Re: speech, modelling, whither poesie?


Subject: Re: speech, modelling, whither poesie?
gogins@pipeline.com
Date: Fri Jun 04 2004 - 14:49:21 EDT


I would attack a presupposition or prejudice that academic music cannot
accomplish this task, so that is probably what I was doing (or thought I
was doing, anyway). Also, I would defend the usefulness of thinking about
music, in or out of a university setting.

Possibly I meant by "academic music" music made in schools, and possibly
you meant by "academic music" music that _sounds_ like it was made in
schools.

Another argument I love to get into all the time is whether there is such a
thing as "good" music, not just "good to my taste" (my view is emphatically
"yes", but it's a deep subject).

But the view you quote is my bottom line: If music can't compel the
attention of the musically literate, it can't be good. If it can, it must
be good.

I've gone through a lot of changes in my taste, changes that I hope reflect
some sort of deepening or learning process. I began liking only classical
music and jazz, because that's what my relatively hip parents liked, and
because I went to symphony concerts as a child, and because I was taking
classical flute lessons.

Then my younger sister got me to like rock and roll (I did not cease liking
classical music and jazz).

Now there are few genres indeed in which I have not found sufficiently
compelling pieces, though a lot of the rock I used to like has worn thin,
and classical music (middle Baroque through early serialism mostly) has
still held up best.

That I have learned to appreciate genres formerly alien or even repellant
to me, and to discriminate within those genres, is one reason I think there
is such a thing as "good" music -- not that I'm nominating myself as the
best judge of it!

Original Message:
-----------------
From: Eliot Handelman eliot@generation.net
Date: Fri, 04 Jun 2004 13:47:38 -0400
To: cec-conference@concordia.ca
Subject: Re: speech, modelling, whither poesie?

Michael Gogins wrote:

>You can be a musician if you can produce something that compels people to
>pay attention when they hear it, make them want to hear it again, etc.
>Period.
>
>

Did we not have a discussion a year or two ago in which you defended the
idea of
"academic music"? I take it you've changed your mind?

-- eliot

>----- Original Message -----
>From: "Eliot Handelman" <eliot@generation.net>
>To: <cec-conference@concordia.ca>
>Sent: Friday, June 04, 2004 12:24 AM
>Subject: speech, modelling, whither poesie?
>
>
>
>
>>I've been nosing around looking at some of the stuff in speech
>>synthesis and
>>computational linguistics (mostly U Edinburgh stuff), interested in the
>>tool packs available, etc. I don't know of any sort of computer type
>>concrete poets who might be interested in that sort of thing, or indeed
>>if such a being exists? One of the questions is, can you be anything of
>>an artist in a mainly research domain? Obviously reflection here too
>>on musical
>>matters.
>>
>>-- eliot
>>
>>
>>
>
>
>
>

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