"We haven't even made it to breakfast!" was a phrase often used by composer Maryanne Amacher (1938-2009) to shorthand her critical and partial approach to knowledge production across the vast artistic, technical, and scientific discourses with which she worked. The same could be said about her own musical thought, which encompassed original presentational formats in existing and speculative media and approaches to sound and listening that conjoined real and imagined social worlds. Wild Sound: Maryanne Amacher and the Tenses of Audible Life discerns meeting points between frameworks for life that emerged from Amacher's multidisciplinary study of sound and listening: within acoustical spectra, inside human bodies and ears, across cities and edgleands, hypothetical creatures and virtual, fictive or distanciated environments. These figurations guide interpretative study of six signal projects: Adjacencies (1965/1966); City-Links (1967-1988); Additional Tones (1976 / 1988), Music for Sound-Joined Rooms (1980), Mini Sound Series (1985) and Intelligent Life (1980s) and countless sketches, notes and unrealized projects. Author Amy Cimini explores Amacher's working methods with an interpretive style that emphasizes technical study, conceptual juxtaposition, intertextual play, and narrative transport.
Auteur
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.
Contenu
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" & "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