel attended orthodox Jewish schools until he was seventeen,
where he developed a strong interest in the politics and government of
the contemporary Middle East. He has since studied art history at Swarthmore
College and the University of Pennsylvania, where he completed a master's
degree. Hebel spends a great deal of time grappling with issues of cultural
identity and morality, and now and then he attempts to address them by
writing about Middle Eastern matters. He has traveled and worked in Israel.
|Goat Cheese (2:07) represents the artist's "foray into the duo format... " (Barnett). Playful and surprising.
BONNIE BARNETT (Los Angeles, CA) teaches voice, tours with the Barnett Band and The Zone, and continues to produce such public events as her legendary "Tunnel Hum" . Barnett has toured Europe extensively playing at festivals in Germany, Holland and Switzerland. Her most recent works are duets with musicians Richard Wood and Nels Cline.
(1990) (10:00) With playwright Herbert
Kapfer and students from twenty-nine countries. A composition that uses
as its raw material the names of leading politicians, greetings, currencies,
sayings, tongue twisters, and folk songs spoken in many European languages.
A witty and concrete pan-European vocal composition. Commissioned by Bayerischer
Rundfunk, Munich, Germany.
(Germany) Biography unavailable.
(Germany) Biography unavailable. top
(1994) An experimental music/theater
piece for radio that exploits the untapped theatrical and musical potential
of a form of solo speech that gives the effect of simultaneous speech.
It presents multiple narrative views and repetitive narration in the description
of a convenience store robbery.
Mouth (1994-95) Live electronic music based
on the counterintuitive notion that intelligible speech emerges from noise
by continually increasing the restrictions placed on the sonic raw material
of human vocal cords. Beginning with a wash of sound, the raw materials
of my speech gradually transform from walls of phonemic screams into random
linear combinations, from there into some semblance of words and, finally,
into actual English words.
Around (1995) (22:00) Tells the
story of a head-on collision between an idealistic law student and a veteran
policeman. It is another exploration of what Belgum calls "polyphonic
storytelling," a technique that reveals multiple narrative aspects simultaneously.
(Minneapolis, MN) is a writer of experiential fiction and an audio
artist. His fiction has been published in many literary journals, among
them Chicago Review, Black Ice, and Caliban. Belgum's literary/http://audiofiles.newamericanradio.org/
soundtext works have been played throughout the United States, in concert,
on radio, and on the CD audio magazine, Aerial. In 1994, he curated a
concert of spoken word performance at the Walker Art Center. His international
residencies include STEIM in Amsterdam, The Netherlands, and the Banff
Center for the Arts in Banff, Alberta, Canada. top
We Choose (1992)
Glimpses into the arrangements made by gays and lesbians of all ages and
ethnic backgrounds, who are living in long term relationships. A colorful,
poignant and humorous mosaic of voices, music, and sounds that reflect
on the home environment of its interviewees, the work deals with the myth
that gays and lesbians are "by nature beyond the family." It looks at
the reality of homosexual couples who are redefining kinship and constructing
new parenting modelsin the context of the overall changing make-up
of the American family.
Deaf Way, Parts l & 2 (1990) A look
at another culture, another language, another way of life. In these programs,
deafness is presented as a variant of the human condition with its own
remarkable history, achievements, and resources and not as a pathological
problem, or inferior existence. The producer talked with deaf people of
all ages and professions. Some chose to use their voices, others preferred
to use a sign language interpreter. She visited schools for the deaf,
deaf clubs, and churches for the deaf, and she participated in many activities
related to deafness, among them the conference and festival, The Deaf
Way, held in Washington, D.C. in July 1989.
In The Shadow of the Rings, Parts l & 2 (1997) traces the story of women in the Olympic (Summer) Games and in the Olympic Movement. Like snapshots in a personalized photo album -from Olympia, Greece, to Atlanta, Georgia -from one woman to another...
Part 1: The Pioneers begins with a visit in the ancient stadium at Olympia, Greece, and a recollection of pioneering women athletes. It moves on to the modern games and stories told by the athletes themselves about training conditions for women in the 1920s; gender issues in the '40s; and life after the Games. Emotionally charged and reflective, informative and entertaining, The Pioneers includes the late U.S. gold medalist Helen Stephens (1936), Great Britain's Dame Mary Glen-Haig (1948), and the Dutch track and field legend, Fanny Blankers-Koen (1948).
Part 2: The Next and the Now Generations follows the evolution of women athletes and officials on the Olympic playing fields from the 1950s through the volatile '60s and '70s to the current scene. An inspirational collage of voices from several countries, this program introduces administrators from the IOC headquarters in Lausanne, Switzerland; and US gold medalists Sheryl Swoopes (basketball) and Dominique Dawes (gymnastics).
Tunnel Works, Parts 1 and 2 (1998) is a docu-meditation on three related issues: on New York City's third water tunnel that will eventually replace the existing two; on water as a powerful, but finite resource; and on the nature of work as the construction of the tunnel powerfully reveals the ability of people in our society to work together and to cross lines of race, gender, and class as they accomplish tremendous tasks. With stories written and performed by 1997 Obie Award-winning artist, Marty Pottenger.
REGINE BEYER (Berlin, Germany) was born and raised in Germany, where she produced
over thirty documentaries for various public radio stations. She lived
and worked in the U.S. as Associate Director of New Radio and Performing
Arts, Inc. and Associate Producer of the NEW AMERICAN RADIO series from
1981 to 2002. While she continues to produce cultural documentaries (distributed
independently and by National Public Radio), Beyer also gives workshops,
curates radio art exhibits, and participates in international radio competitions
and conferences. top
Hirschi's Cow (1994)
(11:58) "I awoke one morning to the sounds of cows mooing in the pasture
next to my home. Music to my ears, the moos became the inspiration for
a concerto in three 'moo-vements'. . . . The piece also includes the voice
of the cows' owner as he tells the story of growing up with cows and what
makes them moo." (Bimstein)
PHILLIP KENT BIMSTEIN
(Rockville, UT) is a graduate of the Chicago Conservatory of Music.
Stimulated by the Talking Heads and Elvis Costello, he formed his own
new wave rock group Phil 'n the Blanks, and produced three albums. After
further musical studies at the University of California at Los Angeles,
Bimstein now lives next to the Zion National Park. Fascinated by language
and the ability of music to tell a story, he frequently incorporates text
in his music. top
|Electric Lady (7:35) Performance art-storytelling from a decidedly female perspective that expands into soundscape and song forms.
LYNN BOOK (New York, NY) is an interdisciplinary performance artist, vocalist and composer recently transplanted from Chicago to New York City. Her performance work has evolved over the past 15 years from a very physical and visually charged form to include a broad repertoire of vocal activities ranging from textual play and Dada scores to more free-form musical and extended vocal territories.
Freies Berlin Presents (1995)
An audio essay on Sabine Breitsameter's show International Digital Radio
Art on the multicultural channel of the radio station, Sender Freies Berlin,
Germany. With comments and observations by Breitsameter, edited, mixed,
and intercut with examples from some of her most recent shows. Produced
by Regine Beyer.
(Berlin, Germany) is an independent feature documentary producer,
curator of sound art events, critic, and the originator and host of the
Sender Freies Berlin show, International Digital Radio Art. She is also
one of the most knowledgeable German experts on the national and international
radio/audio art scene. top
Pandora's Box (1991) (16:00) Makes use
of the myth of Pandora, the most beautiful woman in the world, who opens
a box placed in her trust releasing all the plagues and suffering in the
world. The box in this composition is the television set. The script for
Inside Pandora's Box may be viewed as a collection of shards excavated
from the TV medium, including real and fake commercials, jokes, excerpts
from series, and commentaries. Musically speaking, the work straddles
the fence between "serious" electroacoustic music and popular music, especially
TV music. Formally, it is an attempt to apply film/video editing concepts
to the structure of music. Commissioned by the Swedish National Institute
WILLIAM BRUNSON (Stockholm,
Sweden) was born in Dallas, Texas, and has been living in Sweden since
1980. He is a composer, freelance music producer, and recording engineer
for film, radio and record productions. Brunson is best known for his
electroacoustic music (Tapestry II, Unseen, An Open Place, and others)
which has been widely performed in Europe and the United States.
CARNAHAN, MELODY SUMNER
Ballad of Mistuh Jack (1992) A nonlinear
narrative that unfolds in patterns similar to those of blues lyrics. There's
a bar on the outskirts of a small Northeastern town. A bottle smashed
against a table. A gun cocked. And for the first time Mistuh Jack, former
steel mill worker, bar owner finds himself poised to do what he has always
said he would doshoot anyone who disturbs the peace of his bar.
Commissioned by NEW AMERICAN RADIO.
J. RUFUS CALEB
(Philadelphia, PA) received his Master of Arts from John Hopkins University
and joined the english department at the Community College of Philadelphia
in 1975. His plays have been produced for television, radio, and for the
stage. He has also published poetry and short fiction in various magazines.
He serves on the boards of the Philadelphia Young Playwrights Festival
and the Theatre Association of Pennsylvania. top
|Gefion (11:10) (1997) was first performed as a sound installation at the Gefion Fountain in the center of Copenhagen, Denmark. It illustrates an old Nordic legend: After the god Odin had settled on a Danish island, he desired more land. He sent his young daughter Gefion north to search for it. When Gefion came to the court of the Swedish king Gylfe, the king promised her as much land as she could plough in one day and one night. The goddess transformed her four sons into oxen, who ploughed out a patch of king Gylfe's land. This the goddess cast into the sea, where it became known as "Sealand" or Denmark. Composed of the sounds made by the Gefion Fountain, the radio version presented here, includes brief texts about the Gefion myth, performed in Old Norse and in Danish. Gefion is beautifully recorded and produced, and resonates with the spirit of the medieval myth.
MORTEN CARLSON: bio not available at this time.
(1994) With Laetitia Sonami and Marie
Goyette. Carnahan's story is about two powerful women who come under each
other's influence, thereby releasing unconscious contents. Each begins
to see the other as evil, bringing to life a type of vampire a woman
who can cut her body in halfthe once-metaphorical beast known in
Philippine folklore as "the manananggal." During the unraveling of their
history, the two women again draw close, the leitmotif of each is firmly
underscored as she projects onto the other woman emotions and elemental
forces she has repressed in herself. Originally commissioned for stage
by STEIM in Amsterdam. Commissioned by NEW AMERICAN RADIO. [Listen]
Bench (1995) With Laetitia Sonami.
This story takes place in a city square, depicting an episode in the lives
of two street people, a man and a woman, as observed by a narrator who
watches from her hotel balcony. Focusing in, the narrator begins to "hear"
fragments from the minds of the lovers: The young man, once a classical
pianist, now produces a hellish blues, which fuses with the courtyard's
musique concrète, with shards of his narcissistic dreams, and with
dehydrated strings of the older woman's distorted understanding. The narrator
doesn't move to interfere, yet she is compelled by what she witnesses:
Is the woman rescuing or destroying the man? Commissioned by NEW AMERICAN
MELODY SUMNER CARNAHAN
(Santa Fe, NM) received an M.F.A. in writing from Mills College where
she began working with composers, including Robert Ashley. The author
of story collections, The Time Is Now and Thirteen (Burning Books), and
a Tibetan man's biography, In the Presence of My Enemies (Clear Light),
she has published thirty works of fiction and essay in periodicals and
anthologies including the San Francisco Chronicle and the City Lights
Review. Experimental Intermedia Foundation commissioned a one-hour radio
program featuring her collaborative works with composers, and other programs
featuring her writing have been aired by KPFA, Berkeley, WEVL, Memphis,
and CFUV in Victoria.
(Oakland, CA) Originally from France where she studied with composer
Eliane Radigue, Sonami moved to the U.S. in 1976, and has since been composing
and performing live electronic solo works in numerous venues in the U.S.
and abroad, including The Kitchen (NYC) and Ars Electronica in Linz, Austria.
For three years she was awarded residencies at STEIM in Amsterdam, where
she developed and adapted new gestural controllers for musical performance
and composed works with them. Her compositions have been recorded Imaginary
Landscapes (Electra Nonesuch), Jewel Box (Tellus 26), and Another Coast
(Music & Arts).
(Berlin, Germany) Co-composer/co-producer Manananggal. Goyette, originally
from Montreal, studied piano at McGill University and with Radu Lupu in
London. Since 1989 she has been working in the field of electronic music,
collaborating with dancers, artists, and performers. She developed her
interactive electronic shoes and beltused in creating her vocal
and musical composition for Manananggalduring a residency at STEIM
in Amsterdam. top
Mountain (1991) is the story of an attempted
ski trip in Nevada at the time of the Gulf War. That year there was hardly
any snow at all and the trip turned into an extended drive through the
states mountain ranges and basins. As the producer encountered scene
after scene of violence cowboys cutting off the testicles of cattle
and branding them, the ear-shattering noise of military jets; a drunken
sledding race turned bloody the CNN coverage of the Gulf War blasting
from the tv screens in local bars took on new meaning. [Listen]
(Salt Lake City, UT) has produced documentaries, essays, commentaries,
and sound portraits for public radio since 1983. His work has been broadcast
by NPR on "All Things Considered," "Weekend Edition,"
and "Soundprint." His stories have also been aired by the BBC
and the ABC, Australia, as well as This American Life (WBEZ,
Chicago), Radio Smithsonian, NEW AMERICAN RADIO and "The Ossgood
Files." (CBC Radio Network). Battle Mountain was premiered by NPRs
"Soundprint" in 1991. top
to D.G. (1992)
Metal pipes, pneumatic tubes, radio and television recordings, vocal articulations,
processing equipmentall combine to shape impulsive and aggressive
sound textures with great impact. (#18, 93; #23, 95 with Messina and Rydberg)
Biography unavailable. top
Pacific (1993) With composer/performer
Jin Hi Kim. Two widely traveled musicians and well-known new music artists
combine their creative sensibilities in search of the indigenous "soundprint"
of four Asian countries. Many location recordings, such as, of aboriginal
drones, the clanging cymbals of Korean shamans, the double reeds of Japan,
the winds of New Zealand, sounds from airports around the Pacific Rim,
and overheard conversations, identify and capture an aspect particular
to and characteristic of a site or location on the composers' travels.
Commissioned by NEW AMERICAN RADIO. [Listen]
(Connecticut) is the only oboist in America who has devoted his career
to the performance of new and experimental music. For the past eighteen
years Celli has commissioned and collaborated with composers to create
an extensive body of new work for oboe and English horn. These works range
from solo acoustic works to works with ensembles, live electronics, multimedia
works and improvisation. Over the past decade Celli has studied and worked
with the musics of Africa, India, and recently, Asia.
JIN HI KIM
(Connecticut) was trained as a traditional musician in her native
Korea. She came to the United States in 1980. She is a pioneer in the
fusion of traditional and contemporary music in both her komungo (a six-string
instrument) improvisations and her compositional activity. Kim has given
solo concerts in the U.S., Canada, Belgium, Holland, Germany, and South
America. She has worked with such contemporary improvisers as Elliott
Sharp, Malcom Goldstein, and Henry Kaiser, and she has been commissioned
to compose works for the Kronos Quartet, the California EAR Unit and other
ensembles and soloists. top
In a curious repeat of the history of Asian immigrants, this work focuses
on an elderly Chinese-American woman left behind in an American suburb
by a husband who wishes to return to his native China. More Americanized
than he, her solitude proves a liberation. Told as a monologue with flash-backs
to scenes from her earlier life, Falling Free is a delicate, poetic rendering
of ambiguities: the ambiguity of the Chinese-American experience, and
of human desire. An adaptation of a short story by the same name. Commissioned
by NEW AMERICAN RADIO. [Listen]
DIANA CHANG (New
York, NY) , the daughter of a Chinese father and Eurasian mother, was
born in New York City, but spent some of her childhood in Beijing and
Shanghai as well as in the United States. She has taught creative writing
at Barnard College, exhibited paintings in solo and group shows, and edited
The American Pen. She is the author of A Woman of Thirty, The Only Game
in Town, A Passion for Life, Eye to Eye and A Perfect Love, and the poetry
collections The Horizon Is Definitely Speaking, What Matisse is After
and Earth Water Light. top
and Curious Subjects (1994)
(13:00) Using recordings of animals at Sydney's Taronga Zoo, this work
is an "animal performance piece" that seeks to provide the quintessential
zoo experience: curiosity, a feeling for the exotic, entertainment, and
reflection. Cheney's outstanding sound recordings and studio mix were
created with the Australian Broadcasting Corporation's award-winning producer/engineers
Phillip Ulman and John Jacobs. [Listen]
Listening Room Presents (1995) A portrait
of the Australian Broadcasting Corporation's Listening Room series, which,
since 1988 has commissioned and aired an amazing variety of sound expressions
under the guidance of Roz Cheney. This program features an interview with
Roz Cheney about the series' concept and most recent activities, along
with excerpts from award-winning productions, edited and produced by Regine
is a founding member of Double Jay, Australian Broadcasting Corporation's
Sydney station of contemporary music, cultural ideas, and politics, which
began broadcasting in 1975. A former producer and director with the drama
and features department as well as the comedy unit, Cheney is currently
executive producer of the experimental http://audiofiles.newamericanradio.org/radio series, The Listening
(1990) With Alan Powell. An exploration
of a psychic aural space just south of our consciousness. That very special
location defined as "between the GRASS and where the GRASS is always greener"
. . . Borderland . . . plotted by scientific method and the Western white
male gaze . . . that ever so elusive place of American media myth." (the
artists) A collage that blends stories and found sounds in a contrapuntal
assemblage of gender encounters and questions of "otherness." The stories
include R. Gordon Wasson's recounting of his first psychotropic mushroom
experience with the Mexican-Indian shaman, Maria Sabena, and Rosemarie
Waldrop's tale of Washington, D.C., and the sacrifices of younq Aztec
virgins. Commissioned by NEW AMERICAN RADIO. [Listen]
Wars (Parts 1 and 2) (1991) With
Alan Powell. An experiment with real life stories from neighbors and friends
who knew soldiers in the Gulf War, juxtaposed with military statements
taken off the air. Part 1: "The Interior" (internal/being within). The
combat of daily living in a free and open society wherein politics and
technology draw the lines of battle and everyone chooses sides. Part 2:
"The Exterior" (outward/ foreign). Has the Third World War finally begun,
or have we only just noticed the battle that's been raging for some time?
Language appears to be the ultimate camouflage. Commissioned by NEW AMERICAN
(New Jersey) received her education at the Rhode Island School of
Design, where she majored in textile design. She is currently a lecturer
at the University of the Arts, photo/film/animation department, in Philadelphia.
As a video artist, Coleman has worked collaboratively with video artist
Alan Powell for well over a decade. Their work has been presented in numerous
exhibitions nationally and internationally.
(New Jersey) is currently an assistant professor in the radio/television/film
department at Temple University. Coleman's and Powell's work has been
presented in numerous exhibitions nationally and internationally, and
has been shown on Swiss television, Montreal Cable TV, Swedish television,
the Learning Channel, and WHYY-TV 12, among others. top
Spark Heard 'Round the World (1989)
A sonic portrait of the world as revealed through electromagnetic phenomena.
It is shaped out of the tremendous buzz, hum, and squawk of the international
communications systems: commercial FM and AM, short-wave and long-wave
transmissions, HAM and CB radio, public service bands, Morse code, telex
and other coded signals. A frenzied noisy striving for communication that
thickens into an almost tangible morass of sound, then loosens into sound
patterns and light textures. The human voice and its messages seem strangely
lost in this environmentdistorted, barely audiblewhile the
transmission system itself sounds vibrant and amazingly alive. Commissioned
by NEW AMERICAN RADIO. [Listen]
(Chicago, Illinois) Nicolas Collins is currently Assistant Professor,
Chair, Sound at the School of the Art Institute of Chicago. Born in New
York City in 1952, he began composing in 1972. He attended Wesleyan University
(BA, 1976 and MA, 1979), and worked for several years with David Tudor.
An heir to Tudor's school of "home-made" electronic circuitry,
and a pioneer in the use of microcomputers in live performance, Collins
has also made extensive use of radio and found sound material in his compositions
and sound installations.
From 1992-95 Collins was visiting Artistic Director
of Stichting STEIM (Amsterdam), and in 1996-97 a DAAD composer-in-residence
in Berlin. Since 1997 he has been editor-in-chief of the Leonardo Music
Journal. In September 1999, he joined the faculty of the School of the
Art Institute of Chicago. top
BACZEWSKA, LYNN BOOK, CELIA, ANNA HOMMLER, ELYSE KERMANI, and the QUBE CHIX
New Voices and Sounds
is an inspired collage by NEW AMERICAN RADIO producers Helen Thorington
and Regine Beyer, created from audio art works, improvisations, and compositions
by women composers from across the country. Listen to the playful, punk-influenced
avant-cabaret song, "I want a bald boyfriend" by the Qube Chix juxtaposed
with Celia's surreal music/poetry influenced by the mysticism of her Aztec
background (San Francisco). Hear Anna Hommler's pseudo-language explorations
(Los Angeles) echo against the delicately meditative "Clearing, Mode of
Dream" by Lynn Book (Chicago). Get into the spirit of Christine Baczewska's
silly lyricism in "Letter From Home" and the wild and angry vocalizations
of Elyse Kermani (New York). These artists have something to say, and
they express themselves with passion, intelligence, and sensitivity.
Beginner's Guide to Attracting Birds
(1995) A tone-poem for radio that draws
on a number of never used sounds from the composer's archives, as well
as newly recorded materials such as the magical singing tones of high-tension
wires in the wind, and the elusive musical hums of the Bay of La Speza
(Italy). These sounds are as much about acoustic spaces as they are about
geographical ones, and while all vastly different, are powerful sources
of natural melody, rhythm, and harmony. Above all they are sounds that
suggest the presence of "voices," human, ghostly or otherwise. The definitive
character of A Beginner's Guide to Attracting Birds is given by the gradual
and continuous digital transformation of these sounds into those of human
voices. The work culminates in the slow emergence of John Cage's voice,
based on fragmented samples of his Charles Eliot Norton Lectures at Harvard
(1988-89). Commissioned by NEW AMERICAN RADIO. [Listen]
CURRAN (New York City/Oakland/ Rome) Alvin
Curran is known internationally for his compositions, solo performances,
and large scale sound installations. Inspired by the legacy of the American
experimental music tradition, his 100 plus works embrace all the "contradictions."
From these he forges a very personal musical language from all the "languages."
He is dedicated to the restoration of dignity to the profession of making
non-commercial music as part of a personal search for future social, political
and spiritual forms. Curran has been the Milhaud Professor of Composition
at Mills since 1992 where his seminars and private lessons embrace every
aspect of being a professional in today's new-music world. Curran's work
is recorded on CRI, New Albion, Catalyst/BMG, Tzadik, Centaur Wergo, Ellipsis,
BTC, Music from Mills. top