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LMJ11 Photo CaptionAuthor(s): Nic CollinsSource: Leonardo Music Journal, Vol. 12, Pleasure (2002), p. 91Published by: The MIT PressStable URL: http://www.jstor.org/stable/1513363 .
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the electroacoustic musical production ofJacqueline Nova, although I mention that one of her works for chamber
groups was given an award at the Third Festival of Music in Venezuela as an indication that Nova is a multifaceted
composer. The information on Atehortua's date
of birth I found on the Internet, in the virtual library Biblioteca Luis Angel Arango (BLAA), which seems to me to be one of the best libraries in Colombia as far as culture and national art are concerned. At any rate, finding Ate- hortua's exact birthdate was a puzzle since documents exist that indicate at least three different dates. I am in
agreement with Romano that my refer- ence to Atehortua as the father of academic music in Colombia was per- haps made too lightly, but my comment was based on his work in the field of
experimental art music in Colombia
during the past 25 years. I also agree that Gonzalez Zuleta should be consid- ered one of the patriarchs of art music in Colombia, but Atehortta was per- haps the first Colombian composer to
incorporate 20th-century techniques and aesthetics as part of his personal style, whereas Gonza;lez Zuleta was a
composer who at the height of the 20th century used romantic and classical models as his compositional language. It may be true that David Feferbaum is not currently active as a composer, but in the 1970s he was one of the few
composers specializing in electro- acoustic music in Colombia, and be- came a professor on this subject at the
department of music of the faculty of arts of the National University of Colombia in Bogota, where he mounted a private study for the pro- duction of electroacoustic music. Therefore, historically, Feferbaum is
the electroacoustic musical production ofJacqueline Nova, although I mention that one of her works for chamber
groups was given an award at the Third Festival of Music in Venezuela as an indication that Nova is a multifaceted
composer. The information on Atehortua's date
of birth I found on the Internet, in the virtual library Biblioteca Luis Angel Arango (BLAA), which seems to me to be one of the best libraries in Colombia as far as culture and national art are concerned. At any rate, finding Ate- hortua's exact birthdate was a puzzle since documents exist that indicate at least three different dates. I am in
agreement with Romano that my refer- ence to Atehortua as the father of academic music in Colombia was per- haps made too lightly, but my comment was based on his work in the field of
experimental art music in Colombia
during the past 25 years. I also agree that Gonzalez Zuleta should be consid- ered one of the patriarchs of art music in Colombia, but Atehortta was per- haps the first Colombian composer to
incorporate 20th-century techniques and aesthetics as part of his personal style, whereas Gonza;lez Zuleta was a
composer who at the height of the 20th century used romantic and classical models as his compositional language. It may be true that David Feferbaum is not currently active as a composer, but in the 1970s he was one of the few
composers specializing in electro- acoustic music in Colombia, and be- came a professor on this subject at the
department of music of the faculty of arts of the National University of Colombia in Bogota, where he mounted a private study for the pro- duction of electroacoustic music. Therefore, historically, Feferbaum is
the electroacoustic musical production ofJacqueline Nova, although I mention that one of her works for chamber
groups was given an award at the Third Festival of Music in Venezuela as an indication that Nova is a multifaceted
composer. The information on Atehortua's date
of birth I found on the Internet, in the virtual library Biblioteca Luis Angel Arango (BLAA), which seems to me to be one of the best libraries in Colombia as far as culture and national art are concerned. At any rate, finding Ate- hortua's exact birthdate was a puzzle since documents exist that indicate at least three different dates. I am in
agreement with Romano that my refer- ence to Atehortua as the father of academic music in Colombia was per- haps made too lightly, but my comment was based on his work in the field of
experimental art music in Colombia
during the past 25 years. I also agree that Gonzalez Zuleta should be consid- ered one of the patriarchs of art music in Colombia, but Atehortta was per- haps the first Colombian composer to
incorporate 20th-century techniques and aesthetics as part of his personal style, whereas Gonza;lez Zuleta was a
composer who at the height of the 20th century used romantic and classical models as his compositional language. It may be true that David Feferbaum is not currently active as a composer, but in the 1970s he was one of the few
composers specializing in electro- acoustic music in Colombia, and be- came a professor on this subject at the
department of music of the faculty of arts of the National University of Colombia in Bogota, where he mounted a private study for the pro- duction of electroacoustic music. Therefore, historically, Feferbaum is
fundamental to the development of electroacoustic music in Colombia. His work as an educator was of tremendous
importance since a great majority of Colombian composers, musical institu- tions and governmental organizations of that era did not have interest in nor did they support this area.
Romano mentions that the date of birth ofJacqueline Nova that I gave in
my article is erroneous, as demonstrated by Nova's certificate of Colombian citizenship. Due to the
facility with which changes to such documents can be made, perhaps the
only document that would prove the exact birth date of Nova would be her
hospital birth certificate. While the article that I wrote was published 2 years ago, Romano refers to a document that was published recently, and its investiga- tions were made the year previous to its
publication. The reason I include Feliza
Bursztyn in my article was merely to indicate that Las histricas is the first sonic sculpture conceived in Colombia.
Finally, I want to stress again that my article is of general interest and simply aims to be an overview of the technical and aesthetic development of Colom- bian electroacoustic music in the last 30
years.
EDILBERTO CUELLAR E-mail: <[email protected]>
LMJ11 PHOTO CAPTION Christian Wolff kindly sent us the fol-
lowing identifications of personnel shown in Mary Lucier's photograph published in the Introduction to Leonardo MusicJournal 11.
The following is the new-and-
improved photo caption, courtesy of Christian Wolff:
fundamental to the development of electroacoustic music in Colombia. His work as an educator was of tremendous
importance since a great majority of Colombian composers, musical institu- tions and governmental organizations of that era did not have interest in nor did they support this area.
Romano mentions that the date of birth ofJacqueline Nova that I gave in
my article is erroneous, as demonstrated by Nova's certificate of Colombian citizenship. Due to the
facility with which changes to such documents can be made, perhaps the
only document that would prove the exact birth date of Nova would be her
hospital birth certificate. While the article that I wrote was published 2 years ago, Romano refers to a document that was published recently, and its investiga- tions were made the year previous to its
publication. The reason I include Feliza
Bursztyn in my article was merely to indicate that Las histricas is the first sonic sculpture conceived in Colombia.
Finally, I want to stress again that my article is of general interest and simply aims to be an overview of the technical and aesthetic development of Colom- bian electroacoustic music in the last 30
years.
EDILBERTO CUELLAR E-mail: <[email protected]>
LMJ11 PHOTO CAPTION Christian Wolff kindly sent us the fol-
lowing identifications of personnel shown in Mary Lucier's photograph published in the Introduction to Leonardo MusicJournal 11.
The following is the new-and-
improved photo caption, courtesy of Christian Wolff:
fundamental to the development of electroacoustic music in Colombia. His work as an educator was of tremendous
importance since a great majority of Colombian composers, musical institu- tions and governmental organizations of that era did not have interest in nor did they support this area.
Romano mentions that the date of birth ofJacqueline Nova that I gave in
my article is erroneous, as demonstrated by Nova's certificate of Colombian citizenship. Due to the
facility with which changes to such documents can be made, perhaps the
only document that would prove the exact birth date of Nova would be her
hospital birth certificate. While the article that I wrote was published 2 years ago, Romano refers to a document that was published recently, and its investiga- tions were made the year previous to its
publication. The reason I include Feliza
Bursztyn in my article was merely to indicate that Las histricas is the first sonic sculpture conceived in Colombia.
Finally, I want to stress again that my article is of general interest and simply aims to be an overview of the technical and aesthetic development of Colom- bian electroacoustic music in the last 30
years.
EDILBERTO CUELLAR E-mail: <[email protected]>
LMJ11 PHOTO CAPTION Christian Wolff kindly sent us the fol-
lowing identifications of personnel shown in Mary Lucier's photograph published in the Introduction to Leonardo MusicJournal 11.
The following is the new-and-
improved photo caption, courtesy of Christian Wolff:
Mary Lucier, gathering of U.K. com-
posers, London, 1971. This photo was taken outside an Indian restaurant in London following a concert by the Sonic Arts Union. In addition to the Sonic Arts Union were what Alvin Lucier described at the time as "all the
interesting composers in England." Shown in the photograph, from left to
right, are Gordon Mumma, Takehisa
Kosugi, David Behrman, ?, Kathy Mor- ton, ?, Christopher Hobbs, Robert
Ashley, ?, ?, Mary Lucier (her timer-
triggered camera was on a tripod across the street), directly behind her possibly Gavin Bryars, Howard
Skempton, Alvin Lucier, ?, ?, Stella Cardew, Emily Cardew, John Nash, Cornelius Cardew. Any reader who can identify individuals in the photo should notify Nic Collins at < [email protected] >.
NIC COLLINS Editor in Chief <[email protected]>
LMJ11 CD CONTRIBUTORS' NOTES ON-LINE
Essays and track information for the Not Necessarily "English Music" CD, cu- rated by David Toop, are available on- line at: <http://mitpress2.mit.edu/ Leonardo/lmj/lmj 1l.html>. Two additional texts written by Paul Burwell about abAna's TheJudith Poem and Rain in the Face's Instant Composition no. 1 are included on-line. Burwell's texts were inadvertently left out in the print version of the LMJ11 CD Contributors' Notes section. We apologize to Paul Burwell, David Toop and our readers for this error.
THE EDITORS
Mary Lucier, gathering of U.K. com-
posers, London, 1971. This photo was taken outside an Indian restaurant in London following a concert by the Sonic Arts Union. In addition to the Sonic Arts Union were what Alvin Lucier described at the time as "all the
interesting composers in England." Shown in the photograph, from left to
right, are Gordon Mumma, Takehisa
Kosugi, David Behrman, ?, Kathy Mor- ton, ?, Christopher Hobbs, Robert
Ashley, ?, ?, Mary Lucier (her timer-
triggered camera was on a tripod across the street), directly behind her possibly Gavin Bryars, Howard
Skempton, Alvin Lucier, ?, ?, Stella Cardew, Emily Cardew, John Nash, Cornelius Cardew. Any reader who can identify individuals in the photo should notify Nic Collins at < [email protected] >.
NIC COLLINS Editor in Chief <[email protected]>
LMJ11 CD CONTRIBUTORS' NOTES ON-LINE
Essays and track information for the Not Necessarily "English Music" CD, cu- rated by David Toop, are available on- line at: <http://mitpress2.mit.edu/ Leonardo/lmj/lmj 1l.html>. Two additional texts written by Paul Burwell about abAna's TheJudith Poem and Rain in the Face's Instant Composition no. 1 are included on-line. Burwell's texts were inadvertently left out in the print version of the LMJ11 CD Contributors' Notes section. We apologize to Paul Burwell, David Toop and our readers for this error.
THE EDITORS
Mary Lucier, gathering of U.K. com-
posers, London, 1971. This photo was taken outside an Indian restaurant in London following a concert by the Sonic Arts Union. In addition to the Sonic Arts Union were what Alvin Lucier described at the time as "all the
interesting composers in England." Shown in the photograph, from left to
right, are Gordon Mumma, Takehisa
Kosugi, David Behrman, ?, Kathy Mor- ton, ?, Christopher Hobbs, Robert
Ashley, ?, ?, Mary Lucier (her timer-
triggered camera was on a tripod across the street), directly behind her possibly Gavin Bryars, Howard
Skempton, Alvin Lucier, ?, ?, Stella Cardew, Emily Cardew, John Nash, Cornelius Cardew. Any reader who can identify individuals in the photo should notify Nic Collins at < [email protected] >.
NIC COLLINS Editor in Chief <[email protected]>
LMJ11 CD CONTRIBUTORS' NOTES ON-LINE
Essays and track information for the Not Necessarily "English Music" CD, cu- rated by David Toop, are available on- line at: <http://mitpress2.mit.edu/ Leonardo/lmj/lmj 1l.html>. Two additional texts written by Paul Burwell about abAna's TheJudith Poem and Rain in the Face's Instant Composition no. 1 are included on-line. Burwell's texts were inadvertently left out in the print version of the LMJ11 CD Contributors' Notes section. We apologize to Paul Burwell, David Toop and our readers for this error.
THE EDITORS
Commentaries 91 Commentaries 91 Commentaries 91
This content downloaded from 91.229.248.152 on Wed, 18 Jun 2014 00:52:08 AMAll use subject to JSTOR Terms and Conditions
