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William
Burroughs, and Samuel Beckett. Hartnett wrote about "...experimental, time-based, and technologically reproducible art objects produced between 1954 and 1964 to represent 'the real'... ...vectors of influence between art and the cybernetic and computational sciences...responded to technological reproducibility in three ways. First of all, writers Guy Debord and William Burroughs reinvented appropriation art practice as a means of critiquing retrograde mass media entertainments and reportage. Second, Western art music composer Richard Maxfield mobilized chance techniques and indeterminacy to resist scientific and philosophical determinism’s pervasive influences upon post-1945 art and life. Third, author and playwright Samuel Beckett conjectured that ubiquitous recording might become problematic to the quality of experiential life in technologically mediated environments."
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style and then adopted 12-tone techniques. It is however techniques for composing with magnetic tape that would prove decisive in the development of
Maxfield's mature compositions. Among his innovations with tape music were the simultaneous performance of improvised instrumental solos with tapes
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In 2017, art historian Gerald
Hartnett finished a doctoral dissertation on Maxfield at the State University of New York, Stony Brook. Hartnett places Maxfield as a crucial contributor to the experimental art and music of the late 1950s and early 1960s, placing him in the context of Guy Debord,
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based upon samples of the same soloist, re-editing of tapes before each public performance so that the pieces were not fixed in a single form, and the use of the erase head of the tape machine as a sound source.
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338:(Thesis). State University of New York at Stony Brook: Unpublished PhD dissertation – via ProQuest Dissertations Publishing.
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180:). In 1959 he taught classes there himself, becoming the first American to teach purely electronic music (as opposed to
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Open reel tapes by electronic music composer
Richard Maxfield containing some of his most well-known works.
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Pytheas Center of
Contemporary Music - biographical note and detailed catalogue of Maxfield's compositions
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As a student at
University of California and in Europe in the 1950s, he composed instrumental scores in a
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in 1963. In 1967, Maxfield left his tape music, scores and equipment in the care of artist friend
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124:. A Hertz Prize travel scholarship allowed Maxfield to travel to Europe, where he met
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allowed
Maxfield to live in Europe between 1955 and 1957, where he studied with
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Richard
Maxfield Collection (ARS.0074), Stanford Archive of Recorded Sound
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Recorded
Objects: Time-based Technologically Reproducible Art, 1954-1964
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by jumping out a window of the
Figueroa Hotel at the age of 42.
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currently maintains the archive of Maxfield's works.
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237:. On June 27, 1969, Maxfield committed suicide in
305:An Anthology of Noise & Electronic Music #5
211:and participated in the publication Young and
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302:Notes written in 1989 by William Dawes, from
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322:http://www.pytheasmusic.org/maxfield.html
85:(February 2, 1927 – June 27, 1969) was a
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207:'s loft. Maxfield was also a friend of
188:-style recordings with microphones).
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738:20th-century American male musicians
203:co-curated proto-Fluxus events at
110:University of California, Berkeley
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788:Suicides by jumping in California
748:American male classical composers
268:MELA Foundation: Richard Maxfield
218:An Anthology of Chance Operations
728:20th-century classical composers
233:(1966–67). In 1969, he moved to
164:, lived for a brief period with
753:American experimental composers
733:20th-century American composers
598:Topographie Anécdotée du Hasard
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274:Minimal Music, Maximal Impact
778:Pupils of Luigi Dallapiccola
743:American classical composers
666:Fluxus at Rutgers University
199:In early 1961, Maxfield and
148:with Sessions and his pupil
284:Fluxus Performance Workbook
231:San Francisco State College
144:. In 1954-55 he studied at
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334:Hartnett, Gerald (2017).
783:Pupils of Roger Sessions
136:. In 1953 he studied at
768:Pupils of Bruno Maderna
773:Pupils of Ernst Krenek
763:Musicians from Seattle
690:Critics and historians
104:, Maxfield studied at
83:Richard Vance Maxfield
229:, where he taught at
182:electroacoustic music
154:Fulbright Scholarship
130:Karlheinz Stockhausen
116:) and privately with
681:Something Else Press
146:Princeton University
106:Stanford University
656:Art & Language
580:Carolee Schneemann
437:Geoffrey Hendricks
158:Luigi Dallapiccola
68:Experimental music
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606:Poème symphonique
570:Charlotte Moorman
166:Hans Werner Henze
89:of instrumental,
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16:American composer
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644:Related articles
565:Richard Maxfield
536:Related artists
392:Genpei Akasegawa
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270:by William Dawes
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95:electronic music
72:electronic music
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39:February 2, 1927
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23:Richard Maxfield
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311:. 2007. SR270.
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225:. He moved to
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150:Milton Babbitt
114:Roger Sessions
79:Musical artist
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723:1969 suicides
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51:June 27, 1969
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517:Robert Watts
512:Wolf Vostell
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472:Larry Miller
452:Milan Knížák
442:Dick Higgins
427:Ken Friedman
407:Joseph Beuys
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193:neoclassical
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118:Ernst Krenek
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53:(1969-06-27)
793:1969 deaths
718:1927 births
634:Spice Chess
575:Dieter Roth
560:Ray Johnson
555:Henry Flynt
507:Ben Vautier
307:(Booklet).
235:Los Angeles
209:Terry Riley
174:David Tudor
122:Los Angeles
58:Los Angeles
712:Categories
671:Intermedia
620:Grapefruit
589:Flux-works
138:Tanglewood
134:Luigi Nono
35:1927-02-02
613:Water Yam
550:John Cale
545:John Cage
447:Joe Jones
432:Al Hansen
184:based on
170:John Cage
676:Neo-Dada
651:Anti-art
627:Fluxus 1
477:Yoko Ono
340:10749187
309:Sub Rosa
205:Yoko Ono
168:and met
100:Born in
87:composer
102:Seattle
42:Seattle
758:Fluxus
378:Fluxus
112:(with
93:, and
64:Genres
290:Notes
140:with
402:Ay-O
244:The
172:and
160:and
152:. A
132:and
48:Died
29:Born
215:'s
120:in
714::
239:LA
128:,
108:,
97:.
70:,
370:e
363:t
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37:)
33:(
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