Abstract

R. Murray Schafer’s Patria Cycle is a twelve-part series of musical dramas that represents over thirty years of development and production. During the summer of 2006, I joined a group of artists and researchers in developing a rural site, where Asterion, one part of that cycle, will eventually be staged. Our work camp involved projects ranging from sculpture and gardening to trailblazing and straw bale construction. Living and working on that site,focused on Schafer’s attention to both the natural and composed sound environments, led to the thoughts collected here.1

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