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{{Short description|American composer (born 1934)}}
{{Infobox person
| name = Roger Reynolds
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| website = [http://www.rogerreynolds.com rogerreynolds.com]
}}
'''Roger Lee Reynolds''' (born July 18, 1934) is
During his early career, Reynolds worked in Europe and Asia, returning to the US in 1969 to accept an appointment in the music department at the [[University of California, San Diego]]. His leadership there established it as a state of the art facility – in parallel with [[Stanford]], [[IRCAM]], and [[MIT]] – a center for composition and computer music exploration.<ref name=crca /> Reynolds won early recognition with [[Fulbright Program|Fulbright]], [[Guggenheim Fellowship|Guggenheim]], [[National Endowment for the Arts]], and [[National Institute of Arts and Letters]] awards. In 1989, he was awarded the [[Pulitzer Prize]] for a string orchestra composition, ''[[Whispers Out of Time]]'', an extended work responding to [[John Ashbery]]’s ambitious ''[[Self-Portrait in a Convex Mirror (poetry collection)|Self-Portrait in a Convex Mirror]]''.<ref name=pulitzerfound /> Reynolds is principal or co-author of five books and numerous journal articles and book chapters. In 2009 he was appointed University Professor, the first artist so honored by University of California.<ref name=kiderra-ucprof>{{cite web|last=Kiderra|first=Inga|title=UC San Diego Faculty Member Receives 'Highest Honor' Appointment|url=http://ucsdnews.ucsd.edu/archive/newsrel/arts/08-09RogerReynolds.asp|work=News Center|publisher=University of California, San Diego|access-date=17 December 2013}}</ref><ref>{{Cite web|url=http://adminrecords.ucsd.edu/Notices/2009/2009-8-4-2.html|title=Appointment of Roger Reynolds, University Professor}}</ref> The [[Library of Congress]] established a Special Collection of his work in 1998.<ref name=loc_bio />
His nearly 150 compositions to date are published exclusively by the C. F. Peters Corporation,<ref name=peters-rr-bio>{{cite web|title=Roger Reynolds|url=http://www.edition-peters.com/composer/Reynolds-Roger|work=Composer Biography|publisher=C.F. Peters|access-date=17 December 2013}}</ref> and several dozen CDs and DVDs of his work have been commercially released in the US and Europe. Performances by the Philadelphia, San Francisco, Los Angeles, and San Diego Symphonies, among others, preceded the most recent large-scale work, ''george WASHINGTON'', written in honor of America's first president.<ref name=kennedy-center>{{cite web|title=National Symphony Orchestra: Christoph Eschenbach, conductor / Saint-Saëns's "Organ Symphony," plus the world premiere of Roger Reynolds's ''george WASHINGTON''|url=http://www.kennedy-center.org/events/?event=NOCSA|work=Calendar|publisher=the Kennedy Center|access-date=17 December 2013}}</ref> This work knits together the Reynolds's career-long interest in orchestra, text, extended musical forms, intermedia, and computer spatialization of sound.<ref name=kennedy-center-prognotes>{{cite web|last=May|first=Thomas|title=george Washington|url=http://www.kennedy-center.org/calendar/?fuseaction=composition&composition_id=5196|work=Program Notes|publisher=The Kennedy Center|access-date=17 December 2013}}</ref>
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===Beginnings and education (1934–1962)===
The seeds for Reynolds's focus on music were planted almost by accident when his father, an architect, recommended that he purchase some phonograph records. These recordings, including a [[Vladimir Horowitz]] performance of [[Frédéric Chopin]]'s ''Polonaise in A-flat Major, Op. 53'', spurred Reynolds to take up piano lessons with Kenneth Aiken. Aiken demanded that his students delve into the cultural context behind the works of classic keyboard literature they played.<ref name=loc_bio>{{cite encyclopedia|title=Biography from the Roger Reynolds Collection|url=http://lcweb2.loc.gov/diglib/ihas/html/rreynolds/interview-part1.html|encyclopedia=Library of Congress Performing Arts Encyclopedia|publisher=Library of Congress|access-date=31 August 2014}}</ref><ref name=karen>{{cite web|last=Reynolds|first=Karen|title=Biography|url=http://www.rogerreynolds.com/biography.html|work=rogerreynolds.com|date=16 December 2013|access-date=31 August 2014}}</ref> Around the time that Reynolds graduated from high school in 1952, he performed a solo recital in Detroit that consisted of the [[Johannes Brahms]] ''Piano Sonata No. 3 in F minor, Op. 5'', some ''Intermezzi'', the [[Franz Liszt]] ''Hungarian Rhapsody No. 6'', as well as works by [[Claude Debussy]], and Chopin. Reynolds remembers:
<blockquote>I don't recall public performance as being a particularly enjoyable experience. It served to bring what I cared about in music much closer than did mere phonographic idylls, but I did not, could not, feel that what was happening as I played was actually mine. It was not the applause that interested me, but the experience of the music itself.<ref name=in_america>{{cite journal|last=Reynolds|first=Roger|title=Ideals and Realities: A Composer in America|journal=American Music|date=Spring 2007|volume=25|issue=1|pages=4–49|publisher=University of Illinois Press|doi=10.2307/40071642|jstor=40071642}}</ref></blockquote>
Reynolds was uncertain about his prospects as a professional pianist, and entered the [[University of Michigan]] to study [[engineering physics]], in line with his father's expectations. During what would be his first stint at the University of Michigan, he stayed connected to music and the arts because of the "virtual melting pot of disciplinary aspirations that then engaged him." [[Thomas Mann]]'s ''Doctor Faustus'' and [[James Joyce]]'s ''Portrait of the Artist as a Young Man'' both left marks upon his perception of music and the arts. "I ... consumed [Joyce's ''Portrait''] hungrily, stayed in my dormitory room for weeks, feverish over the allure of its issues, not attending classes and only narrowly escaping academic disaster...".<ref name=in_america />{{rp|7}} Reynolds received a [[B.S.E.]] in physics from the University of Michigan in 1957.<ref name="search.marquiswhoswho.com">{{Cite web|url=http://search.marquiswhoswho.com/profile/100016505979|title = Marquis Biographies Online}}</ref>
After completing his undergraduate studies, he went to work in the missile industry for [[Marquardt Corporation]]. He moved to the [[Van Nuys]] neighborhood of [[Los Angeles, California]], and worked as a systems development engineer. However, he quickly found that he was spending an inordinate amount of time practicing piano, and decided to go back to school to study music, with the goal of becoming a small liberal arts college teacher.<ref name=chute_tribune>{{cite news|last=Chute|first=Jim|title=Engineer-turned-composer Roger Reynolds is organized yet highly adventurous|url=http://www.signonsandiego.com/news/2011/feb/24/engineer-turned-composer-roger-reynolds-once-organ/|access-date=10 November 2011|newspaper=[[The San Diego Union-Tribune]]}}</ref>
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<blockquote>Knowing that I was an engineer, I presumed I would have been an Army engineer. But in fact my MSOs (military service obligations) were either light-truck driver or military policeman. So I chose military policeman, and I learned how to disable people and how to be extraordinarily brutal. It was a rather strange experience.<ref name=fjo>{{NewMusicBox|id=roger-reynolds-the-benefits-of-being-outside-the-loops|title=The Benefits of Being Outside the Loops|composer=Roger Reynolds|author=[[Frank J. Oteri|Oteri, Frank J.]]|conducted=May 13, 2009|published=December 1, 2009}}</ref></blockquote>
Reynolds returned to Ann Arbor in 1957, prepared to commit himself to life as a pianist. He was quickly diverted from this path upon encountering resident composer [[Ross Lee Finney]], who introduced Reynolds to composition.<ref name=loc_bio /> Reynolds took a composition for non-composers class with Finney. At the end of the semester, Reynolds' string trio was performed for the class. According to Reynolds,
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Finney was particularly generous to Reynolds, programming three of his pieces on a Midwest Composers Symposium, something "unheard of" for student works.<ref name=fjo /> At these Midwest Composers Symposia, Reynolds also first encountered [[Harvey Sollberger]], who would become a lifelong colleague and friend.<ref name=loc_bio /> From Finney, Reynolds learned of "the primacy of 'gesture,' which [Reynolds] took to be a composite of rhythm, contour, and physical energy: the empathic resonances that musical ideas could arouse — at root, perhaps, an American tendency to value sensation over analysis."<ref name=in_america />
Subsequently, when the Spanish expatriate composer [[Roberto Gerhard]] came to Ann Arbor, Reynolds gravitated towards him:<ref name=loc_bio />
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From Gerhard, Reynolds absorbed the idea that composition took "the whole man... you must put everything that you have and everything that you are into every musical act. And so where I live, who I interact with, what I hear, what the weather’s like, what my granddaughter says to me, and so on, they all affect the music."<ref name=fjo />
During the later part of his composition studies at the University of Michigan, Reynolds also sought out encounters with other prominent musical personalities, including [[Milton Babbitt]], Edgard Varèse, [[Nadia Boulanger]], John Cage, and [[Harry Partch]].<ref name=loc_bio /> Reynolds sought these composers outside of his academic studies:
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Reynolds received a second bachelor's degree in music in 1960 and an [[M.Mus.]] in composition in 1961.<ref name="search.marquiswhoswho.com"/>
Reynolds co-founded the [[ONCE Group]] in Ann Arbor with [[Robert Ashley]] and [[Gordon Mumma]], and was active in the first three festivals in 1961 to 1963. Other important figures in these festivals included George Cacioppo, Donald Scavarda, Bruce Wise, filmmaker George Manupelli, and later, "Blue" [[Gene Tyranny]].<ref name=grovebio>{{cite web|last=Sollberger|first=Harvey|title=Reynolds, Roger|url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/23302|work=[[Grove Music Online]]|publisher=Oxford Music Online|access-date=18 November 2011}}</ref> The ONCE Festival was probably the most significant nexus of avant-garde performance art and music in the Midwest in the early 1960s, with programs consisting of both American Experimentalism and European Modernism.<ref name=loc_bio /> Reynolds recalls:
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===Early career: travels abroad and to California (1962–1969)===
After he left Ann Arbor the second time, Reynolds traveled throughout Europe with his partner Karen, a flutist. They visited Germany, France and then Italy with Fulbright, Guggenheim and Rockefeller support. This sojourn to Europe served as a way for Reynolds to find his voice as a composer:<ref name=loc_bio /><ref name=karen />
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<blockquote>The idea was to get out and to have the time to do the kind of growing that I thought I needed to do, because I had composed very few pieces by the time I had graduated from the University of Michigan. So at that time, although it seems odd now, going to Europe was a way of living cheaply. I lived in Europe for almost three years on nothing and with nothing, and that time was spent trying to find myself and my voice.<ref name=fjo /></blockquote>
It emerged later that Philip Glass was in Paris during a similar period and living in the same way.<ref name="glass_bio">{{cite web |title=Philip Glass |url=https://www.britannica.com/biography/Philip-Glass |website
Before Paris, Reynolds had gone to Germany to study with [[Bernd Alois Zimmermann]] in Cologne, on a Fulbright Scholarship in 1962/1963.<ref name=in_america /> But things did not turn out the way he expected:
<blockquote> I was supposed to study with Zimmermann. I went to his class. And afterwards he took me to coffee and he said, “Look,
Instead, Reynolds worked with [[Gottfried Michael Koenig]], and collaborated with [[Michael von Biel]], who was living in the atelier of [[Karlheinz Stockhausen]]'s friend [[Mary Bauermeister]]. Reynolds worked at the [[West German Radio]]'s Electronic Music Studio, where he completed ''A Portrait of Vanzetti'' (1963)<ref name=fjo />
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Throughout their years in Europe, despite their lack of funding, Roger and Karen curated and performed in several contemporary music concerts in Paris and Italy.<ref name=loc_bio />
Reynolds accepted a fellowship from the [[Institute of Current World Affairs]], which took him and Karen to Japan from 1966 to 1969. In Japan the Reynoldses organized the intermedia series CROSS TALK INTERMEDIA, which in 1969 culminated in a three-day festival in Kenzo Tangei's Olympic Gymnasium. He also met and became friends with composers [[Toru Takemitsu]], [[Joji Yuasa]], pianist [[Yūji Takahashi]], electronics specialist Junosuke Okuyama, critic Kuniharu Akiyama, painter Keiji Usami and theatre director [[Tadashi Suzuki]].<ref name=loc_bio /><ref name=grovebio />
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Reynolds' most significant work from his time in Japan was probably PING (1968), a multimedia composition for piano, flute, percussion, harmonium, live electronic sound, film, and visual effects, based on a text by [[Samuel Beckett]].<ref name=apmonia>{{cite web|last=Ruch|first=A.|title=Roger Reynolds|url=http://www.themodernword.com/beckett/beckett_reynolds.html|work=Apmonia: A Site for Samuel Beckett|access-date=13 January 2012|url-status=dead|archive-url=https://web.archive.org/web/20111229134306/http://themodernword.com/beckett/beckett_reynolds.html|archive-date=29 December 2011}}</ref> For the work he collaborated with Butoh dancer Sekiji Maro, cinematographer Kazuro Kato, who had previously worked as a cameraman for [[Akira Kurosawa]], and Karen, who devised a strategy for projecting the Beckett text.<ref name=pingrestored>{{cite web|last=Sutro|first=Dirk|title=UCSD Composer Roger Reynolds's 1968 PING Restored for 2011|url=http://ucsdnews.ucsd.edu/thisweek/2011/06/06_ping.asp|work=This Week @ UCSD|access-date=13 January 2012}}</ref>
Roger and Karen were visiting the Seattle Symphony during 1965 with sponsorship from the [[Rockefeller Foundation]]. A trip down the West Coast to visit various university music programs was suggested by the foundation's Arts Officer, [[Howard Klein (music critic)|Howard Klein]]. The last stop on that trip was at the still young University of California, San Diego campus, in La Jolla.<ref name=loc_bio /> The nascent music life at this University was viewed with much promise:
<blockquote>We thought that the most dynamic social scene at that point – this was the late ’60s – was California, and so
===University of California, San Diego (1969–present)===
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===Work===
Reynolds has addressed the European musical tradition with three symphonies, four concertos and five string quartets, works that have been performed internationally as well as in North America.<ref name=loc_bio />
Aside from the traditional instruments of the Western Classical orchestra, Reynolds worked extensively with analog and digital electronic sound, typically employed to bolster the form and timbral richness of his works.<ref name=grovebio />
In the late 1970s, [[John Chowning]] invited Reynolds to come to [[Stanford]]'s summer courses at the Center for Computing Research in Music and Acoustics ([[CCRMA]]).<ref name=karen /> Because of the expense of computer equipment, electroacoustic work was done very differently at that time:
<blockquote>...[W]hen I went to Stanford to start working in computers at the end of the ’70s, I worked with a lot of different people there who were around the lab, because this was at a time when the so-called time-sharing machines meant that everyone in the building heard what everyone else was doing and everyone was involved with everyone else. So if something
At CCRMA, Reynolds finished the sound synthesis portion of ''...the serpent-snapping eye...'' (1978) (uses FM Synthesis) and ''VOICESPACE IV: The Palace'' (1978–80) (uses digital signal processing).
Shortly after his involvement at CCRMA, the French [[Institut de Recherche et Coordination Acoustique/Musique]] (IRCAM) offered Reynolds a commission and residency, which was followed up by two more residences over the course of two decades.<ref name=loc_bio /> When he first went to IRCAM, he made the choice to utilize technologically expert assistants to create software or hardware solutions to specific musical ideas inherent in his compositions. This practice has since spawned many collaborative ventures with various musical assistants, as Reynolds notes:<ref name=bithell>{{cite journal|last=Reynolds|first=Roger|author2=David Bithell|title=Image, Engagement, Technological Resource: An Interview with Roger Reynolds|journal=[[Computer Music Journal]]|year=2007|volume=31|issue=1|pages=10–28|url=http://www.mitpressjournals.org/doi/abs/10.1162/comj.2007.31.1.10|access-date=22 January 2012|doi=10.1162/comj.2007.31.1.10|s2cid=20200443}}</ref>
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His last work at IRCAM, ''The Angel of Death'' (1998–2001), for solo piano, chamber orchestra, and 6-channel computer processed sound, was written with a substantial number of perceptual psychologists assisting and analyzing both the planning and the end results.<ref name=loc_bio /> His assistant on the project was Frédérique Voisin, and the principal psychologists were Steven McAdams (IRCAM) and Emannuel Bigand (University of Bourgone). The end results included a special issue of the journal ''[[Music Perception]]'', edited by [[Daniel Levitin]], an audio CD / CDROM publication by IRCAM, along with a day-long conference in Sydney, Australia.<ref name=levitin>{{cite journal|last=Levitin|first=Daniel J.|title=Editorial: Introduction to The Angel of Death Project|journal=[[Music Perception]]|year=2004|volume=22|issue=2|pages=167–170|jstor=10.1525/mp.2004.22.2.167|doi=10.1525/mp.2004.22.2.167}}</ref>
Shortly after his first trip to IRCAM, he was also invited to compose a work using the Les Ateliers [[UPIC]] System, which [[Iannis Xenakis]] had created for ''Mycenae Alpha'' (1978).<ref name=mode_upic>{{cite web|last=Brant|first=Brian|title=Xenakis, UPIC, Continuum Electroacoustic & Instrumental works from CCMIX Paris|url=http://www.moderecords.com/catalog/098_9ccmix.html|work=Mode Records Catalog|publisher=Mode Records|access-date=23 January 2012}}</ref>
A composer-in-residence appointment at the [[California Institute for Telecommunications and Information Technology]] (at UCSD) allowed Reynolds to finish his SANCTUARY project: an evening-length, four-movement piece for percussion quartet and real-time computer transformations. The completed work was premiered in 2007 at [[I.M. Pei]]’s National Gallery of Art, and later the same year repeated in the courtyard of the [[Salk Institute]] in La Jolla. The DVD that arose from this project was intended to alter the way contemporary classical music is received, because of the intimacy with which the performers knew the work and the audio-visual complexity with which it was presented. Steven Schick and red fish blue fish had been working on the piece for five years by the time the DVD was recorded.<ref name=chute_tribune /> Ross Karre prepared a complexly scripted editing plan. The embodied experience that such intimacy breeds is very important to Reynolds:
<blockquote>A lot of our experience with music is empathic – that is, we, our bodies, our sensibilities, identify with and respond to, even literally move with the physicality of the sounds that are generating the musical experience. ... [The immersion of the performers in a work] allows our empathy as listeners to flow out and extend and commit. We see that the performers are really engaged and we get engaged; we trust them.<ref name=chute_tribune /></blockquote>
Around 2000, Reynolds began writing a series of short, complementary solos, entitled, for example, ''imagE/guitar'' and ''imAge/guitar.'' The “E” is more elegiac and evocative, the “A”, assertive and angular. As his interest in algorithmic transformation migrated towards real-time performance interaction, Reynolds produced a series of extended compositions using the materials of a solo pair as his thematic resource.<ref name=rr-neuma-bio>{{cite web|title=Roger Reynolds (Composer Bio)|url=http://neuma-music.com/neumarecords_055.htm|publisher=Neuma Records|access-date=7 January 2014|url-status=dead|archive-url=https://archive.today/20140107234318/http://neuma-music.com/neumarecords_055.htm|archive-date=7 January 2014}}</ref> ''Dream Mirror'', for guitar and computer musician, is a duo whose internal sections are framed by completely notated music, but move into a collaboratively improvisational interaction within these frames.
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for contrabassist Mark Dresser, involved close collaboration with computer musician, Jaime Oliver. ''Toward Another World: LAMENT'' for clarinet and computer musician, as well as similar duos involving violin (''Shifting/Drifting'') and cello (''PERSISTENCE'') followed.
When composing ''Shifting/Drifting'', Reynolds worked closely with his frequent violin collaborator [[Irvine Arditti]] on the acoustic material, and computer musician Paul Hembree on the electronic sound. The French classical music periodical [[Diapason (magazine)]] described the piece as: <blockquote>''Un espace aussi artificiel que vaste apporte une sensation de distance et de perspective assez vertigineuse. Le rendu sonore global frappe par l’expansion du lyrisme et d’une virtuosité violonistique qui prend en quelque sorte racine chez Bach (la Chaconne de la Partita no 2 fait d’ailleurs une apparition masquée)...'' (English: A space as artificial as it is vast brings a rather dizzying sensation of distance and perspective. The overall sound rendering is striking by the expansion of lyricism and a violin virtuosity which takes root, in a way, in Bach (the Chaconne from Partita no. 2 also makes a hidden appearance)...)<ref>{{cite journal |title=Roger Reynolds |journal=Diapason: Le Magazine de la Musique Classique
'''Influence of literature and poetry'''▼
|date=26 June 2019 |issue=681}}</ref></blockquote>
Text has been an important resource for Reynolds's work, in particular, the poetry of [[Samuel Beckett|Beckett]], [[Jorge Luis Borges|Borges]], [[Wallace Stevens|Stevens]], and John Ashbery. Since the mid-1970s he has been engaged with the use of language as sound, "the ways in which a vocalist's manner of utterance – whether spoken, declaimed, sung, or indebted to some uncommon mode of production" affect the experience of the ideas that the text carries.<ref name=in_america /> Reynolds was stimulated by his UCSD colleagues [[Kenneth Gaburo]] and baritone Philip Larson, deploying extended vocal techniques, such as "vocal-fry" in the VOICESPACE works (quadraphonic tape compositions): ''Still'' (1975), ''A Merciful Coincidence'' (1976), ''Eclipse'' (1979), and ''The Palace'' (1980).<ref name=in_america />▼
▲Text has been an important resource for Reynolds's work, in particular, the poetry of [[Samuel Beckett|Beckett]], [[Jorge Luis Borges|Borges]], [[Wallace Stevens|Stevens]], and John Ashbery. Since the mid-1970s he has been engaged with the use of language as sound, "the ways in which a vocalist's manner of utterance – whether spoken, declaimed, sung, or indebted to some uncommon mode of production" affect the experience of the ideas that the text carries.<ref name=in_america /> Reynolds was stimulated by his UCSD colleagues [[Kenneth Gaburo]] and baritone Philip Larson, deploying extended vocal techniques, such as "vocal-fry" in the VOICESPACE works (quadraphonic tape compositions): ''Still'' (1975), ''A Merciful Coincidence'' (1976), ''Eclipse'' (1979), and ''The Palace'' (1980). The VOICESPACE works also involve the intricate spatialization of both the voices and computer-generated sounds.<ref name=in_america />
While serving as Valentine Visiting Professor at [[Amherst College]] in the late 1980s, Reynolds immersed himself in poetry because of the connection of Amherst with poet Emily Dickinson. He came across [[John Ashbery]]'s ''Self-Portrait a Convex Mirror'' (1974) while reading one evening:
<blockquote>The next morning I realized that things that I had understood the night before I
Visual art has provided Reynolds with inspiration for several works, such as the ''Symphony [The Stages of Life]'' (1991–92), which drew from self-portraits by Rembrandt and Picasso, and ''Visions'' (1991), a string quartet that responded to Bruegel.<ref name=loc_bio /> A later project involving visual art was ''The Image Machine'' (2005), which arose from rather elaborate interdisciplinary collaboration called
<blockquote>At the center of this project was the idea that it would be possible to capture the complex motion [of a dancer] in real time, and to have a computer model and then monitor the motion in such a way that it could send control information to other artists who would create parallel and deeply responsive elements to a larger performance totality.<ref name=bithell /></blockquote>
Reynolds worked with choreographer [[Bill T. Jones]], clarinetist Anthony Burr, and percussionist [[Steven Schick]] on the project, along with audio software designers Pei Xiang and Peter Otto, and visual rendering artists Paul Kaiser, Shelley Eshkar, and Marc Downie.<ref name=bithell /> The process was not necessarily tranquil, though it was rewarding, as Reynolds recalls:
<blockquote>We achieved a meld of media, high technology, and aesthetic force unequaled by anything else I had experienced. The process was not smooth. In fact it was sometimes destructively rancorous. None-the-less, the product of long effort and mutual adjustment, one component resource to the other, showed vividly and thrillingly what one of art's futures might be.<ref name=in_america /></blockquote>
Among the audio software resources created for
Myth has been an important resource for Reynolds's work, as evident in the title of his second symphony: ''Symphony [Myths]'' (1990).<ref name=loc_bio /> Later, this mythological preoccupation grew into the Red Act Project, the first installment of which was commissioned by the [[British Broadcasting Corporation]]. This piece, ''The Red Act Arias,'' was premiered at the 1997 [[The Proms|Proms]], animating text from [[Aeschylus]] with narrator, choir, orchestra and eight channel electronic sound.<ref name=loc_bio /> <blockquote>Perhaps the most powerful impression any narrative text has ever left on me, though, is that inscribed by Aeschylus in ''[[Agamemnon (play)|Agamemnon]]'', the first play of the ''[[Oresteia]]'' trilogy. Again, there is an intersection of intellectual implication, moving narrative, associations through imagery and oppositions that is magnetic. Nevertheless, it is the flow of the language itself as rendered into English by [[Richmond Lattimore]] that cemented my resolve to embark upon the Red Act Project. I [was] engaged with it for more than a decade.<ref name=in_america /></blockquote>
Responding to related texts, Reynolds produced ''Justice'' (1999-2001), commissioned by the [[Library of Congress]], and ''Illusion'' (2006), commissioned by the [[Los Angeles Philharmonic]] with funding from the [[Koussevitsky Foundation|Koussevitsky]] and Rockefeller foundations.<ref name=laphil>{{cite web|last=Reynolds|first=Roger|title=Composer's Note: A Perspective on ILLUSION|url=http://www.laphil.com/philpedia/piece-detail.cfm?id=1847|work=Music and Musicians Database|publisher=Los Angeles Philharmonic|access-date=9 June 2012}}</ref>
Reynolds has been involved with the concept of Space as a potential musical resource for most of his career, leading to a reputation that rests, in part, upon his “wizardry in sending music flying through space: whether vocal, instrumental, or computerized”.<ref name=leighton-wind>{{cite news|last=Kerner|first=Leighton|title=The Sudden Wind|newspaper=[[The Village Voice]]|date=March 8, 1985}}</ref>
<blockquote>I began my own efforts to address space in modest fashion, in a music-theater composition ''[The Emperor of Ice Cream]'' intended for the ONCE Festivals but not actually premiered until 1965 in the context of the Nuova Consonanza Festival of Franco Evangelisti's, in Rome. ... So, in the case of [Wallace] Stevens's line "And spread it so as to cover her face," the eight singers, arrayed across the front of the stage, pass the phonemes of the associated melodic phrase back and forth by fading in and out successively.<ref name=in_america /></blockquote>
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<blockquote>Gradually it became clear that blunter tools can work to greater advantage in large spaces with comparatively larger audiences. In composing ''The Red Act Arias'' for performance in London's cavernous, 6,000-seat Royal Albert Hall, for example, I decided to use a multileveled system with eight groups of loudspeakers. Rather than attempting to position sounds precisely on perceivable paths around the hall, I concentrated on broad, sweeping gestures that surged across or around the performance space in unmistakable fashion.<ref name=in_america /></blockquote>
====Other series of works====
'''Mentorship, research and writing'''▼
From the 1970s, when he produced the five VOICESPACE works, Reynolds has been interested in generating series of related works. He has performed multiple presentations of PASSAGE events (involving the reading and spatialization of original texts, projected images, and live performances),<ref name="peters_passage">{{cite web |last1=Reynolds |first1=Roger |title=PASSAGE |url=https://www.edition-peters.com/product/passage/ep68556 |website=Edition Peters |publisher=C.F. Peters |access-date=18 September 2022}}</ref> composed seven complementary pairs of imagE/ and imAge/ solo works, and, most recently, six works belonging to the “SHARESPACE” series of duos for individual instruments and computer musicians.<ref name=loc_bio />
In addition to his compositional activities, Reynolds's academic career has taken him to Europe, the Nordic countries, South America, Asia, Mexico and the United States, where he has lectured, organized events, and taught. Though his focus has been on the Music Department at UCSD, Reynolds has occupied visiting positions at various universities: the [[University of Illinois]], [[CUNY]]-[[Brooklyn College]], the [[Peabody Institute]] of [[Johns Hopkins University]], [[Yale University]], [[Amherst College]], and [[Harvard University]]. Currently, Reynolds founded and is Director of an Arts Internship Program at the [[University of California, Washington Center]].▼
▲In addition to his compositional activities, Reynolds's academic career has taken him to Europe, the Nordic countries, South America, Asia, Mexico and the United States, where he has lectured, organized events, and taught. Though his focus has been on the Music Department at UCSD, Reynolds has occupied visiting positions at various universities: the [[University of Illinois]] (Champaign–Urbana, IL, Spring 1971), [[CUNY]]-[[Brooklyn College]] (Spring 1985), the [[Peabody Institute]] of [[Johns Hopkins University]], [[Yale University]] (Spring 1982), [[Amherst College]] (Fall 1988), and at [[Harvard University]] as Fromm Visiting Professor (Fall 2013).
At the University of Illinois, Reynolds wrote his first book, ''Mind Models: New Forms of Musical Experience'' (1975). It covers a wide range of topics concerning the contemporary world and the role of art in that world, specific considerations of the materials of music, and the way those materials are shaped by contemporary composers.
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Reynolds wrote ''A Searcher's Path'' (1987) while serving as visiting professor at CUNY – Brooklyn College, and ''Form and Method: Composing Music'' while serving as Randolph Rothschild Guest Composer at the [[Peabody Conservatory]] of [[Johns Hopkins University]]. The later closely details Reynolds's compositional process. In addition to his books, he has written articles for periodicals including ''[[Perspectives of New Music]]'', the ''Contemporary Music Review'', ''Polyphone'', ''Inharmoniques'', ''[[The Musical Quarterly]]'', ''American Music'', ''[[Music Perception]]'', and ''[[Nature (journal)|Nature]]''.
Most recently, Reynolds completed the monograph ''Xenakis Creates in Architecture and Music: The Reynolds Desert House'' (2022), working with his wife Karen Reynolds to describe how Xenakis designed an unbuilt but fully-planned house for the Reynolds family in the Anza Borrego desert.<ref name="deserthouse">{{cite web |last1=Reynolds |first1=Roger |title=Xenakis Creates in Architecture and Music The Reynolds Desert House |url=https://www.routledge.com/Xenakis-Creates-in-Architecture-and-Music-The-Reynolds-Desert-House/Reynolds-Reynolds/p/book/9780367698461 |website=Routledge: Taylor & Francis Group |publisher=Routledge |access-date=18 September 2022}}</ref>
In addition to visiting positions, Reynolds has also given [[master class]]es around the world, in places such as Buenos Aires, Thessaloniki, Porto Alegre, IRCAM, Warsaw, the Sibelius Academy in Helsinki, and the Central Conservatory of Music in Beijing. Furthermore, he has been a featured composer at numerous music festivals, including Music Today and the Suntory International Program in Japan, the Edinburgh and [[The Proms|Proms]] festivals in the United Kingdom, the Helsinki and Zagreb biennales, the [[Darmstädter Ferienkurse]], New Music Concerts (Toronto), [[Warsaw Autumn]], Why Note? (Dijon), [[Musica Viva]] (Munich), the Agora Festival (Paris), various [[ISCM]] festivals, and the New York Philharmonic's Horizons.<ref name=loc_bio />▼
▲In addition to visiting positions, Reynolds has also given [[master class]]es around the world, in places such as Buenos Aires, Thessaloniki, Porto Alegre, IRCAM, Warsaw, the Sibelius Academy in Helsinki, and the Central Conservatory of Music in Beijing. Furthermore, he has been a featured composer at numerous music festivals, including Music Today and the Suntory International Program in Japan, the Edinburgh and [[The Proms|Proms]] festivals in the United Kingdom, the Helsinki and Zagreb biennales, the [[Darmstädter Ferienkurse]], New Music Concerts (Toronto), [[Warsaw Autumn]], Why Note? (Dijon), [[Musica
==Notable students==
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*: ''The Ivanov Suite'' (1991, tape)
*: ''Versions/Stages'' (1988–91, tape)
*ROGER REYNOLDS:
*: ''Not Only Night'' (1988, soprano, flute, clarinet, violin, cello, piano)
*ROGER REYNOLDS: THE PARIS PIECES (1995) – Neuma Records 450-91 (2 CD)
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*: ''not forgotten'' (2007-2010, string quartet)
*ROGER REYNOLDS: ROGER REYNOLDS AT 85, VOL 2 (2021) - mode 329
*: ''Piano Etudes: Books I & II'' (
==References==
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