Composer
Ingram Marshall (1942-); USA
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While composer Ingram Marshall's earliest compositions were electronic works, he has increasingly written for live musicians, including the Kronos Quartet. In the mid-'60s, he studied under Vladimir Ussachevsky, among others, while in another program at Columbia. Marshall then learned from Morton Subotnick, first (briefly) in Greenwich Village, then at Cal Arts as his assistant during the early '70s. It was while earning his masters at Cal Arts that Marshall was first exposed to Indonesian music, which he then added to his studies. While he blended his current musical interests in his own work (writing pieces for electronics and Balinese flute, for instance), Marshall continued to explore other styles of composition as well, as when he traveled to Sweden in the mid-'70s on a Fulbright Fellowship to study text-sound composition. "Fog Tropes" (1982) is the best known of his works that incorporate live (real time) electronic manipulation. From the mid-'80s on, Marshall has written ensemble music, not necessarily with electronics. His work for the Kronos Quartet includes "Voces Resonae" (1984) and, more recently, "Fog Tropes II." He also composed the orchestral, one-movement piece "Sinfonia 'Dolce far Niente.'"
© Joslyn Layne
© Joslyn Layne, All Music Guide
© Joslyn Layne
© Joslyn Layne, All Music Guide
Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.
Click on a category to view the list of works-
Vocal Works
1 track
- Savage Altars, for choir
1 track
- Savage Altars, for choir
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Piano Works
6 tracks
- Authentic Presence
1 track
- (5) Easy Pieces, for piano, 4 hands
5 tracks
- Authentic Presence
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Chamber Works
35 tracks
- Soe-pa, for apmlified classical guitar with digital delays and loops
3 tracks
- Dark Waters, for English horn and tape
1 track
- Holy Ghosts, for oboe d'amore & live digital delay processing
1 track
- Rave, for oboe & sound samples
3 tracks
- Entrada (At the River), for string quartet amplified with processing
1 track
- Evensongs, for string quartet
6 tracks
- In My Beginning Is My End, for piano quartet
2 tracks
- Alcatraz, for synthesizers, buoys, birds, fog horns, singing, gambuh flute and cell doors
10 tracks
- Fog Tropes, for brass sextet, fog horns & tape
2 tracks
- Gradual Requiem, for synthesizer, mandolin, voices, gambuh, piano & tape delay
5 tracks
- Gambuh 1, for gambuh, synthesizer & tape delay
1 track
- Soe-pa, for apmlified classical guitar with digital delays and loops
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