Subject: Re: Analysis References?
From: sylvi macCormac (sylvi@istar.ca)
Date: Tue Jan 02 2001 - 19:13:47 EST
Keith Cross wrote:
> This email,for reasons of copywrite, cannot be quoted back to me.
> I didn't write it,I've never seen it. 'Mum's the word'.'A nod's as good as a
> wink to a blind bat'.
> Hey,not your fault Simon :)...relax...It's wonderous that these books can be
> published,thankyou.
exactly & thank goodness people are thinking/writing about analysis of EA
music (whether that be phonemic or timbral, pitch or pith) and issues of Nõ
copyright ;) ie Nõ one can copyright the wind ; ) well, maybe we can coyright
the 'harping' on the wind ... or the recording of the 'harps with wind' ... ;)
Chris Koenigsberg wrote:
>This is interesting to me, about how we think & decide what's "really"
>being asked, in a vague statement of a question, subject to linguistic &
>semantic & human interpretation..... this may be more related to the
>recent "phonon/phoneme" topical thread than to any specific musical
>thread, pardon me.
>I am finding particularly difficulty in my own "day job" work, for
>example, trying to more precisely formulate the specifications and
>requirements of an ill-specified software system, before I can "program"
>it. Doing the "programming" is much more straightforward, once the
>analysis is done, the requirements are specified, the structure design
>is done, and the "implementation" is left. But without these
>prerequisites, the programming task devolves into just "hacking",
>building a mountain by piling up lots of dirt :-)
while questions to the point and succint are very good, often questions like a
good poem/story with multiple symbols/metaphors thereby having more than one
interpretation, may lead us towards more thought provoking answers ... or
softwares, or programs, or links ;) in other words, sometimes less is more
well said, and sometimes more is a well thought and highly developed EA
symphony of 'processed' sounds/voices or 'program' with many questions /
answers along the way ... now of course this too is open to interpretation!
Yo, i've always wanted to read the Hundredth Munkeeee-e-e-e-e-e-e-e-e ....
i second Chris Koenigsberg's nomination of Martin Fumaralo, 'for the year
2000, for the "Human Hyperlink (Spider Traveller)" award :-)' with special
thanks to all for the CEC-highly-educational-and-enjoyable-Discuss. i really
love the description/analysis of Kaija Saariaho's work and her own analysis of
'Verblendungen' .... what does Verblendungen mean ? am i reading anything into
it when i notice the word Verb or Blend? uh oh!! now where did i put that
dictionary/fish ? amazing how we use words (w/ phonemes intact) to describe EA
/ Music that has Nõ 'words' ...
my apologies for verb-osity ... i probably love words and as much as EA and
Soundscape !!!
best, macCormac / aka mcmarco
(off line, climbing a mountain of dirt and 'hacking' away to 'hear' if there's
still(clean)water/precious metals in them there hills ... back tomorrow ... ?
;)
Martin Fumaralo quoted Kaijo Saariaho who wrote, 'Verblendungen':
"When composing the piece an important factor has been the relation of the
surface structure and deeper musical and formal structures. In my network, of
connections between different parameters I am searching for intersections not
only vertically and horizontally on the time axis, but also in the direction
or depth, as if the sounds were organised in thin layers in three dimensional
perspective, starting from dry, grainy sounds in front and moving towards
smooth, more resonant ones.
"Dazzling, different surfaces, tissues, textures. Weights, gravity. To be
blinded. Interpolations. Reflections. Death. The sum of independent worlds.
Shading, refracting the colour.
and of 'Verblendungen' someone wrote:
"Its pictorial metaphor is a brushstroke, with a thick, powerful
beginning gradually giving way to thin 'lattices'. The work begins with a
bang and subsides gradually towards the end. The tape score interwoven with
the
instrumental score is rough and noisy at the beginning, bright and
translucent at the end. The instruments travel in the opposite direction from
music to
noise, finally dying away. The work climbs from the low and middle registers
toward the heights. A chord which contains all intervals forms the harmonic
foundation, undergoing various metamorphoses in the course of the work."
*****************************************************************************
This has been my humble contribution.
MF
mine too : )
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