{"value"=>"<p>Maryanne Amacher was born on February 25, 1938 in Kane, Pennsylvania, and spent her youth playing the piano. She received a full scholarship to the University of Pennsylvania, where she studied music composition, and earned her Bachelor of Fine Arts degree in 1964. Amacher went on to study composition in Europe, before returning to the United States and pursuing graduate studies at the University of Illinois at Urbana-Champaign in acoustics and computer science. She subsequently participated in residences at the University of Illinois' Studio for Experimental Music and the State University of New York (SUNY) at Buffalo.</p> <p>During her residency at SUNY Buffalo in 1967, Amacher created her first site-specific sound installation called <span class=\"title\">Long Distance Music</span>, which would later become known as <span class=\"title\">City Links: Buffalo</span>. The twenty-eight-hour piece utilized five microphones set up in various parts of the city, and was broadcast live on a local radio station. This project marked the beginning of Amacher's larger <span class=\"title\">City-Links</span> installation series, in which she broadcast sounds from twenty-two sites around the country, transmitted them using FM radio quality telephone lines, and mixed the sounds together in her studio. Amacher continued her <span class=\"title\">City-Links</span> project throughout the 1970s and 1980s in Boston and Cambridge, Massachusetts; Chicago, Illinois; Minneapolis, Minnesota; New York City; Oakland, California; and Miami, Florida.</p> <p>Amacher's two other major installation works were <span class=\"title\">Music for Sound-Joined Rooms</span> and <span class=\"title\">Mini-Sound Series</span>, which were ongoing during the 1980s and 1990s. These installations comprised exhibitions and performances in the United States, Europe, and Japan. Both works featured what Amacher referred to as \"structure-borne transmissions,\" which were characterized by installations in multiple rooms. Amacher staged the sounds based on each location's architecture, and designed audio outputs that circulated throughout a building. The <span class=\"title\">Music for Sound-Joined Rooms</span> and <span class=\"title\">Mini-Sound Series</span> installations created immersive audience experiences in which individuals moved through various rooms as sounds were heard and felt in the body.</p> <p>Between 1976 and 1984, Amacher was commissioned by John Cage to compose the sonic environments for both <span class=\"title\">Lecture on the Weather</span> and <span class=\"title\">Empty Words</span>. During this time, she was also commissioned by the Merce Cunningham Dance Company to compose the music for <span class=\"title\">Torse</span>. Amacher's soundtrack, entitled <span class=\"title\">Remainder</span>, was utilized in performances of <span class=\"title\">Torse</span> and a 1979 film of the dance piece directed by Charles Atlas.</p> <p>In the late 1970s, Amacher began work on a fictional \"media opera\" titled <span class=\"title\">Intelligent Life</span>, that was intended for broadcast on television and radio. Though she worked on the project for nearly two decades, it was never completed. Another unrealized project, <span class=\"title\">The Levi-Montalcini Variations</span>, was commissioned in the 1990s as a collaboration with the Kronos Quartet. The piece centered around \"endotonality,\" a term Amacher coined that describes certain tones perceptible to the human ear.</p> <p>In addition to her multimedia installations, Amacher composed many smaller scale works, many of which she performed. These include <span class=\"title\">Adjacencies</span> (1965); <span class=\"title\">Arcade</span> (1966); <span class=\"title\">Here</span> (1967); \"Intercept\" (1982-1983); \"Petra\" (1990); <span class=\"title\">GLIA</span> (2005); and <span class=\"title\">TEO! A Sonic Sculpture</span> (2005).</p> <p>Throughout her career, Amacher participated in numerous fellowships with such institutions as the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (MIT) (1972-1976); Bunting Institute at Harvard University (1978-1979); Capp Street Gallery in San Francisco, California (1984-1985); Deutscher Akademischer Austauschdienst (DAAD) in Berlin, Germany (1986-1987); Rosekrans Arts at Mills College (1993); and the Guggenheim Foundation (1997-1998). She spent the final decade of her career teaching at Bard College's Milton Avery Graduate School of the Arts, and released two studio albums: <span class=\"title\">Sound Characters (Making the Third Ear)</span> (1999) and <span class=\"title\">Sound Characters 2 (Making Sonic Spaces)</span> (2008).</p> <p>Amacher died in 2009 after suffering a head injury and subsequent stroke. The Maryanne Amacher Foundation was formed in 2020 by a group of her friends, peers, and collaborators to preserve her legacy. Amacher's work continues to be performed and exhibited.</p>"}
{"value"=>"<p>The Maryanne Amacher papers date from the 1890s to 2009 (bulk dates 1960s-2009), and chronicle Amacher's entire professional career as a working musician, installation artist, researcher, and teacher. The arrangement reflects the way in which Amacher conceived of her own career, with an emphasis on her three major installations: <span class=\"title\">City-Links</span>, <span class=\"title\">Music for Sound-Joined Rooms</span>, and <span class=\"title\">Mini-Sound Series</span>. The collection holds installation files; documents and recordings from her collaborative projects and performances; music and sound compositions; research materials; files and recordings of unrealized and incomplete projects; professional writings; materials from her work at various residencies, fellowships, and teaching institutions; and press files. There is also a selection of personal files related to Amacher's childhood, family, home, and travel.</p> <p>The description and container list utilize titles found on materials in the collection. Since Amacher's works often informed one another, and because she frequently reconceived of projects as time went on, materials from specific projects may be found in multiple locations and labeled inconsistently. The biographies and resumes in series VI are useful in referencing how Amacher conceived of and re-titled her work over time.</p> <p>Amacher heavily annotated the containers of many of her audio and video recordings, which often provide further insight into the content. Scans of these materials are available from the Music Division; these items are indicated in the container list with the note \"additional scanned resource available upon request.\"</p>"}
{"value"=>"<p class='list-head'>The Maryanne Amacher papers are arranged in nine series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/mus/185461#c1703419'>Series I: Multimedia Installations</a></div>\n<div class='series-date'>1960s-2009</div>\n<div class='series-description'><p>Materials related to Amacher's multimedia installations are held in series I. The series is arranged into three subseries that date from the 1960s to 2009, comprising her major career-spanning installations: <span class=\"title\">City-Links</span>, <span class=\"title\">Music For Sound-Joined Rooms</span>, and <span class=\"title\">Mini-Sound Series</span>. There is also a fourth subseries of images and notes, which contains installation photographs and papers either not attributed to a specific project, or attributed to multiple projects. The series arrangement mirrors how Amacher described her own installation work, and is ordered chronologically to reflect her career trajectory. More information about how these installations fit within Amacher's career, and the ways in which she wrote about them, are found in series VI.</p></div></li><li><div class='series-title'><a href='/mus/185461#c1703887'>Series II: Collaborations and Performances</a></div>\n<div class='series-date'>1960s-2009</div>\n<div class='series-description'><p>This series chronicles Amacher's collaborations with John Cage and the Merce Cunningham Dance Company, as well as performances she gave throughout her career. Dating from the 1960s to 2009, series II primarily holds notes, project descriptions, and recordings. It is arranged into three subseries: John Cage, Merce Cunningham Dance Company, and Performances and Commissions.</p> <p>These collaborations and performances were conceived of as separate from Amacher's three major installation projects in series I, but may utilize some of the recordings produced for those earlier works. Additional descriptions and background information about some of these projects, as well as details about how these collaborations and performances fit into Amacher's career, can be found in series VI.</p></div></li><li><div class='series-title'><a href='/mus/185461#c1704345'>Series III: Music and Sound Compositions</a></div>\n<div class='series-date'>1960s-2009</div>\n<div class='series-description'><p>Series III, dating from the 1960s to 2009, holds notes, scores, and recordings related to or derived from Amacher's music and sound compositions. The series exhibits Amacher's music composition process, and also holds some smaller scale works. It is likely Amacher used these works for her ongoing installations held in series I, and her performances held in series II. This series is arranged into two subseries: Compositions by Date, and Assorted Notes and Recordings.</p> <p>While the notes held here probably do correspond to specific recordings in the series, Amacher did not file them together, so they are filed here in that same manner. It is typically unclear when a notebook or files of notes references a specific recording, but when notes were housed with recordings, that arrangement has been maintained. Recordings with annotated media cases have also been noted in the container list, and scans of these cases may be requested from the Music Division.</p> <p>Subseries III.A. illustrates Amacher's titled, dated, and performed works, and is arranged chronologically. In general, these are known works, and are often cited in Amacher's resumes and biographies held in subseries VI.A. Subseries III.B. holds materials that cannot be attributed to a single composition, or where the project or final title is unknown. These materials are arranged alphabetically.</p> <p>Additional handwriten notation and scores are found in subseries IV.C for <span class=\"title\">The Levi-Montalcini Variations</span>, Amacher's unrealized collaboration with the Kronos Quartet.</p></div></li><li><div class='series-title'><a href='/mus/185461#c1705316'>Series IV: Unrealized and Incomplete Projects</a></div>\n<div class='series-date'>1976-2000s</div>\n<div class='series-description'><p>Series IV, dating from 1976 to the 2000s, holds materials for projects Amacher pursued that were ultimately unrealized or not completed in her lifetime. The series is arranged into three subseries, one for each project: <span class=\"title\">Intelligent Life</span>, <span class=\"title\">Rare and Unusual Atmospheres</span>, and <span class=\"title\">The Levi-Montalcini Variations</span>. Each subseries traces the projects' development, often including extensive drafts, composition notes, and project descriptions. Original file names are maintained when possible. There are no recordings in this series, but it is possible that recordings in series III relate to the materials here.</p></div></li><li><div class='series-title'><a href='/mus/185461#c1705368'>Series V: Research</a></div>\n<div class='series-date'>1953-2009</div>\n<div class='series-description'><p>Series V holds alphabetically arranged research subject files and recordings maintained by Amacher on numerous topics related to her work and interests. This series reveals points of reference for Amacher's installations and compositions, as well as her wide-ranging interests in the fields of art, audio technology, music, physics, and psychology.</p> <p>The majority of subject files date from the 1980s to the 2000s, and contain news clippings from academic and magazine articles, many of which are annotated by Amacher. Occasionally, Amacher's handwritten notes accompany the articles and clippings, typically referencing their content. Original file titles are maintained when possible.</p> <p>Some research files concern Amacher's early career in the 1960s, namely \"Computer Schemes,\" which consists of annotated articles and notes from her time at the University of Illinois. A file titled \"Artificial Reverberation\" contains a 1953 Harvard University report on magnetic recording delay. In addition, there is a group of articles by Amacher's MIT colleague, Marvin Minsky, mostly about artificial intelligence.</p> <p>Many of the research files also relate to recording and computer technology that Amacher used throughout her career. Files on Pro Tools, AudioDesk, EVL and CAVE, Unix, Opcode Studio Vision, and DA-88 are present. These files often feature annotated manuals and printouts.</p> <p>Also of interest are several files specifically used for Amacher's unrealized project, <span class=\"title\">Intelligent Life</span>. These files, labeled \"I.L. [<span class=\"title\">Intelligent Life</span>],\" mostly contain clippings and notes from the 1980s and 1990s that address neurological and planetary research, as well as some budget notes. The bulk of files related to <span class=\"title\">Intelligent Life</span> are held in subseries IV.A.</p> <p>Other topics represented include acoustics, architecture, digital recording, the Internet, music theory, neuroscience, otoacoustic emissions, quantum computing logic, synesthesia, and tone studies. There are several audio equipment manuals with Amacher's annotations, in addition to book excerpts of <span class=\"title\">I Ching</span> and <span class=\"title\">Vermilion Sands</span>.</p> <p>The recordings held in this series largely relate to Amacher's sound research. Included here is a group of sound recordings, accompanied by some notes, that originate from New York University Intermedia around 1968. There is also a set of recordings that Amacher labeled \"Tone and Interval Studies\" dating from the 1970s during her time at MIT. Some of these recordings indicate that they feature Amacher's MIT colleague, Marvin Minsky. There are additional recordings held here of Minsky playing piano from the same period. Some of the recordings and composition notes held in series III may be related to these MIT recordings, but they were not labeled in a manner in which this could be verified.</p></div></li><li><div class='series-title'><a href='/mus/185461#c1705655'>Series VI: Professional Writing</a></div>\n<div class='series-date'>1960s-2009</div>\n<div class='series-description'><p>Amacher's professional writing is held in this series, and features biographies and resumes; project proposals and grant applications; project descriptions; and articles, essays, and book chapters. Dating from the 1960s to 2009, Amacher's writings offer insight into how she conceived of her work over time, and along with the press materials in series VIII, provide a nearly complete timeline of her work. Some materials held here, specifically the biographies, resumes, and project descriptions, may be found elsewhere in the collection with the files for a specific project. Most writings in this series contain numerous drafts, often with Amacher's detailed annotations.</p></div></li><li><div class='series-title'><a href='/mus/185461#c1705699'>Series VII: Residencies, Fellowships, and Instruction</a></div>\n<div class='series-date'>1972-2009</div>\n<div class='series-description'><p>Series VII addresses Amacher's work as an instructor and lecturer, and also encompasses her many residencies and fellowships. The series dates from 1972 to 2009, and is arranged chronologically by residency or teaching tenure date. Additionally, there is a selection of unidentified lecture notes, syllabi, contracts, and correspondence about potential fellowships and teaching opportunities held at the beginning of the series.</p> <p>The residencies detailed here include the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (MIT); Capp Street in San Francisco, California; Rosekrans Artists-in-Residence at Mills College; and the Experimental Media and Performing Arts Center (EMPAC) in Troy, New York. These files hold a combination of correspondence, lecture notes, and contracts. There are also recordings from Amacher's Mills College residency, including a 1993 video of David Kwan performing at the Mills College Concert Hall; and several recordings identified as being from the Port of Oakland.</p> <p>A significant amount of material from Bard College is held here, the bulk of which dates from 2000 to 2009. There are staff lists, reading lists and packets, institutional correspondence, teaching notes, biographies, writing samples, and course descriptions present. Also of interest is a description for a workshop Amacher taught called \"Workshop in Electronic, Electroacoustic and Computer Music Composition;\" and a 2001 video about Amacher by Samuel Topiary.</p></div></li><li><div class='series-title'><a href='/mus/185461#c1705723'>Series VIII: Press and Publicity</a></div>\n<div class='series-date'>1950s-2009</div>\n<div class='series-description'><p>Series VIII compiles five decades of press coverage from Amacher's career, as well as programs, fliers, and posters for her performances and installations. It reveals how Amacher was covered by the media, and provides a nearly complete timeline of her work through press materials. The series is arranged into three subseries: Clippings and Interviews; Programs and Fliers; and Posters. Materials in each subseries are ordered chronologically.</p></div></li><li><div class='series-title'><a href='/mus/185461#c1705760'>Series IX: Personal Files</a></div>\n<div class='series-date'>1890s-2009</div>\n<div class='series-description'><p>Series IX contains Amacher's personal files, which are arranged alphabetically by file type or topic and chronicle her childhood, family, friendships, travel, and assorted interests. Included here are photographs, correspondence, calendars and datebooks, notes and notebooks, artwork, and recordings. Since Amacher often worked at home, there was significant overlap between her personal and professional lives. Therefore, contracts and agreements, professional travel documentation, files on audio equipment, and professional correspondence are often filed alongside personal materials.</p> <p>The correspondence dates from 1967 to 2009, the bulk of which is arranged by date and chiefly between Amacher and her colleagues and friends. There is also a significant amount of correspondence between Amacher and her parents, as well as letters her parents wrote to each other. Much of the correspondence, despite being found among her personal files, is professional in nature, and concerns events Amacher attended; performances she gave; installation requirements; travel plans; recommendations; her residencies; audio equipment purchases; research; and personal updates. Correspondence from the 1990s and 2000s is prominent, focusing on <span class=\"title\">Music for Sound-Joined Rooms</span> installations, <span class=\"title\">Sound Characters (Making the Third Ear)</span>, and Bard College instruction. This series also contains files of correspondence with both John Cage and Luis Frangella; the Cage correspondence includes a 1976 recommendation Cage wrote for Amacher, and drafts of a 1989 letter Amacher wrote to Cage about a Guggenheim Museum submission. Similar correspondence addressing installations, performances, and collaborations can be found in series I, II, and VII, as well as with the project and grant applications held in subseries VI.B.</p> <p>Photographs consist of prints and slides, and largely depict Amacher and her family. Photographs of Amacher depict her performing, working on installations, with friends, and in her home. Numerous portraits of Amacher, especially from her childhood, are included. There are family photographs present that are mostly unlabeled, and which depict Amacher's parents and other relatives from the 1890s through 1986. Additionally, there is a set of photographs and slides arranged by subject that were mostly taken by Amacher during her travels. Another set of unidentified photographs is ordered at the beginning of the photographs group; these images portray other people, assorted travel scenes, events, and audio equipment. Additional professional photographs are held with the installation files in series I, and with the performance and collaboration files in series II. Images of Amacher in a professional setting are also found in the press and publicity files in series VIII.</p> <p>Amacher's personal notes and notebooks contain jottings, lists, calculations, addresses, phone numbers, and various writings. Due to Amacher's scattered note-taking practices, these notebooks occasionally feature composition and installation notes. Calendars date from 1968 to the 1990s, and similarly feature a mix of personal and professional memos. This series also contains several pieces of artwork, some of which was likely created by Amacher, and some that was given to her as a gift.</p> <p>Of special note are files Amacher made about her clothes and fashion, including index cards of various outfit options, and notebooks inventorying her clothing. These files sometimes address specific events or locations at which Amacher intended to wear these outfits; there are research files in series V that further address Amacher's interest in fashion. Also found among the personal papers is Amacher's House File, which holds closing documents, a property map, and documentation related to her home.</p> <p>The recordings held in this series largely consist of works by other artists, as well as recordings made for Amacher. Of interest are two mixes made for Amacher by DJ Spooky, which includes a handwritten tracklist and artwork. Scanned copies are available upon request from the Music Division.</p></div></li></ul>\n", "type"=>"arrangement"}