Biography Annea Lockwood
Annea Lockwood (born July 29, 1939 in Christchurch, New Zealand) is a New Zealand born American composer and teaches electronic music at Vassar College. Her work often involves recordings of natural found sound, though she may be more famous for her Fluxus inspired pieces involved burning or drowning pianos.
Annea studied composition as a girl in New Zealand and went on to pursue a B.Mus (hons) from Canterbury University, New Zealand. There after she went on to study composition at several institutions around Europe with notable teachers: The Royal College of Music (London) with Peter Racine Fricker, the Darmstadt Ferienkurs fur Neue Musik with Gottfried Michael Koenig, the Musikhochschule, (Cologne, Germany) and in also Holland. During the late 60?s and early seventies, Annea performed-composed around Europe but made London her home. Her compositions featured non-conventional instruments, such as glass tubing and burning, moss covered pianos, which she described as sound sculptures, and presented in performance pieces with other sound poets and integrated choreography. Lockwood is most well-known for her mossy opus ?The Glass Concert? (1967) which was published in Source Music of the Avant-Garde then recorded and released by Tangent records.
In the 70?s Annea began to compose what could be considered performance art pieces, though her work was still situated in the realm of music; they are considered so because the essence of the compositional ideas made the audience and environment agents in the piece. During this time Lockwood worked with environmental sounds, capturing them and building developed compositions around an environmental inspiration: A Sound Map of the Hudson River (l982), Annea Lockwood Beside the Hudson River, Frank J. Oteri, NewMusicBox, January 1, 2004 World Rhythms (l975), and parts built on of archetypes and conversations with significant people, Conversations with the Ancestors (1979), composed on conversations with 4 women in their eighties, Delta Run (1982, based on a conversation with the sculptor Walter Wincha), One piece, Three Short Stories and Apotheosis (l985) notably used what Lockwood named the Soundball, which was a foam-covered ball that was made of 6 small speakers and a radio receiver. The impetus for this unusual piece of equipment was to "put sound into the hands of dancers?.
Lockwood?s most recent pieces are written for acoustic-electric instruments and incorporate multi-media and indigenous instruments in her compositions: Thousand Year Dreaming (1991) is a work for four didgeridoos and blends images of the Lascaux cave as part of the performance.
Her progressive ideas and the breadth of her range is quite impressive; from the microtonal, electro-acoustic sounds capes and vocal music, she seems to have explored and expressed previously ignored spaces in modern composition. Lockwood is a consummate craftswoman who explores and reshapes boundaries. Her music has been presented at festivals all over the world, from Germany, Scandinavia, Italy, Britain, Australia, New Zealand and the U.S. Lockwood a Professor Emeritus at Vassar College, NY since 1982 has retired from teaching though she still writes and performs. Her recordings are distributed through these labels: Lovely, XI, ?What Next?/OO Discs, Rattle Records (NZ), Harmonia Mundi, Earth Ear, CRI and Finnadar/Atlantic.
ENVIRONMENT; Inside, An Echo Of a River By JAMES GORMAN, New York Times, March 9, 2003
Art From a River's Past (and Its Present) By DINITIA SMITH, New York Times, January 18, 2001
MUSIC; Electronic Music, Always Current By KYLE GANN, New York Times, July 9, 2000
It's Sound, It's Art, and Some Call It Music By KYLE GANN, New York Times, January 9, 2000
Classical Music in Review By BERNARD HOLLAND, New York Times, April 20, 1993
?? Review/Music; Electronic Components In Work by 3 Composers by JOHN ROCKWELL, New York Times, December 10, 1989
MUSIC REVIEW; Bang on a Can Uptown Cultivates Crossover By ALLAN KOZINN, New York Times, May 23, 1995
Review/Music; Electronic Components In Work by 3 Composers By JOHN ROCKWELL, New York Times, December 10, 1989
1939 birthsLiving people20th century classical composers21st century classical composersAmerican composersLesbian musiciansWomen composers
LGBT composers
Annea studied composition as a girl in New Zealand and went on to pursue a B.Mus (hons) from Canterbury University, New Zealand. There after she went on to study composition at several institutions around Europe with notable teachers: The Royal College of Music (London) with Peter Racine Fricker, the Darmstadt Ferienkurs fur Neue Musik with Gottfried Michael Koenig, the Musikhochschule, (Cologne, Germany) and in also Holland. During the late 60?s and early seventies, Annea performed-composed around Europe but made London her home. Her compositions featured non-conventional instruments, such as glass tubing and burning, moss covered pianos, which she described as sound sculptures, and presented in performance pieces with other sound poets and integrated choreography. Lockwood is most well-known for her mossy opus ?The Glass Concert? (1967) which was published in Source Music of the Avant-Garde then recorded and released by Tangent records.
In the 70?s Annea began to compose what could be considered performance art pieces, though her work was still situated in the realm of music; they are considered so because the essence of the compositional ideas made the audience and environment agents in the piece. During this time Lockwood worked with environmental sounds, capturing them and building developed compositions around an environmental inspiration: A Sound Map of the Hudson River (l982), Annea Lockwood Beside the Hudson River, Frank J. Oteri, NewMusicBox, January 1, 2004 World Rhythms (l975), and parts built on of archetypes and conversations with significant people, Conversations with the Ancestors (1979), composed on conversations with 4 women in their eighties, Delta Run (1982, based on a conversation with the sculptor Walter Wincha), One piece, Three Short Stories and Apotheosis (l985) notably used what Lockwood named the Soundball, which was a foam-covered ball that was made of 6 small speakers and a radio receiver. The impetus for this unusual piece of equipment was to "put sound into the hands of dancers?.
Lockwood?s most recent pieces are written for acoustic-electric instruments and incorporate multi-media and indigenous instruments in her compositions: Thousand Year Dreaming (1991) is a work for four didgeridoos and blends images of the Lascaux cave as part of the performance.
Her progressive ideas and the breadth of her range is quite impressive; from the microtonal, electro-acoustic sounds capes and vocal music, she seems to have explored and expressed previously ignored spaces in modern composition. Lockwood is a consummate craftswoman who explores and reshapes boundaries. Her music has been presented at festivals all over the world, from Germany, Scandinavia, Italy, Britain, Australia, New Zealand and the U.S. Lockwood a Professor Emeritus at Vassar College, NY since 1982 has retired from teaching though she still writes and performs. Her recordings are distributed through these labels: Lovely, XI, ?What Next?/OO Discs, Rattle Records (NZ), Harmonia Mundi, Earth Ear, CRI and Finnadar/Atlantic.
Reviews & Articles
MUSIC REVIEW | SOUNDS LIKE NOW , A 'Bring Your Own Improvisation' Party By ALLAN KOZINN, New York Times October 16, 2004ENVIRONMENT; Inside, An Echo Of a River By JAMES GORMAN, New York Times, March 9, 2003
Art From a River's Past (and Its Present) By DINITIA SMITH, New York Times, January 18, 2001
MUSIC; Electronic Music, Always Current By KYLE GANN, New York Times, July 9, 2000
It's Sound, It's Art, and Some Call It Music By KYLE GANN, New York Times, January 9, 2000
Classical Music in Review By BERNARD HOLLAND, New York Times, April 20, 1993
?? Review/Music; Electronic Components In Work by 3 Composers by JOHN ROCKWELL, New York Times, December 10, 1989
MUSIC REVIEW; Bang on a Can Uptown Cultivates Crossover By ALLAN KOZINN, New York Times, May 23, 1995
Review/Music; Electronic Components In Work by 3 Composers By JOHN ROCKWELL, New York Times, December 10, 1989
Discography
- Thousand Year Dreaming/Floating World, Pogus 21045-2, 2007
- 60x60 (2003) Capstone Records CPS-8744
- Breaking the Surface, Lovely Music, Ltd. CD 2082, 1999
- World Rhythms, on Sinopah (which also includes Ruth Anderson's, I Come Out of Your Sleep), Experimental Intermedia XI 118, 1998
- The Glass World, Nonsequitur/?What Next? WN 0021 & O.O. Discs, 1997
- The Angle of Repose, on Sign of the Times, Thomas Buckner, baritone, Lovely Music, Ltd. CD 3022, 1994
- Thousand Year Dreaming, Nonsequitur/?What Next? WN 0010 & O.O. Discs 0041, 1993
- Night and Fog on Full Spectrum Voice, Thomas Buckner, baritone, Lovely Music, Ltd. CD 3021, 1991
- A Sound Map of the Hudson River, Lovely Music, Ltd. CD 2081, 1989
- Ear-Walking Woman
- Sign Of The Times
- Women in Electronic Music: New Music for Electronic & Recorded Media
- Nautilus on The Aerial: Issue #2
- Red Mesa, Loretta Goldberg, keyboards, Opus One 00152
References
Sources
External links
- Lovely Music Artist: Annea Lockwood
- CDeMUSIC: Annea Lockwood
- Vassar College Music Staff: Annea Lockwood
- Earth Ear Artist Profile: Annea Lockwood
- Annea Lockwood in conversation with Frank J. Oteri
1939 birthsLiving people20th century classical composers21st century classical composersAmerican composersLesbian musiciansWomen composers
LGBT composers
Source: http://en.wikipedia.org/wiki/Annea Lockwood
All text is available under the terms of the GNU Free Documentation License
Links
http://www.sonorika.com/annealockwood/biographyhttp://www.bioandlyrics.com/annealockwood
