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Bill Dietz: Interactions with »Listening Mind« − Maryanne Amacher's Glial Instrumentations
Paranoia. Grenzerfahrungen elektronischer Musik im Kontext von Iannis Xenakis’ Schaffen
English - June 28, 2012 10:37 - 47 minutes - 594 MB VideoPerforming Arts Arts Music ianns xenakis paranoia symposium maryanne amacher williams mix extended neue musik performance musique concrète upic john cage Homepage Download Apple Podcasts Google Podcasts Overcast Castro Pocket Casts RSS feed
Previous Episode: Opening by Peter Weibel und Ludger Brümmer
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.