Bill Dietz: Interactions with Listening Mind

In keeping with Maryanne Amacher's post-Cagean conception of musical composition as articulation of "ways of hearing," between 1968 and 1991 the composer created no significant works involving acoustic instruments. Responding however to acommision from the Kronos Quartet, in the early 1990s, Amacher came to an "endotonal" solution for integrating acoustic instruments onto her "interactive scenarios" whereby instruments and electronics alike would function together to "einforce" listeners' "interaural processing." By examining GLIA (2006), a composition conceived after the model of and including material from the unfinished string quartet, I approach Amacher's fundamentally refunctioned conception of "electro-acoustic" composition.