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© Manny Albam

Annea Lockwood, born in New Zealand and living in the United States, is perhaps most infamously known for her Piano Transplants (1969-72), in which defunct pianos were variously burned, drowned in a shallow pond in Amarillo, Texas, and partially buried in an English garden. During the 1960s she collaborated frequently with sound-poets, choreographers and visual artists and created works like Glass Concert (1967), in which a variety of complex sounds were drawn from industrial glass products and shards, and then presented as an audio-visual theater piece. During the 1970s and 80s, Lockwood turned her attention to work focused on environmental sounds, life-narratives in installations, and performance works using low-tech devices like her Sound Ball, a foam-covered ball containing six small speakers and a radio receiver. She has also composed for acoustic instruments and voices, frequently incorporating electronics and visual elements. Thousand Year Dreaming (1991) is scored for four didjeridus, conches, frame drums, winds, and trombones, and incorporates slides of the Lascaux cave paintings; Monkey Trips (1995), for an improvising sextet, draws on our common, every-day experiences of various mind states; Ear-Walking Woman (1996), for pianist Lois Svard, invites the pianist to discover a range of sounds available inside the instrument, using rocks, bubble-wrap, bowl gongs, and other implements; and Floating World (1999) weaves together recordings made by friends in places which are spiritually important to them, ranging from the mountains of New Zealand to the New York Public Library. Much of her music has been recorded on the Lovely Music, XI, ¿WhatNext?/OO Discs, Rattle (New Zealand), Harmonia Mundi, and CRI record labels.