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603:, Dlugoszewski's music was animated by the invention and construction of new musical instruments, many of which she utilized in performance. In her interview with Gagne, the composer estimated that she had constructed or designed at least a hundred instruments during her career (a frequent partner was sculptor Ralph Dorazio, who built instruments to Dlugoszewski's specifications).
610:, who used electronic tools to create disorienting and exciting new sonorities. "It's not that I was out to invent instruments", said Dlugoszewski, "but that I wanted to create an ego-less sound possibility, a suchness possibility, so that you would help the ear just to hear the sound for its own sake."
297:
During a conversation with Cole Gagne in the early 1990s, Dlugoszewski expressed ambivalence at having composed so many collaborative pieces, pointing out that while writing for film and dance allowed her music to be heard by enormous numbers of listeners, those audiences could not give her music
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Apart from a handful of piano preludes and sonatas, Dlugoszewski had written little music prior to 1950, but once in New York, she quickly became a prolific composer of experimental music, including several open-form works. Dlugoszewski began working with dancer and choreographer
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described hers as "music of great delicacy". Dlugoszewski's music is remarkable for its use of silence and of gentle, muffled sounds, especially considering that much of her repertoire is for percussion instruments.
246:, for 17 instruments – the work became a signature piece for the Philadelphia ensemble Orchestra of Our Time. The recordings for Nonesuch and CRI released in the 70s were reissued by CRI in 2002 as
257:. Dlugoszewski, a dancer herself, wrote chamber and orchestral scores for the Erick Hawkins Dance Ensemble as well as for the Foundation for Modern Dance. Her music for dance includes
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Dlugoszewski retreated from invention after the early 1960s, preferring to explore the possibilities of the huge array of instruments which she by then had at her disposal.
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Between 1996 and 2000, she choreographed four works for the Erick
Hawkins Dance Company while serving as the company's artistic director following Hawkins' death in 1994.
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composer, poet, choreographer, performer, and inventor. She created over a hundred musical instruments, including the timbre piano, a sort of
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Dlugoszewski, like other composers of her generation, claimed a wide and varied assortment of influences, many of them
Eastern in origin (
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Dlugoszewski composed dozens of pieces for a variety of instruments and ensembles; below is a small selection of her total works.
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Surprised and disappointed by an unsuccessful application to medical school in 1950, Dlugoszewski spontaneously moved to
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Beginning in 1957, Dlugoszewski cultivated a professional and personal relationship with the dancer and choreographer
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in 1951; they married in 1962 but kept their wedding a secret until after
Hawkins' death in 1994.
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Most of
Dlugoszewski's invented instruments are percussive: pianos, drums, rattles and
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519: in this section. Unsourced material may be challenged and removed.
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The daughter of Polish immigrants, Dlugoszewski was born and raised in
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ii (Scarecrow Press: Metuchen, NJ and London, 1993), pp. 55–83: 73–75.
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866:(New York: Books & Music , 1987), s.v. "Dlugoszewski, Lucia."
770:(New York: Books & Music , 1987), s.v. "Dlugoszewski, Lucia."
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226:, and other important contemporary music labels. Her 1975 piece
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in which hammers and keys were replaced with bows and plectra.
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along with new work for string quartet and timbre piano.
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Orchestra structure for the Poetry of everyday sounds
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Violin, timbre piano, invented percussion orchestra
214:Dlugoszewski's compositions have been recorded for
891:(New York: Holt, Rinehart and Winston, 1971): 139.
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782:, editor emeritus and Laura Kuhn, series editor.
606:She was inspired, she told Gagne, by her teacher
238:. In 1977, she became the first woman to win the
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851:Soundpieces: Interviews with American Composers
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677:The New Grove Dictionary of Music and Musicians
478:Timbre piano, trumpet, and invented percussion
423:Timbre piano and invented percussion orchestra
390:2 trumpets, clarinet, 2 violin, and percussion
838:The Norton/Grove Dictionary of Women Composers
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864:International Encyclopedia of Women Composers
768:International Encyclopedia of Women Composers
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785:Baker's Biographical Dictionary of Musicians
710:. Princeton Book Company. pp. 131–132.
933:Erick Hawkins and Lucia Dlugoszewski Papers
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335:Invented percussion and chamber orchestra
739:(2nd ed.). Oxford University Press.
579:Learn how and when to remove this message
155:Learn how and when to remove this message
731:Craine, Debra; Mackrell, Judith (2010).
805:The Life and Work of Lucia Dlugoszewski
708:Introduction to Modern Dance Techniques
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450:Ubu Roi, for the Living Theatre (Jarry)
179:, where she also took physics courses.
49:(June 16, 1925 – April 11, 2000) was a
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788:(New York: Schirmer Books, 2001),
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666:(2001). "Lucia Dlugoszewski". In
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173:Detroit Institute of Musical Arts
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917:Taking Time to be Vulnerable
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680:(2nd ed.). London:
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40:April 11, 2000 (age 74)
1071:Musicians from Detroit
794:"Dlugoszewski, Lucia."
318:Amor new tilting night
177:Wayne State University
875:Gagne (1993), pg. 62.
706:Legg, Joshua (2011).
232:New York Philharmonic
194:and composition with
682:Macmillan Publishers
528:"Lucia Dlugoszewski"
513:improve this article
412:Voice and orchestra
104:"Lucia Dlugoszewski"
89:improve this article
937:Library of Congress
406:Fire fragile flight
263:Mikhail Baryshnikov
244:Fire Fragile Flight
1005:Lucia Dlugoszewski
947:The New York Times
780:Slonimsky, Nicolas
753:on 22 August 2019.
619:Eight Clear Places
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1056:2000 deaths
1051:1925 births
995:Earle Brown
664:Jobin, Sara
313:Instrument
284:Jonas Mekas
1045:Categories
649:References
636:drama and
628:Philosophy
539:newspapers
485:Inventions
439:Tiny opera
368:Orchestra
324:Orchestra
115:newspapers
1000:John Cage
674:(eds.).
220:Folkways
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601:Moondog
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560:JSTOR
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475:1970
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108:news
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