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Ingram Marshall: Savage Altars

Though the composer uses the term “expressivist” to describe his music, he is often associated with post-minimalism. His music often reflects an interest in world music, particularly Balinese gamelan tradition, as well as influence from the American minimalism trends of the 1960s (the composer often acknowledges the work of Steve ReichTerry Riley, and John Adams).

He first gained recognition for his electroacoustic pieces, often performed by the composer himself on synthesizer, tape looping, gambuh (a traditional Balinese flute), and voice (“Fragility Cycles” [1978] is one of his best known works using this method of solo performance). His acoustic music frequently incorporates tape delay, and later, digital delay (such as “Soe Pa”, for solo classical guitar, and “Hymnodic Delays” for the Theatre of Voices). Many of the tape parts of his pieces include the composer’s own keening falsetto and gambuh playing (such as “Fog Tropes” and “Gradual Requiem” (1980)). Some of his works were produced in coordination with the assistance of noted Norwegian photographer, James Bengston of Studio Nord in Oslo. – Wikipedia

“as tenacious and committed an advocate as
any composer could dream of”

– San Francisco Chronicle

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