Subject: RE: electroacoustics - rap to tap
From: njcross (firstname.lastname@example.org)
Date: Mon Jul 05 2004 - 13:11:26 EDT
At 11:40 PM -0400 7/1/04, someone said:
>> I have to to disagree with that. Music tends to be similar
>> amongst cultures not necessarily because the culture shapes
>> the music, but because the music becomes ingrained in the
>> culture. Its true that it works both ways, but I have to take
>> issue with the amount of influence you suggest culture has on
>> music. I don't think there's anything about Japanese culture
>> that spawned noise music. Noise music just happened to
>> originate there, and then later became part of the culture.
>> (We can argue about where noise music originated, I'm just
> > giving an example.)
I'm sure I wasn't the only person not to be surprised by the emergence of
Japanese noise music. How about,for example, post-holocaust
Darmstadt, 1970s Prog.rock, German 'Neo-Romanticism', Brit 'empiric'
(sic) distrust of the intellectual, Fin-de-Siecle Vienna and the
indeterminacy of identity and early postmodernism (Le Rider,1990)?
This last one,in the light of current wars,is indeed food for thought!
I'd hazard a guess that the various effects of industrial and
cultural appropriation were not foreign to Japanese society since WW2.
And,noise would seem to be an ideal nihilistic expression of a
dissatisfaction inherent in many post-industrial cultures. When Cage
first heard the 'No Wave' Glenn Branca, he called the music evil and
walked out of the concert. Cage's noise appears to be inclusive,
Branca's a Punk derived nihilism.
I think that unless the on-going split between cultures and their
societies, experienced in many post-industrial countries, can be
or,at the very least be recognized and _allowed_ to be
examined,then,I fear the crisis/split that 'neoconservative' Daniel
Bell first accused Modernism of producing,written about in 'The
Cultural Contradictions Of Capitalism',will continue unabated in this
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