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{{Short description|American composer (born 1934)}}
{{Infobox person
| name = Roger Reynolds
| image =
| caption = Roger Reynolds
| birth_date = {{birth date and age|1934|7|18}}
| birth_place = [[Detroit]], Michigan, United States
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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
His nearly
Reynolds's work embodies an American artistic idealism reflecting the influence of [[Edgard Varèse|Varèse]] and [[John Cage|Cage]], as well as Xenakis, and has also been compared with that of [[Pierre Boulez|Boulez]]<ref
▲Reynolds's work embodies an American artistic idealism reflecting the influence of [[Edgard Varèse|Varèse]] and [[John Cage|Cage]], and has also been compared with that of [[Pierre Boulez|Boulez]]<ref name=gann-american>{{cite book|last=Gann|first=Kyle|title=American Music in the Twentieth Century|year=1997|publisher=Wadsworth|location=Belmont, CA|pages=170–172}}</ref> and [[Giacinto Scelsi|Scelsi]].
==Life and work==
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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
<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}}
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/|
But prior to returning to school, Reynolds had a one-year obligation as a reservist in the military, which he fulfilled after his short time at Marquardt. As he recalls:
<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
<blockquote>Finney just decimated it. ... I mean, everything about it, he destroyed. The sounds, the time, the pitches, the form, everything was wrong. I was chastened.<ref name=chute_tribune /> </blockquote>
Despite the harsh introduction, Finney pulled Reynolds aside after the performance and recommended that he study composition with him over the summer. These summer lessons proved to be brutal. But when Reynolds was nearly ready to quit, at the end of the summer, Finney responded positively to what
<blockquote>Although the process was by no means a smooth or an immediately encouraging one, by the time regular classes resumed in the fall of 1960 I was twenty-six, and I knew that I would do everything I could to become a composer. What did that actually mean? I have no recollection now of having had the slightest sense of what the life of a composer in America might involve.<ref name=in_america /></blockquote>
Finney was particularly generous to Reynolds, programming three of his pieces on
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
<blockquote>It was outside class that I came upon and dug into the implications of Ives, Cage, Varèse and Partch. I sought out the last three and had personal contact with them. Perhaps it was the feeling of, if not exactly forbidden, then, certainly, "not favored" fruit that caused them to loom so large for me.<ref name=fjo /> </blockquote>
Reynolds met with Partch in 1958 in Yellow Springs, Ohio, at Antioch College, where he
During 1960, Reynolds met with both Varèse and Cage in New York (and the latter again in 1961 in Ann Arbor), with Babbitt in Ann Arbor in 1960, and with Nadia Boulanger in Ann Arbor in 1961.
During this time, Reynolds also composed ''The Emperor of Ice
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
<blockquote>I think the primary force in the beginning was Bob and Mary Ashley. Bob had been studying at the University of Michigan with Ross Finney. ... [Ashley] had [previously] been at the Manhattan School of Music; he was a pianist at that time. He was very intense and very rebellious in some regards. [Gordon] Mumma had been at Michigan but had dropped out and was working in some kind of research dealing with seismographic measurement... The two of them had become involved with
In 1963, [[Edition Peters|C.F. Peters]] offered to publish Reynolds's work, a relationship which has been exclusive since that day.<ref name=loc_bio />
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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
<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=Encyclopaedia Britannica |access-date=21 August 2022}}</ref>
Reynolds first went 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:▼
▲Before Paris, Reynolds
<blockquote> I was supposed to study with Zimmermann. I went to his class. And afterwards he took me to coffee and he said, “Look, there’s no point for you to be in this class.” He didn’t say why but he said, “Just do what you want, come back and see me at the end, and I’ll sign off.” So I actually never met with him, never had a lesson with him, never even had a conversation with him.<ref name=fjo /></blockquote>▼
▲<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]], at that point. Reynolds worked at the [[West German Radio]] station's Electronic Music Studio, where he completed ''A Portrait of Vanzetti'' (1963)<ref name=fjo />▼
▲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]]
The following academic year, 1963/1964, Karen received a Fulbright to study in Paris, although, ironically, one of the most influential moments during that year for Reynolds was in Berlin. Reynolds and Karen traveled there to meet [[Elliott Carter]], and heard his ''Double Concerto'' there. Reynolds was particularly struck by the spatial elements in the piece. This influenced his composition ''Quick Are the Mouths of Earth'' (1964–1965).<ref name=fjo />▼
▲The following academic year, 1963
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
Reynolds' most significant work from his time in Japan was probably PING (1968), a
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
<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)===
Several years after their visit to La Jolla, Will Ogdon, then UCSD's Department of Music chair, invited the
While at UCSD, Reynolds has taught courses on Music Notation, Extended Vocal Techniques, Late [[Beethoven]] Works, Text (in relation to the Red Act Project and [[Greek Drama]]), Collaboration (co-taught with [[Steven Schick]]), Extending
After his arrival at the University of California, his interests diverged into several concurrently evolving paths. Thus, it is easier to talk about his work from this point based on common features between works.
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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 />
'''Influence of technology'''▼
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 color of his works.<ref name=grovebio />▼
▲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
====CCRMA====
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|
<blockquote>When I went to IRCAM ... there was this concept of the Musical Assistant. ... I realized right away that this allowed me to make a choice: whether I would decide to spend a few years not composing and learning what I would need to do to become a self-sufficient computer-music composer or that I was going to collaborate with other people.
[On collaboration:] You enter into a relationship with one or more people and you have to sacrifice some of your autonomy and they have to sacrifice some of theirs in order to get to a place that you couldn’t get without each other. And I like that kind of situation.
<ref name=fjo /></blockquote>
''Archipelago'' (1982–83) was one of the first works that Reynolds did that used technology to drastically alter not only the sounds of the composition, but also the process of composing. The impetus was as the title suggests, a chain of islands, an idea which Reynolds elaborated on with a
<blockquote>...[T]he process [of composing the piece] was interactive because I was at IRCAM and had the privilege of working with a very smart young composer, [[Thierry Lancino]], who was my musical assistant, and also consulting with people like [[David Wessel]] and
''Odyssey'' (1989–93), primarily composed during the early 1990s, incorporates two singers, two speakers, instrumental ensemble, and six-channel computer sound. "Odyssey required me to settle on an ideal set of multilingual Beckett texts by means of which to portray the course of his life."<ref name=in_america /> There was a chaotic element in the text that Reynolds wished to portray in the music, and he undertook some of the first experiments with using strange attractors (specifically the [[Lorenz attractor]]) in music with this composition, citing influence from [[James Gleick]]. Reynolds notes that the process of creating musically beguiling results from a strange attractor was "arduous" and "grueling."<ref name=in_america />
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
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|
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 />
<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
The improvisatory interactions are algorithmically driven, with the soloist and computer musician interacting flexibly, but under well-defined conditions. Both ''Dream Mirror'', for guitarist Pablo Gómez-Cano,<ref name=phillips-coll-dream>{{cite web|last=Smith|first=Casey Fox|title=Roger Reynolds's dream mirror|url=http://blog.phillipscollection.org/2011/04/21/roger-reynoldss-dream-mirror/|work=The Phillips Collection Blog|date=21 April 2011|publisher=The Phillips Collection|
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, and 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
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
<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|
Reynolds has been involved with the concept of Space as a potential musical resource for most of his career,
<blockquote>I began my own efforts to address space in modest fashion, in a music-theater composition ''[The Emperor of Ice
Later, in Japan, Reynolds worked with engineer Junosuke Okuyama to build a "photo-cell sound distributor," which used a matrix of photoelectric cells to move sounds around a quadraphonic setup, with the aid of a flashlight as a kind of controller. This device was used in the multimedia composition PING (1968).<ref name=in_america /> More recently, Reynolds's [[Mode Records]] ''Watershed'' (1998) DVD was the first such disc to feature music conceived specifically for discrete multichannel presentation in [[Dolby Digital]] 5.1.<ref name=karen/>
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<blockquote>I wrote a piece, ''Watershed IV'', for percussionist Steven Schick, which involved the very fundamental conceit that he was centered within an instrumental array. The idea was that the audience would be put in there with him, metaphorically. There would be speakers surrounding the audience that would reproduce, at some level, for the listener, the experience that Steve was having within his array of instruments. Steve and I worked almost a year on the setup for that piece, playing with different spiral arrangements and numbers of instruments and different geometries.<ref name=bithell /></blockquote>
He is concerned not only with the physical locations of sound sources around a listener, but also metaphoric notions of space. As he notes, "'Space' can signify a physical
In addition to the auditory effects of spatial location and metaphoric notions of space, Reynolds has responded to various architectural spaces, creating works explicitly for performance in various buildings, including [[Arata Isozaki]]'s [[Art Tower Mito]] and also his
<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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<blockquote>At the time that ''Mind Models'' first appeared in print, no one else had attempted to rigorously define the issues raised by those composers who broke most deliberately with traditional European practice. ... Reynolds was the first to clearly identify and consolidate into a single framework the vast array of forces (cultural, political, perceptual, and technical) shaping this heterogeneous body of work.<ref name=mindmodels>{{cite book|last=DeLio|first=Thomas|title=Introduction to Mind Models|year=2005|publisher=Routledge|location=New York|pages=ix}}</ref> </blockquote>
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
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
==Notable students==
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*: ''Less than Two'' (1976–79, two pianos, two percussionists, and tape)
*: ''Aether'' (1983, violin and piano)
*NEW MUSIC SERIES: VOLUME 2 (1988) – Neuma Records 45072
*: ''Autumn Island'' (1986, for marimba)
*ARDITTI (1989) – Gramavision R2 79440
*: ''Coconino … a shattered landscape'' (1985,
*COMPUTER MUSIC CURRENTS 4 (1989) – [[Wergo]] WER 2024-50
*: ''The Vanity of Words'' (1986, for computer processed vocal sounds)
*ROGER REYNOLDS (1989) – New World 80401-2
*: ''Whispers Out of Time'' (1988, string orchestra)
*: ''Transfigured Wind II'' (1983, flute, orchestra, and tape)
*ELECTRO ACOUSTIC MUSIC: CLASSICS (1990) – Neuma Records 450-74
*: ''Transfigured Wind IV'' (1985, flute and tape)
*ROGER REYNOLDS (1990) – Neuma Records 450-78
*: ''Personae'' (1990, violin, ensemble, and tape)
*: ''The Vanity of Words [Voicespace V]'' (1986, tape)
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*: ''Roger Reynolds: The Dream of Infinite Rooms'' (1986, cello, orchestra, and tape)
*ROGER REYNOLDS: ELECTROACOUSTIC MUSIC (1991) – New World 80431-2
*: ''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)
*: ''Odyssey'' (1989–92, two singers, ensemble, and computer sound)
*: ''Summer Island'' (1984, oboe and computer sound)
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*ROGER REYNOLDS: FROM BEHIND THE UNREASONING MASK (1998) – New World 80237-2
*: ''From Behind the Unreasoning Mask'' (1975, trombone, percussion, and tape)
*ROGER REYNOLDS: WATERSHED (1998) – mode 70 DVD
*: ''Watershed IV'' (1995, percussion and real-time sound spatialization)
*: ''Eclipse'' (1979, computer generated and processed sound)
*: ''The Red Act Arias'' [excerpt] (1997, for 8-channel computer sound)
*STEVEN SCHICK: DRUMMING IN THE DARK (1998) – Neuma Records 450-100
*: ''Watershed I'' (1995, solo percussion)
*ROGER REYNOLDS: THREE CIRCUITOUS PATHS (2002) – Neuma Records 450-102
*: ''Transfigured Wind III'' (1984, flute, ensemble, and tape)
*: ''Ambages'' (1965, flute)
*: ''Mistral'' (1985, chamber ensemble)
*ROGER REYNOLDS: LAST
*: ''last things, I think, to think about'' (1994, baritone, piano, and tape)
*FLUE (2003) – Einstein Records EIN 021
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*: ''Kokoro'' (1992, violin)
*: ''Focus a beam, emptied of thinking, outward...'' (1989, cello)
*: ''Process and Passion'' (2002, violin, cello, and
*ROGER REYNOLDS: WHISPERS OUT OF TIME [works for orchestra] (2007) – mode 183
*: ''Symphony [Myths]'' (1990, orchestra)
*: ''Whispers Out of Time'' (1988, orchestra)
*: ''Symphony [Vertigo]'' (1987, orchestra, and computer processed sound)
*ANTARES PLAYS WORKS BY PETER LIEBERSON AND ROGER REYNOLDS (2009) – New Focus Recordings FCR112
*: ''Shadowed Narrative'' (1978–81, clarinet, violin, cello, piano)
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*: ''imagE/piano'' (2007, piano)
*: ''Traces'' (1968, flute, piano, live electronics)
*: ''Less than Two'' (1978, for 2 pianos, 2 percussionists and
*: ''The Angel of Death'' (1998–2001, piano, chamber orchestra and computer processed sound)
*MARK DRESSER: GUTS (2010) – Kadima Collective Recordings Triptych Series
*: ''imAge/contrabass and imagE/contrabass'' (2008–2010)
*ROGER REYNOLDS: SANCTUARY (2011) – mode 232/33 DVD
*: ''Sanctuary'' (2003 – 2007, percussion quartet & live electronics)
*ROGER REYNOLDS: VIOLIN WORKS (2022) – BMOP/Sound 1086
*: ''Personae'' (1989-1990, solo violin and chamber ensemble with computer processed sound)
*: ''Kokoro'' (1991-1992, solo violin)
*: ''Aspiration'' (2004-2005, solo violin and chamber orchestra)
*ROGER REYNOLDS: ASPIRATION (2022) – Kairos 0015051KAI
*: ''Shifting/Drifting'' (2015, solo violin, real-time algorithmic transformation)
*: ''imagE/violin'' & ''imAge/violin'' (2015, solo violin)
*: ''Aspiration'' (2004-2005, solo violin and chamber orchestra)
*: ''Kokoro'' (1991-1992, solo violin)
*ROGER REYNOLDS: ASPIRATION (2022) – Kairos 0015051KAI
*: ''Shifting/Drifting'' (2015, solo violin, real-time algorithmic transformation)
*: ''imagE/violin'' & ''imAge/violin'' (2015, solo violin)
*: ''Aspiration'' (2004-2005, solo violin and chamber orchestra)
*: ''Kokoro'' (1991-1992, solo violin)
*ROGER REYNOLDS: THE imagE-imAge SET (2022) - Neuma 450-114
*: ''imAge/piano'' & ''imagE/piano'' (2007-2008, solo piano)
*: ''imAge/contrabass'' & ''imagE/contrabass'' (2008-2010, solo contrabass)
*: ''imAge/guitar'' & ''imagE/guitar'' (2009, solo guitar)
*: ''imagE/viola'' & ''imAge/viola'' (2012-2014, solo viola)
*: ''imagE/flute'' & ''imAge/flute'' (2009-2014, solo flute)
*: ''imagE/cello'' & ''imAge/cello'' (2007, solo cello)
*ROGER REYNOLDS: COMPLETE CELLO WORKS (2014) - mode 277-278
*: ''Thoughts, Places, Dreams'' (2013, solo cello and chamber orchestra)
*: ''Colombi Daydream'' (2010, solo cello)
*: ''Focus a beam, emptied of thinking, outward...'' (1989, solo cello)
*: ''imagE/cello'' & ''imAge/cello'' (2007, solo cello)
*: ''Process and Passion'' (2002, violin, cello and computer processed sound)
*: ''A Crimson Path'' (2000-2002, cello and piano)
*ROGER REYNOLDS: ROGER REYNOLDS AT 85, VOL 1 (2020) - mode 326
*: ''FLiGHT'' (2012-2016, string quartet)
*: ''not forgotten'' (2007-2010, string quartet)
*ROGER REYNOLDS: ROGER REYNOLDS AT 85, VOL 2 (2021) - mode 329
*: ''Piano Etudes: Books I & II'' (2010–17, solo piano)
==References==
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==External links==
{{Archival records|title=Roger Reynolds papers, 1960s-2017|location=Music Division, [[Library of Congress]]|description_URL=
https://lccn.loc.gov/2006579411}}
*[http://www.rogerreynolds.com/ Roger Reynolds]
*[http://www.moderecords.com/profiles/rogerreynolds.html Mode Artist Profile: Roger Reynolds]
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{{PulitzerPrize Music 1981–1990}}
{{Portal bar|Classical music}}
{{Authority control}}
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[[Category:Musicians from Detroit]]
[[Category:21st-century American composers]]
[[Category:20th-century American composers]]
[[Category:Classical musicians from Michigan]]
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