TRAVELON GAMEON: Why music for bicycle? The title came first. A gamelan orchestra is a large group of percussive instruments, usually metallic, from SE Asia. In fact, the sound of such a group is not unlike the timbre of amplified bicycles. The rhythm of the title, and its implication of a "travelling" gamelan, seemed too good an idea to pass up. I was further intrigued with using the bicycle as a sound source, as an instrument and as an image. Memories from childhood of attaching cards to wheels to strike the spokes provided another impetus to pursue the pieces.

I had briefly amplified a bicycle in 1963 for an early tape music piece by jamming a microphone against the frame and recording the sound for future use. This would have been impossible in live performance ... too much feedback. Using phono cartridges which I took apart, the first performance of an earlier version happened on Feb. 4, 1977. Four of the six cartridges broke. Over the next 6 months I developed a way to safely house the cartridges in plastic and also increase their response.

It occurred to me that another version could be performed the Promenade version. This necessitated designing and building 25 small battery powered amplifiers, getting horn-type loudspeakers to attach to the bicycles, making pickups, and organizing the event. With each rider individually amplified, the Promenade version was first given in May, 1978 at U. Mass.-Boston. --- Richard Lerman (Excerpt from covertext)

Cover: two-color print with a photo-portrait of the artist by Michiel Hendryckx, design: Ronald Clyne, 6-pages folder (28 x 21.7cm)(n.pag.) with a text by Richard Lerman. 30cm, 33 RPM, 1982, Folkways Records, New York FX 6241.

Contents: Promenade version (Boston, Mass. July 2, 1979), Concert version (Pittsburgh, Pa., June 6, 1981), Promenade version (Amsterdam, the Netherlands, April 27, 1982), Concert version (Amsterdam, April 27, 1982).

Music: Philip Glass. Cover: two-color print according to a drawing by Sol Lewitt, 30cm, 33RPM, 1974, Virgin Records London No. CA 2010.

Many types, shapes, and sizes of glass are used, singly or combined, and are manipulated in a variety of ways so as to extract from them their latent sounds. The glass used has not been specially prepared or shaped as with musical instruments; pieces of glass have been used which are not normally seen - fragments picked up from factory floors, such as small glass discs which are rubbed together, and sea-green glass rocks which are knocked against each other. (excerpt from covertext)

Cover: multi-color print, design: Robert Morgan, photos, drawings (by the artist) and text information. 30cm, 33RPM, 1970, Tangent Records, London TGS 104.

Cover: b/w, 30cm, 33RPM, 1981, Ninety Nine Music, New York.

Exihibition catalogue (20 x 20cm), 88 p.(n.pag.), Frontpage with mounted flexidisc (17cm ), the centerhole is drilled through the entire catalogue.

Title: Lunds Konsthall 1965. Le Mervelleux Moderne. Det Underbara Moderna. Det Underbara Idag.