BEGIN:VCALENDAR VERSION:2.0 X-WR-CALNAME:EventsCalendar PRODID:-//hacksw/handcal//NONSGML v1.0//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:America/New_York LAST-MODIFIED:20240422T053451Z TZURL:https://www.tzurl.org/zoneinfo-outlook/America/New_York X-LIC-LOCATION:America/New_York BEGIN:DAYLIGHT TZNAME:EDT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 DTSTART:19700308T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT BEGIN:STANDARD TZNAME:EST TZOFFSETFROM:-0400 TZOFFSETTO:-0500 DTSTART:19701101T020000 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT CATEGORIES:College of Arts and Sciences DESCRIPTION:David Tudor and Pauline Oliveros were influential American comp osers who collaborated extensively – particularly in avant garde electro nic and electroacoustic music. Their work questioned the boundaries betwee n human and technological expression, and their collaborations helped to d efine the emerging field of sound art. In this third presentation in the c ross-disciplinary History & Art History Seminar Series, Walker Downey (Art History Professor, CVPA) will discuss the research involved for his book In Resonance: The Sonic Art of David Tudor and Pauline Oliveros (forthc oming Spring 2027 from University of California Press), and the unique cha llenges the project’s two main subjects have posed. While friends and co llaborators David Tudor (1926–1996) and Pauline Oliveros (1932–2016) h ave each been canonized as early innovators in postwar experimental music and sound art, the nature of their respective works, which often took the form of elaborate electronic sound-systems activated in live performance, has consistently short-circuited the methodologies of musicology and art h istory. Some of their most important creative efforts were neither documen ted (whether via photos, film, or sound recordings) nor translated into mu sical notation; in such cases, there are no straightforward primary source s for the historian to analyze. In researching In Resonance over the cou rse of six years, Downey has sought out insight into Tudor and Oliveros vi a odd and circuitous channels, piecing together electronic diagrams drawn on scrap paper and hotel notepads, delving into intimate correspondence wi th friends and family, and tracking down never-before interviewed contempo raries of Tudor and Oliveros who are now in their late eighties and nineti es.\nEvent page: https://www.umassd.edu/events/cms/short-circuits-electron ic-music-in-the-historical-archive.php X-ALT-DESC;FMTTYPE=text/html:

David Tudor and Pauline Olivero s were influential American composers who collaborated extensively – par ticularly in avant garde electronic and electroacoustic music. Th eir work questioned the boundaries between human and technological express ion\, and their collaborations helped to define the emerging field of soun d art.

In this third presentation in the cross-disciplinary Hi story & Art History Seminar Series\, Walker Downey (Art History Profe ssor\, CVPA) will discuss the research involved for his book In Reson ance: The Sonic Art of David Tudor and Pauline Oliveros (forthcoming Spring 2027 from University of California Press)\, and the unique challen ges the project’s two main subjects have posed.

While friends an d collaborators David Tudor (1926–1996) and Pauline Oliveros (1932–201 6) have each been canonized as early innovators in postwar experimental mu sic and sound art\, the nature of their respective works\, which often too k the form of elaborate electronic sound-systems activated in live perform ance\, has consistently short-circuited the methodologies of musicology an d art history. Some of their most important creative efforts were neither documented (whether via photos\, film\, or sound recordings) nor translate d into musical notation\; in such cases\, there are no straightforward pri mary sources for the historian to analyze.

In researching In Resonance over the course of six years\, Downey has sought out insig ht into Tudor and Oliveros via odd and circuitous channels\, piecing toget her electronic diagrams drawn on scrap paper and hotel notepads\, delving into intimate correspondence with friends and family\, and tracking down n ever-before interviewed contemporaries of Tudor and Oliveros who are now i n their late eighties and nineties.

Event page: https://www.umassd.edu/events/cms/short-circuits-electronic-mu sic-in-the-historical-archive.php

DTSTAMP:20260403T172321 DTSTART;TZID=America/New_York:20260415T163000 DTEND;TZID=America/New_York:20260415T180000 LOCATION:MacLean Campus Center 007 (Blue & Gold Room) SUMMARY;LANGUAGE=en-us:Short Circuits: electronic music in the historical a rchive UID:f52a2f8b7481ee94b3d3b3f2bb69052e@www.umassd.edu END:VEVENT END:VCALENDAR