Re: electroacoustics - rap to tap


Subject: Re: electroacoustics - rap to tap
From: John Nowak (john_nowak@mac.com)
Date: Fri Jul 02 2004 - 03:24:28 EDT


On Jul 1, 2004, at 11:40 PM, Paulo Mouat wrote:

>>> I believe the "something universal" in music is that it somehow
>>> conveys the impression of purpose.
>>
>> If you are implying that music is universal in the sense that
>> it appears to be music, that the sound's purpose is to be
>> musical, I disagree. Plenty of people think much of what I
>> enjoy to be anything but music.
>
> I was not implying anything of the sort -- in fact, just the opposite,

Curious... I don't see how your statement says that. Hm.

> You are reading it too literally, or applying your notions of culture
> too
> rigidly to what I mean by that word.

(burn)

> As a creator, you can't deny having
> external influences or stimuli; after all, you don't live in a vacuum.
> It
> is in that sense that culture (i.e. your upbringing, your background,
> your
> experience, your concerns, etc) is the starting point for any of your
> artistic endeavours.

I never said I had no external influences... I even said it works both
ways.

To quote my lovely self, "Its true that it works both ways, but I have
to take
issue with the *amount* of influence you suggest culture has on
music."

What are you talking about, Mr. Mouat? I never claimed culture has no
influence on music. I'd have to be absolutely daft to claim such a
thing. I'm just taking issue with the amount of influence you claim it
has.

> The example of noise music seems to me misplaced.

Excuse me, just on a bit of a noise kick.

> For one, it doesn't
> strike me as particularly japanese, and second, its cultural "themes"
> are
> other than purely geographically-determined. Culture is not
> necessarily
> tradition.

I was referring to Japanese noise music. My point is... there's nothing
"Japanese" about the music. It wouldn't of seemed any less natural
coming from a place like Germany. In fact, that might've made a bit
more sense actually. If you don't like my example of noise music,
substitute in Detroit techno. Could it of sprung up elsewhere? Sure.
But the fact that an individual started it in Detroit cause the music
to affect the culture... which in turn affected the music, and so on.
The music then became attached to the culture of the city. However, the
culture of the city certainly wasn't the sole factor that the music
started there.

I despise Detroit techno... perhaps its because I'm from New York...

> Music indeed becomes ingrained in the culture, but it didn't originate
> in a
> void. Every genre and style came to life and evolved through the
> hands of
> artists that carried their cultural fingerprint to their work.

I never said it originated in a void. I said that it works both ways.

> It is obvious that sooner or later we could have a Pollock anywhere in
> the
> world. But the fact is, at that point in time, the particular cultural
> landscape caused Pollock to think and paint the way he did in America
> and
> not anywhere else.

I think Pollock's drinking, life experience, and most importantly his
personality contributed the most to his works. Again, I'm not saying
culture had -no- effect. I'm just saying it is not the main thing which
affected his works.

I grew up on a farming community in upstate New York. I was making
experimental sorts of noise music before I even know it existed... I
thought I was perhaps the only one to do such a thing. I can't imagine
which part of growing up on a conservative, farming family in America
caused me to be inclined towards such music. I think it was much more
my personality that compelled me to it than the culture of where I
lived.

- John



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