A Quote by Lucinda Childs
I like large sounds and very complex sonorities, and I also tend to opt for creating a feeling of vast space. I could achieve this effect either by using a symphony orchestra, which for a dance piece is pretty much impossible these days, or by using a synthesizer on multi-channel tape and a superb sound system, to get that same sensation of expansiveness and depth.
Quote Topics
Quote Author
Related Quotes
I'm working pretty slowly these days, but most of what it is, or a lot of what it is anyway, is kind of in the vein of "Bay of Pigs". Maybe not all in the same scope, but recorded using the same method and using some of the same sounds, or similar sounds.
I conceived of an instrument that would create sound without using any mechanical energy, like the conductor of an orchestra. The orchestra plays mechanically, using mechanical energy; the conductor just moves his hands, and his movements have an effect on the music artistry.
It means basically I'm using the synthesizer more to change the sounds of other things rather than to use it as the source of the sound.
My focus is creating more - creating a DJ set, but also creating the feeling that it's a certain type of production that's happening using multiple decks. I'm layering tracks together, but I'm kind of doing the same thing that I would do in a recording studio.
I was less successful in my attempts to effect preventive vaccination against typhus by using the virus and in trying to produce large quantities of serum using large animals.
I was less successful in my attempts to effect preventive vaccination against typhus by using the virus and in trying to produce large quantities of serum using large animals
I had invented my own system, my own way of making electronic music at the San Francisco Tape Music Centre, and I was using what is now referred to as a classical electronic music studio, consisting of tube oscillators and patch bays. There were no mixers or synthesizers. So I managed to figure out how to make the oscillators sing. I used a tape delay system using two tape recorders and stringing the tape between the two tape machines and being able to configure the tracks coming back in different ways.
I try to write each piece in the language of the piece, so that I'm not using the same language from piece to piece. I may be using ten or twenty languages. That multiplicity of language and the use of words is African in tradition. And black writers have definitely taken that up and taken it in. It's like speaking in tongues. It may sound like gibberish to somebody, but you know it's a tongue of some kind. Black people have this. We have the ability as a race to speak in tongues, to dream in tongues, to love in tongues.
I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.
This is going to sound cheesy, but with acting there are so many tools. When you're on camera, you're using all of it. You're using the voice, you're using your body, you're using wardrobe, all of it, but it's funny, once you take all of those things away, you realize how much you rely on the physicality.
My first tape piece was made with that Sears Roebuck recorder. I modified sound using cardboard tubes with a microphone in the end to filter the sound. I had a wooden apple box with a Piezo [contact] mic and little objects that I could amplify on the box. I used the bathtub for reverberation.
When you listen to a symphony orchestra, and the basses don't - there's no bass part, there's not that much depth. That's why I'm attracted to the instrument, the bass. It brings depth. It's like playing in a rainforest.
When you hear a large symphony orchestra. for instance, in a concert hall, there's a big, sweeping sound that just doesn't get on to a record.
For low light, all the light rays participate. We're using all the light coming through a large aperture to make a picture with a large depth of field - totally impossible with a conventional camera.
I was using tape loops for dancers and dance production. I had very funky primitive equipment, in fact technology wasn't very good no matter how much money you had.
Radio astronomers study radio waves from space using sensitive antennas and receivers, which give them precise information about what an astronomical object is and where it is in our night sky. And just like the signals that we send and receive here on Earth, we can convert these transmissions into sound using simple analog techniques.
Related Authors
Alonzo King Quotes
American
Choreographer
Alwin Nikolais Quotes
American
Choreographer
Arthur Mitchell Quotes
American
Choreographer
August Bournonville Quotes
Danish
Choreographer
Blanca Li Quotes
Spanish
Choreographer
Edward Villella Quotes
American
Choreographer
Elizabeth Streb Quotes
American
Choreographer
Jean-Christophe Maillot Quotes
French
Choreographer
Maurice Bejart Quotes
French
Choreographer
Mia Michaels Quotes
American
Choreographer
Peter Martins Quotes
Danish
Choreographer
Ron Fletcher Quotes
American
Choreographer
Trish Sie Quotes
American
Choreographer
Trisha Brown Quotes
American
Choreographer
