(1979) Robert Ashley – Automatic Writing

Automatic writing, Robert Ashley, 1979.
Voices: Robert Ashley and Mimi Johnson.
Electronics and Polymoog: Robert Ashley.
Words by Robert Ashley.
French translation by Monsa Norberg.
The switching circuit was designed and built by Paul DeMarinis.
Produced, recorded and mixed at The Center for Contemporary Music, Mills College (Oakland, California), The American Cultural Center (Paris, France) and Mastertone Recording Studios (New York City) by Robert Ashley.
Mixing assistance at Mastertone Recording Studios by Rich LePage.
A mix of the monologue and electronics was used in the video tape composition, “Title Withdrawn,” (from “Music with Roots in the Aether, video portraits of composers and their music”) by Robert Ashley.

She was a visitorRobert Ashley, 1967 (epilogue of “That morning thing”).
The Brandeis University Chamber Chorus.
Alvin Lucier, Director.
Originally released on “Extended Voices”, Music of Our Time, CBS Odyssey.
Art Direction and Design: By Design.
Design: Patrick Vitacco and Ken Cornet.
Silhouette by William Farley.
Digital mastering by Nicholas Prout and Allan Tucker, Foothill Digital Productions.
Published by Visibility Music Publishers (BMI).

Purposeful lady slow afternoon, Robert Ashley, 1968.
Speaker: Cynthia Liddell.
Singers: Mary Ashley, Barbara Lloyd, Mary Lucier.
Cynthia Liddell was recorded by Robert Ashley, Ann Arbor, Michigan.
Singers and bells were recorded at Rose Art Museum, Brandeis University.
Originally released on “Sonic Arts Union, Electric Sound,” Mainstream.
The text and recording of Cynthia Liddell’s voice were excerpted from the opera, “That Morning Thing” and reorchestrated as “Purposeful Lady Slow Afternoon” to become the opening number of “The Wolfman Motorcity Revue,” a theater work for amplified voices and tape, which has as its subject matter the melodrama and song structures of the nightclub entertainment world.

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Thin Air: Robert Ashley on his opera “That Morning Thing”, Robert Ashley joins Charles Amirkhanian, Richard Friedman, and William Maraldo for a discussion about his modern opera, “That Morning Thing”, which was scheduled to be debuted just two days after this recording was made on December 6, 1969.

A review of Robert Ashley’s “That morning thing”, Charles Shere, December 11 1969.
This review deals with a performance on Dec. 8, 1969, at Mills College, of Robert Ashley’s opera “That Morning Thing”. Charles Shere speaks out against the mainstream media’s reception of the opera as well as the rude reaction of some of the audience.

(1996) Robert Ashley talks about Automatic WritingPurposeful lady slow afternoon and She was a visitor.
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