Be Somethin': The Eclectic Career of Richard "Dickie" Landry

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dc.contributor.advisorKieffer, Alexandraen_US
dc.creatorBell, Brandonen_US
dc.date.accessioned2019-05-16T19:02:38Zen_US
dc.date.available2019-05-16T19:02:38Zen_US
dc.date.created2019-05en_US
dc.date.issued2019-04-02en_US
dc.date.submittedMay 2019en_US
dc.date.updated2019-05-16T19:02:38Zen_US
dc.description.abstractABSTRACT A New Mass for a New Collection: Richard “Dickie” Landry’s Mass for Pentecost Sunday by Brandon Bell This document serves two purposes. First, it is a substantial biography of Richard “Dickie” Landry, a virtuosic polymath who has found considerable success as a saxophonist, composer, photographer, and visual artist. Secondly, the document details Landry’s major work as a composer, his Mass for Pentecost Sunday, commissioned by Dominique de Menil for the 1987 opening of Houston’s Menil Collection. As Landry created his own art both as a musician and visual artist in addition to documenting the work of others through his work in photography, he occupies a unique position in the cadre of musicians and artists who turned downtown Manhattan into a hotbed of creative endeavors in the 1960s and 1970s. Musically, Landry is most closely associated with the Philip Glass Ensemble, of which he was a founding member. Outside of the ensemble, Landry developed a robust solo career through the use of the stereo quadraphonic system, an audio system that used delay processes thereby allowing him to create an accompaniment of a “choir of saxophones.” After leaving the Philip Glass Ensemble in 1981, he went on to work with celebrated musicians such as Laurie Anderson, Paul Simon, and the Talking Heads, as well as the iconic artist Robert Rauschenberg and the renowned theater director and playwright Robert Wilson. The turn of the 21st century found Landry back home in Lafayette, Louisiana, performing with the swamp pop supergroup Lil’ Band O’ Gold. In the visual arts, Landry assisted Richard Serra, Keith Sonnier, and Gordon Matta-Clark as they created their masterworks in the lofts and galleries of downtown New York. He also developed his own, minimalist style in various mediums including, drawing, video, and eventually painting. Chapters One through Three form the first part of this document. Chapter One details Landry’s early life in Louisiana through his move to New York City in 1969. Chapter Two, the bulk of this first part, chronicles Landry’s heady activities between 1969-1981. The third chapter records Landry’s activities from 1981 to 2018. Chapter Four, the second part of the document, is dedicated solely to the Mass Landry composed for the opening of The Menil Collection.en_US
dc.format.mimetypeapplication/pdfen_US
dc.identifier.citationBell, Brandon. "Be Somethin': The Eclectic Career of Richard "Dickie" Landry." (2019) Diss., Rice University. <a href="https://hdl.handle.net/1911/105394">https://hdl.handle.net/1911/105394</a>.en_US
dc.identifier.urihttps://hdl.handle.net/1911/105394en_US
dc.language.isoengen_US
dc.rightsCopyright is held by the author, unless otherwise indicated. Permission to reuse, publish, or reproduce the work beyond the bounds of fair use or other exemptions to copyright law must be obtained from the copyright holder.en_US
dc.subjectDickie Landryen_US
dc.subjectPhilip Glassen_US
dc.subjectMinimalismen_US
dc.subjectRobert Rauschenbergen_US
dc.subjectPaul Simonen_US
dc.subjectsaxophoneen_US
dc.subjectimprovisationen_US
dc.subjectDowntown New Yorken_US
dc.subjectPhilip Glass Ensembleen_US
dc.subjectmusicen_US
dc.subjectarten_US
dc.subjectphotographyen_US
dc.subjectRobert Wilsonen_US
dc.subjectLaurie Andersonen_US
dc.titleBe Somethin': The Eclectic Career of Richard "Dickie" Landryen_US
dc.typeThesisen_US
dc.type.materialTexten_US
thesis.degree.departmentPercussionen_US
thesis.degree.disciplineMusicen_US
thesis.degree.grantorRice Universityen_US
thesis.degree.levelDoctoralen_US
thesis.degree.majorPercussionen_US
thesis.degree.nameDoctor of Musical Artsen_US
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