Ingram Marshall
- 风格
- #后极简主义 #氛围音乐
- 地区
- 欧美
艺人介绍
by Joslyn LayneWhile composer Ingram Marshall's earliest compositions were electronic works, he has increasingly written for live musicians, including the Kronos Quartet. In the mid-'60s, he studied under Vladimir Ussachevsky, among others, while in another program at Columbia. Marshall then learned from Morton Subotnick, first (briefly) in Greenwich Village, then at Cal Arts as his assistant during the early '70s. It was while earning his masters at Cal Arts that Marshall was first exposed to Indonesian music, which he then added to his studies. While he blended his current musical interests in his own work (writing pieces for electronics and Balinese flute, for instance), Marshall continued to explore other styles of composition as well, as when he traveled to Sweden in the mid-'70s on a Fulbright Fellowship to study text-sound composition. "Fog Tropes" (1982) is the best known of his works that incorporate live (real time) electronic manipulation. From the mid-'80s on, Marshall has written ensemble music, not necessarily with electronics. His work for the Kronos Quartet includes "Voces Resonae" (1984) and, more recently, "Fog Tropes II." He also composed the orchestral, one-movement piece "Sinfonia 'Dolce far Niente.'"
最新简评（共6条）
- @吻猪一郎(我们在群星相见。)：虽然作曲家英格拉姆·马歇尔最早的作品是电子，但他越来越多地为例如四重奏的现场器乐创作。60年代中期，他在哥伦比亚大学攻读另一个课程，师从弗拉基米尔等人。马歇尔随后向莫顿·苏伯特尼克学习，最初是在格林威治村，然后在70年代初在卡尔艺术学院担任他的助手。马歇尔在攻读硕士学位期间，第一次接触到了印尼音乐，并将其加入到学习中(例如为巴厘岛长笛谱写乐曲)。“雾的比喻”(1982)是他最著名的作品，它结合了现场(实时)电子操纵。从80年代中期开始，马歇尔创作了合奏音乐，但不一定是用电子乐器。他在克罗诺斯四重奏中的作品包括《共鸣之声》(1984)和最近的《雾意象II》。
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