RE: Powerplant, TO


Subject: RE: Powerplant, TO
paul.e.beaudoin@comcast.net
Date: Thu Jul 08 2004 - 16:27:01 EDT


Well, from a more "modern" point of view that was inifinitely more interesting. It probably also brings up issues regarding "recorded" sound versus "live" sound - how close to the source is the listener - and is there a prefered (or assumed) distance from the transmitter (i.e. performer) to the receiver (i.e. listener). This clearly brings into play the need to think about how one's own compositions will be received - live performance (how far/close is the listener) and recorded performances (how close/far is the listener). Whispered sweet nothings are as essential to us, creatively, as is the screaming jet engine.

Paul Beaudoin
Northeastern University
Boston, MA

> the non-musical sounds of the singers was as much a part of the piece as the
> Tallis...which was absolutely breathtaking.
>
>
>
> -----Original Message-----
> From: owner-cec-conference@concordia.ca
> [mailto:owner-cec-conference@concordia.ca]On Behalf Of
> paul.e.beaudoin@comcast.net
> Sent: Thursday, July 08, 2004 3:41 PM
> To: cec-conference@concordia.ca
> Subject: Re: Powerplant, TO
>
>
> I heard the work when it was at the Tate in London. It is novel -
> especially if you stand in the middle of the speakers but I found the miking
> too close so you could hear some singers coming in earlier than others and
> the inhalation of air before singing. I had wished for something other than
> the Tallis though ...
>
> Paul Beaudoin
> NortheasternUniv.
> Boston, MA
>
>
> > Anyone been to the Powerplant yet to hear the current exhibits
> > (e.g., Janet Cardiff's Spem in Alium)?
> >
> > Michael
> >



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