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Ingram Marshall

Ingram Marshall (born May 10, 1942 in Mount Vernon, New York) is an American composer and a former student of Vladimir Ussachevsky and Morton Subotnick. Marshall’s early work is primarily electronic, but by 1971 he had taken a substantial interest in Indonesian music and began to study the gamelan traditions of Bali and Java.
In the mid-1970s, Marshall worked to combine his eclectic interests into a unique and memorable sound, sometimes layering electronic tones with the sounds of the Balinese flute, other times incorporating “text sound” in the form of the manipulated human voice. Since 1985, his main focus has been ensemble music that sometimes incorporates electronic sounds and sometimes does not.

Ingram Marshall (born May 10, 1942 in Mount Vernon, New York) is an American composer and a former student of Vladimir Ussachevsky and Morton Subotnick. Marshall’s early work is primarily electronic, but by 1971 he had taken a substantial interest in Indonesian music and began to study the gamelan traditions of Bali and Java.
In the mid-1970s, Marshall worked to combine his eclectic interests into a unique and memorable sound, sometimes layering electronic tones with the sounds of the Balinese flute, other times incorporating “text sound” in the form of the manipulated human voice. Since 1985, his main focus has been ensemble music that sometimes incorporates electronic sounds and sometimes does not.

September Canons
Todd Reynolds, violin, with electronic processing; Members of the Yale Philharmonia, Julian Pellicano, conductor; The Berkeley Gamelan, Daniel Schmidt, director; Ingram Marshall, gambuh (Balinese flute), Serge synthesizer, live electronic processing The pieces on this recording span almost three decades and represent the principal threads that have run through Ingram Marshall's (b 1942) work: his remarkable skill in using electronics to create expressive and voluptuously beautiful pieces; the in…
Fog Tropes / Gradual Requiem
2015 restock. Essential piece of modern composition from American composer Ingram Marshall, using tape delay, Serge synth and foghorn field recordings reissued on Arc Light Editions. Described by John Adams as "the antithesis of the human voice against the vast becalmed presence of the natural world." Originally released in 1984 on Foster Reed's influential New Albion label (which also released work by John Cage, Pauline Oliveros, and Morton Subotnik) it has not, until now, been made available a…
Dark Waters
Dark Waters, for English horn and tape, was written in 1996 for the oboist Libby Van Cleve. The English horn is amplified and processed through several digital delay devices and mixed live with the tape part. The tape part was created using raw material garnered from sampling fragments of an old 78 rpm recording from the twenties of "The Swan of Tuonela" by Sibelius. The 'low fi' sound and even the surface noise of the old acetate record, clearly heard at the very beginning of the piece, …
Ikon and other Early Works
This CD comprises the text-sound works (1974-1980) on which Ingram Marshall concentrated throughout the seventies and falls into two parts: the works from the Fragility Cycles period (Cries Upon the Mountains, SUNG, Sibelius in His Radio Corner, and IKON) and the earlier works (Cortez, Weather Report, and The Emperor’s Birthday). “Cortez, Weather Report, and The Emperor’s Birthday form a kind of trilogy representing my work with “text-sound” in the early seventies. The techniques used to gener…
One Line Two Views
One Line, Two Views features seven compositions for nine-piece ensemble by Muhal Richard Abrams. Works range from the subtle textural and tonal explorations of “Textures,” “Hydepth,” and the title track to the hard bop revisitations of “11 over 4” and “The Prism 3.” The disc is rounded out by an ebullient, joyous, and celebratory “Tribute to Julius Hemphill and Don Pullen” and the blues-tinged “Ensemble Song.” Abrams opts for unique instrumentation including violin, harp, and accordion.  …
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