Robert Moran
Robert Moran has already written his place into the rich tapestry of contemporary music which has flourished in the United States in the second half of the twentieth century. Whilst Glass, Reich and Riley trod the various paths towards “minimalism”, Moran was composing and organizing "performance art" spectaculars such as Thirty Nine Minutes for Thirty Nine Autos -- a deceptive title for a piece which used 100,000 performers and most of downtown San Francisco-premiered in august 1969, or Hallelujah (April 1971) using most of Bethlehem, Pennsylvania and twenty marching bands, forty church choirs, gospel groups, etc. Whilst these great multi-media events may have been a product of their time, in Moran’s case they point to an underlying philosophy which sees music as a shared experience. In terms of this shared experience with his performers, he wrote a series of graphic scores in the 1960s and 1970s which, while controlling the elements of structure, gave the performer a distinctly creative role. As art in themselves, these scores have been exhibited throughout the world, including at Berlin’s Academy of Art, and a two-year period in the Lincoln Centre Library for the Arts (1980-82).



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