1. biografia

[amministratore_1]

MortonSUBOTNIK
str
New York, NY 10012, USA
tf/cell:
mail: morts@creatingmusic.com
http://www.mortonsubotnick.com/
luogo e data di nascita: Los Angeles (USA), 1933

Subotnick graduated from the University of Denver. In the early 1960s, Subotnick taught at Mills College and with Ramon Sender, co-founded theSan Francisco Tape Music Center. During this period he collaborated with Anna Halprin in two works (the 3 legged stool and Parades and Changes) and was music director of the Actors Workshop.
In 1966 Subotnick was instrumental in getting a Rockefeller Grant to join the Tape Center with the Mills Chamber Players (a chamber at Mills College with performers Nate Rubin, violin; Bonnie Hampton, cello; Naomi Sparrow, piano and Subotnick, clarinet). The grant required that the Tape Center relocate to a host institution that became Mills College. Subotnick, however, did not stay with the move, but went to New York with the Actor’s Workshop to become the first music director of the Lincoln Center Rep Company in the Vivian Beaumont Theatre at Lincoln Center. He also, along with Len Lye, became an artist in residence at the newly formed Tisch School of the Arts at NYU. The School of the Arts provided him with a studio and a Buchla Synthesizer (now at the Library of Congress). During this period he helped develop and became artistic director of the Electric Circus and the Electric Ear. This was also the time of the creation of Silver Apples of the Moon, The Wild Bull, and Touch.
Early electronic music was made using wave generators and tape-manipulated sounds. Subotnick was among the first composers to work with electronic instrument designer Don Buchla. Buchla's modular voltage-controlled synthesizer, which he called the Electric Music Box and which was constructed partly based on suggestions by Subotnick and Sender, was both more flexible and easier to use, and its sequencing ability was integral to Subotnick's music.
At a time when electronic music was highly abstract, largely concerned with pitch and timbre, with rhythm an afterthought or of no consequence and patterns largely avoided, Subotnick broke with the academic avant-gardists by including sections with regular rhythms. Both Silver Apples and 1968's The Wild Bull (another Nonesuch-commissioned work for tape; they have since been combined on a Wergo CD) have been choreographed by dance companies around the world.
In 1969 Subotnick was invited be part of a team of artists to move to Los Angeles to plan a new school. Mel Powell as Dean, Subotnick as Associate Dean, and a team of four other pairs of artists carved out a new path of music education and created the now famous California Institute of the Arts. Subotnick remained Associate Dean of the music school for 4 years and then, resigning as Associate Dean, became the head of the composition program where, a few years later, he created a new media program that introduced interactive technology and multi media into the curriculum. In 1978 Subotnick, with Roger Reynolds and Bernard Rands, produced 5 annual internationally acclaimed new music festivals.