|Open rehearsal for Dance No. 4 by Philip Glass. Robert Haskins, synthesizer. Juliet Forrest, Choreography; Juliet Forrest, Theresa Merenda, Cynthia Plavier, Dancers.|
|25 Years of Looking to the Future: Critics Panel
“Music and Technology: The Future of Music”
Tuesday, February 9 1993
The relationship between art music and society is changing radically. Beginning with observations from three perspectives — creation (the composer), dissemination, reception (the listener) — a picture of the current situation can be sketched. Two futures might be imagined: a proliferation of specialist musics (more of the same), a deepening and focusing of those facets which are not culture-bound (something new). There are aspects of human physiology and psychology (e.g., spatial perception, organizational principles) that offer potential as yet only tentatively addressed in music. An argument can be made for an activist alliance of musicians and scientists that might enable art to regain a say in shaping its future.
Roger Reynolds was born 19 July 1934, and was educated at the University of Michigan in both Physics and Music. He has been active since the ’60s as a composer, organizer, author, lecturer and teacher. In Ann Arbor, he co-founded the notorious ONCE festivals and, in 1971, he founded the Center for Music Experimentation at the University of California, San Diego. Published works include A Searcher’s Path, A Composer’s Ways (book), MIND MODELS (book), Whispers Out of Time (for string orchestra), Archipelago (for chamber orchestra and computer generated sound), Visions (for string quartet), and Symphony[Myths] (for orchestra). Reynolds won the Pulitzer Prize in 1989, and has been honored by the National Institute of Arts and Letters, the Koussevitzky and Suntory foundations, and the Library of Congress. His music is published exclusively by C.F. Peters Corp., and is available on New World, Wergo, Lovely, and Gramavision CD’s.