Lucia dlugoszewski percussion instruments

Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia. Women Encyclopedias almanacs transcripts and maps Dlugoszewski, Lucia —. Dlugoszewski, Lucia — gale. Learn more about citation styles Citation styles Encyclopedia. More From encyclopedia.

About this article Dlugoszewski, Lucia — Updated About encyclopedia. It is not a surprise that she then moved on to working with dance and movement, raising other questions that challenged traditional instruments and compositional techniques. Her collaboration with Erick Hawkins, starting from , did not only inspire her, but also had a profound impact on Erick Hawkins in his aesthetic, as they both tapped into the realities of the body; egalitarian collaboration between sound, movement and immediacy; and possibly the intimacy of the theatricality of sound and its performativity.

Although still composing within a classical contemporary musical sense, she continued to invent new instruments to push the boundaries she confronted. Because physically we are limited. I had a problem exploring that range. I had never played in that high range. I had never thought about it. It is clear that as a composer she has challenged the musicians playing her work, at times writing music that is almost impossible to perform.

But at the same time, it is obvious that her exploration of music has been an investigation into impossible forms. Her expanded sonic experiments allude to technique, but it is also undeniably her own technique, unique to her compositional imagination, instrument preparation and interpretation. These preparations included a score and detailed instructions on engaging with the material objects brought into a conversation with an instrument piano, percussion, trumpet or a collection of instrumentations.

But they also included an abundance of philosophical texts and aesthetical maps, which are also being shared at the Library of MaerzMusik during the festival. She has also always maintained her freedom. But the money never really worked out. Everything she earned and there was not much immediately went back into her work as an artist. Lucia Dlugoszewski came into the world in not, as she sometimes herself claimed, in in Detroit, as the daughter of Polish immigrants.

Her talent for the piano, for writing and even for composing was evident at an early age. Here she did not just play her sonatas, from the start she also played on the inner workings of the piano and on everyday objects such as glass, paper, porcelain, boiling and whistling kettles, typewriters and boxes of matches. On these occasions she would draw a curtain between herself and the audience so that — unlike with John Cage — nothing they might see could distract them from what they heard.

She also devised a series of percussion instruments that are reminiscent of Chinese hand drums, looking partly like table tennis bats and partly like axes. These had balls fixed to their sides on strings that would strike the surface of the object when it was twisted. Not only because she and Hawkins were a couple. But also because her music would soon be created directly out of their choreographic work.

Dlugoszewski was aware that her compositions could have held their own on the concert platform. Invented Instruments [ edit ]. Philosophy [ edit ]. References [ edit ].

Lucia dlugoszewski percussion instruments

In Sadie, Stanley ; Tyrrell, John eds. London: Macmillan Publishers. ISBN Introduction to Modern Dance Techniques. Princeton Book Company. The Oxford Dictionary of Dance 2nd ed. Oxford University Press. Archived from the original on 22 August University of Cincinnati. Retrieved October 24, The New York Times. Oakland: University of California Press, , p.