Re: electroacoustics - rap to tap


Subject: Re: electroacoustics - rap to tap
From: Michael Gogins (gogins@pipeline.com)
Date: Thu Jul 01 2004 - 20:48:06 EDT


As a practical matter, how would you propose to liquidate these rigidities?

Or does it make more sense to simply create a new style -- it's happened
before.

----- Original Message -----
From: "Richard Wentk" <richard@skydancer.com>
To: <cec-conference@concordia.ca>
Sent: Thursday, July 01, 2004 6:59 PM
Subject: Re: electroacoustics - rap to tap

> At 17:46 01/07/2004 -0400, Eric Lyon wrote:
>
> >>Anyway, I don't think Merzbow is emulating anyone.
> >
> >About 10 years ago I read an interview in a Japanese culture mag (wish I
> >still had it!) where Merzbow stated that he wanted to be "the Sun Ra of
> >Noise music". There was a time when Aphex Twin claimed that he was not
> >influenced by other people's music (OPM), but in recent years even RDJ
> >started owning up to being influenced by OPM. IMO the idea of music
> >existing outside of social/historical references is more an interesting
> >philosophical construct than anything that could happen in the real
world.
> >If there were some truly autistic music created by someone with literally
> >no influences, it would only be heard as such only by the creator. As
soon
> >as anyone with a history of musical listening encountered the artifact,
> >they would contaminate it with their preconceptions, listening
strategies,
> >and comparisons to other music in their mental database. Perhaps this
idea
> >is an extreme form of nostalgia for the modernist insistence on
> >originality at all cost?
>
> Okay Eric - I can see you don't like the idea. :-)
>
> I'm not interested in whether it's nostalgically modernist or not. It's
> more that I've been thinking a lot recently about the use of signifiers in
> art, and (after a long discussion about photographer Sally Mann on a
> different list) I began to wonder if perhaps after post-modernism rather
> too much art, popular and academic, had confused creativity with a now
very
> predictable process of shuffling and/or repeating and/or challenging
> already familiar signifiers, whether they're musical, social, sexual, or
> otherwise part of the existing cultural furniture.
>
> It's true that modernism eventually evaporated into almost Platonic
> inscrutability [1], but everything about the process of Being A Modern
> Composer was still rooted firmly in pre-Modernist ideals, and the music
and
> the culture around it still leaned heavily on those ideals.
>
> All of which is the exact opposite of what I'm suggesting.
>
> You may well be right that it isn't possible. But I'm still left with the
> feeling that music at the moment is trapped in various rigid methodologies
> of creation, performance and consumption, all the way from disposable pop
> to world to academic to the kinds of noodlings you can read about in The
> Wire. Attempting to soften boundaries across styles isn't going to help
> when there's so much common ground and so much mythology shared across all
> styles - and as I see that's the place that's pinching a little.
>
> Richard
>
> [1] Yes, that was the polite version ;-)
>
>



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