Produced Radio Features
Audio Writing (1984) is my own introduction to my "publishing" creative work with audiotape, narrated with brief excerpts from various pieces, including "This Is My Poem," "Excelsior," "Milestones in a Life," "Plateaux," "Praying to the Lord," "Invocations," "The Gospels/Die Evangelien," "The Eight Nights of Hanukah," "Seductions," "Relationships," "Foreshortenings," "Conversations," "Declaration of Independence," "Stringsieben," "New York City," "Epiphanies," and "What's in a Name." Based upon a shorter feature initially produced for the Australian Broadcasting Commission, this 91:00 program divides evenly into two equal parts. It supercedes an earlier self-feature, Audio Art (1978), that was likewise produced for Australian Broadcasting and covers just earlier works, interspered between general statements of principle. 45:00.
Portrait of New York City Radio (1985) was initially produced for Klaus Lindemann of the features department of Sender Freies Berlin. Comprehensively regarding NYC radio from the European point of view, it notices first the abundance of stations audible in a panoramic survey of the dial, and then the absence of a published complete radio schedule, in order to define how New York radio culture (and, by extension, American) differs from European. The bits of commentary separate a few dozen acoustic examples. I produced at home a rough tape, 70:00, not only to introduce my analysis but to function as a guide to stations producing the feature in languages other than English.
HÃ¶rspiel USA: Radio-Comedy (1983) suggests that the great tradition of American radio theater consists not of literary dramas, in the European mold, but something scarcely known on the Continent--radio comedy. The excerpts from the classic period (1929-52) were chosen not only to be comprehensible to a foreign audience but to emphasize the historical discovery of the unique theatrical possibilities of radio (as neither live stage nor film). Among the American radio artists quoted are Jack Benny, Fibber McGee and Molly, Jack Pearl, Amos 'n Andy, Abbott & Costello, and Peter Schickele. This was commissioned by Klaus Schoning of the horspiel department of Westdeutscher Rundfunk; the text was transated into German by Deborah Kagel. This feature was reproduced in Swedish by Sveriges Radio early in 1984. 45:00. I recently rewrote the script to add critical depth and plan to produce soon of this new text a rough tape approximately 70 minutes long.
Komische HÃ¶rspiel Made in America Heute (1985) is a sequel also made for WDR-
Horspiel. Its thesis is that since the mid-1950s, when television superceded radio as the principal medium of mass communications in America, the best native audio comedy has appeared first not on radio but on records, to be reproduced on radio in contexts outside the artist's control. After an extended introduction to the crucial career of Stan Freberg, the program quotes examples from Mike Nichols & Elaine May, Gilda Radner, Peter Schickele, The First Family and Charles Dodge. I prepared a rough English version 53 minutes long; the German program ran about 50 minutes.
Glenn Gould as a Radio Artist (HÃ¶rspielmacher) (1984) is a critical introduction to the "docudramas" of the Canadian musician Glenn Gould. As documentaries that draw heavily upon the potentialities of multitrack audiotape, as well as the liberties and devices of fiction, they are perhaps the best Audio Art ever done in North America. My commentary focuses on two trilogies of hour-long pieces--one trio about isolation in Canada, the other about three musicians (Schonberg, Stokowski, Richard Strauss)--and on Gould's use in his radio art of the tape-editing techniques he also used in producing records of his music performances. One theme is that even though these radio pieces contain no notes or words of his own invention, they represent the "composition" he always wanted to do. This feature, which quotes works not publicly available, was also commissioned by the WDR-HÃ¶rspiel which first broadcast it in June, 1984. 70:00. I prepared a rough English version that is 63:00.
Text-Sound in North America (1981) is an introductory survey to American language art that coheres more in terms of sound than syntax or semantics. The commentary includes sketches of each participating artist and his or her work: Beth Anderson, "If I Were a Poet"; Charles Amirkhanian, "Church Car"; Bliem Kern, "Jealousy"; Charlie Morrow, "Sunchant"; Norman Henry Pritchard, II, "Gyre's Galax"; Toby Lurie, "Innocence"; Jerome Rothenberg, "Tenth Horse Song"; Charles Amirkhanian, "Roussier" (not Rouffier)"; Glenn Gould, prologue to The Idea of North; Jim Theobald, "Nasoplosive Chant"; Richard Kostelanetz, "Praying to the Lord"; Charles Dodge, "The Days of Our Lives"; Tom Johnson, "GBDA"; and Jackson Mac Low, "The First Milarepa Gatha." This was originally produced for the Australian Broadcasting Commission, which rebroadcast it in 1983. 61:40.
Amerikanische Klangtexte (1983) is an abridgement of the above feature, commissioned by the Literatur department of Sender Freies Berlin and translated into German by Martin Koerber. Examples here include Beth Anderson, Bliem Kern, Norman Henry Pritchard, II, Charlie Morrow, Toby Lurie, Jerome Rothenberg, Charles Amirkhanian, Steve Reich, Charles Dodge, and Tom Johnson. 30:00. (Another shorter version was prepared for translation into Italian by RAI and broadcast in 1983 as a program several minutes long, with excerpts from only Beth Anderson, Jerome Rothenberg, and Charles Dodge.)
HÃ¶rliterature (1983) is another introductory survey of my art on audiotape, commissioned by Sender Freies Berlin and translated into German by Martin Koerber. Here the examples were chosen to favor work that could be understood by an audience that does not normally hear English, and one theme of the program is the progress from work initially done in English to other languages, including German. Thus, the examples, in sequence, are "This Is My Poem," "Alphabet," "Excelsior," "Milestones in a Life," "Praying to the Lord" (which is in both English and Hebrew), an excerpt from Invocations (which is in two dozen languages) and "Stringsieben," a text of overlapping German words which is spoken here by the performer who commissioned it, Eberhard Blum. 30:00.
Nach Weissensee (1984) is a composition of German Jews talking about pre-War Berlin. Their comments are prompted by recollections of the great Jewish cemetery there (Weissensee), which survives as the principal surviving relic of pre-War life there. This radio program expands upon the themes of a film Ein Verlorenes Berlin (1984), and was produced with Martin Koerber and Michael Maassen for RIAS in Berlin. 65:00. To redo the film in English, French and Swedish, we did not use sub-titles or artificial overdubbing but composed a wholly new soundtrack from fresh interviews with ex-Berliners speaking those other languages, and thus could thus similarly reproduce the general structure and themes of our radio feature in those languages. With sufficient support for fresh interviews, we could also reproduce our radio feature in Dutch and Hebrew.
A Special Time is a 60-minute extended montage of voices and sounds (commissioned by American Public Radio) towards a multi-part series about the 1960s.
Interviews about Radio and Audio Art: Charles Dodge and Doris Hays, each 29:00, initially produced for Australian Broadcasting; Rudolf Arnheim, about his Radio: An Art of Sound (1937), separately, in English, approx. 60:00, and German, approx. 50:00 (commissioned by WDR-HÃ¶rpsiel); and John Cage, about his work in, with and for radio., approx. 100:00 unedited.
Other features in progress include "The Voices of American Writing," an "Audioautobiography."
If any producers wish to audit cassette copies, consider scripts for translation into other languages, inquire about fees, and ask any other questions, please write me at P.O. Box 444, Prince St., New York, NY 10012-0008. Thank you for your interest.