# Considering Project Notebooks and the Origins of the Angel of Death

In a series of wide-ranging interviews and discussions, Roger Reynolds discusses various threads woven through his life and music. They include the use of text, thoughts on sound spatialization, site-specifics works, intermedia, technology in music, his compositional methods, and relationships with other composers (including Iannis Xenakis, Toru Takemitsu, John Cage, and Elliott Carter). Composer, author and educator Roger Reynolds is University Professor of Composition at the University of Southern California, San Diego. The Roger Reynolds Collection is held at the Library of Congress, and contains manuscripts, sketches, correspondence, recordings and other primary source materials related to Reynolds' life and work. In Part 3 of this series, Reynolds is interviewed by David Plylar of the Music Division in a discussion concerning Reynolds' compositional processes, with a particular focus on The Angel of Death. Topics explored include issues of genesis, structure, music perception, boundaries and discipline in composition, the myth of "pre-composition," successive approximation in the composition process, the compositional status of ideas, aspects of collaboration on large projects, algorithms, and the transformation of an abstract work into its final form - in this case, The Angel of Death.

- Kind: Talk
- Year: 2015
- By: Library Of Congress
- Genres: Music
- Archive: [Library of Congress](https://www.loc.gov/item/2024697265/)
- Licence or status: Rights statement at the Library of Congress (as the archive states it)
- Credit: Library of Congress
- Who can watch: Tweens profiles and older (the archive gives no rating; placed by Invisible Network from its collection and subjects)

[Watch now](https://invisiblenetwork.ai/watch/archive/loc/2024697265?play=1)