Subject: Re: HEAR studio
From: Kevin Austin (kevin.austin@videotron.ca)
Date: Thu May 31 2007 - 10:56:56 EDT
Thanks.
To me, it has to do with where the composer draws the line on the
'editing' of sounds. There are composers who do not go below the
level of the "note", and the new looping technology allows
composition 'simply' at the phrase level [click'n'drag].
Much of the (more naive) "soundscape composition" heard on Sonus.ca,
will use mainly "blocks" [chunks] of recorded material from (say) 5
to 30 seconds as being "the unit" of construction. The study of
(traditional) music theory requires the student to work at the "note"
level, while (for example) guitar tab on simple songs works at a
level or two higher ... the notes are given and the voicing is
variable.
Not all gestural pieces work at the higher level "chunk" unit, and an
example of a highly successful live ea piece that shows this is Smash
and Teeny / Sarah Peebles, Bee Space (2007), 00:26:52:
http://www.sonus.ca/app/ui/more.php?Language=en&MediaID=1965
which after a bit of a slow start, finds refined paths through the
evolving sounds.
Best
Kevin
Montreal has the joy of rain, showers and storms ... 17 now, 20 later.
At 10:42 AM -0400 5/31/07, Hector Centeno wrote:
>On 5/31/07, Kevin Austin <kevin.austin@videotron.ca> wrote:
>>
>>A number of the Sonus.ca works are by younger people who think that "the
>>sound is the sound", not having reached the point where it is understood
>>that listening takes place in the mind. But that's another song for another
>>night.
>
>I would be very interested in listening to this song! Maybe tonight?
>
>Is it hot today in Montreal? 26 degrees here in Toronto, nice day!
>
>Hector
>
>P.S. ... and thank you for the presentation of Kontakte at Ryerson.
>Dhomont's Figures de la Nuit was amazing too.
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