Abstract
AbstractBetween 1967 and 1988 Maryanne Amacher's City-Links series comprised radio broadcasts, sound installations and interdisciplinary performances featuring her practice of mixing sonic material from multiple remote locations joined via telecommunications infrastructure. These works reflect Amacher's compositional elevation of the process of sonic perception alongside musical material, an approach that would evolve to inform her later work in which she dealt with the musical potential of psychoacoustic phenomena known as auditory distortion products. This article aims to provide an overview of the City-Links series as a unique product of the experimentation in post-war avant-garde music and visual and conceptual art. After a synopsis of Amacher's early compositional development, I offer a comparison between Amacher's City-Links and John Cage's radio works, exploring different contemporary approaches to transmission and broadcast as a compositional medium. I then situate the site-specificity of the City-Links works within the extramusical frame offered by Amacher's contemporary Robert Smithson's site/non-site dialectic. The article finally suggests the necessity for a more holistic examination of Amacher's legacy that accounts for both the musicological and art-historical implications of her work.
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