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Figure 3.15.
music for solo performer. Source: A. lucier,
Reflections: interviews,
scores, Writings
, edited by g. gronemeyer and R. Oehlschlägel (köln: musikTexte,
1995), 54.
ontological theater—of an open-ended and performative interplay between
agents that are not capable of dominating each other. Second, I do not need
to labor the point that here again ontology makes a difference—
Music for Solo
Performer
is self-evidently different from mainstream notions of music. As
James Tenney (1995, 12) put it, “Before [the first performance of
Music for
a Solo Performer
] no one would have thought it necessary to define the word
'music' in a way which allowed for such a manifestation; afterwards some
definition could not be avoided.” Third, we can note that we are once more
back on the terrain of altered states (and, literally, strange performances!).
Lucier speaks of a “perfectly meditative alpha state” (1995, 56), and, in this
