Payne, Maggi (actually, Margaret Ducé)
Payne, Maggi (actually, Margaret Ducé)
Payne, Maggi (actually, Margaret Ducé), American composer and recording engineer and editor; b. Temple, Tex., Dec. 23,1945. She studied at Northwestern Univ. (B.M., 1968), the Univ. of 111. (M.M., 1970) and Mills Coll., in Oakland, Calif. (M.F.A.), numbering among her mentors Waif rid Kujala (flute) and Gordon Mumma, Robert Ashley, and David Behrman (composition); also took courses at Yale Univ. (1969). In 1972 she became a recording engineer in the multitrack facilities at the Center for Contemporary Music at Mills Coll., later being named co-director (1992); from 1983 to 1985 she was artist-in-residence at San Francisco’s Exploration, and from 1983 to 1994 also a production engineer for the Northern Calif, radio station KSFO/KYA. Her works, largely electroacoustic, have been performed in various venues throughout the U.S. and Europe. Among her awards are three NEA fellowships (1979–80; 1987; 1989–90) and video grants from both the Mellon Foundation (1983) and the Western Regional Media Arts Fellowships Program (1983–84). In 1998 her Apparent Horizon was distinguished with an Honorary Mention from Prix Ars Electrónica competition, and in 2000 her Sweet Dreams was accorded the same from the 27thannual Les Concours International de Musique Elec-troacoustique de Bourges competition.
Works
Inflections for Flute (1970); Orion for Film and Electronic Sound Track (1973); HUM for Tape and Live Flutist (or 7 Live Flutists) (1973); VDO for Film with Electronic Sound Track (1973); Allusions for Tape, Dancers, Lighting, and Film (1974); Farewell for Tape and Slides (1975); Transparencies for Tape and Slides (1976); Spheres for Tape and Slides (1977); Spirals for Tape and Slides (1977); Lunar Earthrise for Tape and Slides (1978); Lunar Dusk for Tape and Slides (1979); Blue Metallics for Tape and Slides or Film (1980); Rising for Tape and Slides and /or Dancers (1980); Circular Motions for Tape and Video (1981); Ling for Tape and Slides (1981); Crystal for Tape and Videomicrography (1982); Io for Tape and Videomicrogra-phy (1982); Scirocco for Live Flute with Digital Delay and Tape (1983); Solar Wind for Tape and Video or Slides (1983); White Night for Tape (1984); Shimmer for Tape (1985); Subterranean Network for Tape and Staging (1985); Back to Forth for Tape (1986); Airwaves (realities) for Tape and Video (1987); Ahh-Ahh (ver 2.1) for Tape (1988); Song of Flights for Soprano and Piano (1988); Phase Transitions for Tape (1989); Desertscapes for 2 Spatially separated Treble Choruses (1991); Heavy Water for Tape (1991); Resonant Places for Tape (1992); Aolian Confluence for Tape (1993); Liquid Metal for Tape and Video (1994); Apparent Horizon for Tape and Video (1996); Minutiae 0–13 for 1–3 Pianos (1996); Moiré for Tape (1996); Raw Data for Tape (1998); Close-ups for Tape (1999); Sweet Dreams for Tape (1999); HUM 2 for 8 Trombones or Solo Trombone and 7 Channels of Tape (2000; also for Solo Trombone and Quadraphonic or Stereo Diffusion); White Turbulence 2000, electroacoustic piece for quadraphonic diffusion (2000).
—Laura Kuhn/Dennis McIntire