Re: International/national styles?


Subject: Re: International/national styles?
From: miriam clinton (iriXx) (iriXx@iriXx.org)
Date: Tue Jul 27 2004 - 00:04:27 EDT


there is something very strongly identifiable in Australian music -
although I'd call on Garth Paine to corfirm / chip in on this one.

the landscape.

endless long lines... with fine dots, variations...

just like the paintings of Fred Williams...

my work somehow always seems to reflect that, even though i've been
living in London for 10 years (in which time it's become slightly more
'busy', but still with the essential long lines)...

wondering whats gonna happen when i move to California shortly...

mC~

Kevin Austin wrote:

> Many subtle very interesting points.
>
> I have only heard Nancorrow in an electroacoustic context, first via
> LP in the 70s, and now on the Wergo compilation. He lived in Mexico
> and his work traveled via electroacoustics.
>
>
>>> I would propose that a first step would be to place the term
>>> 'national' in some form of (socio-historical / geographical)
>>> context. An example right off would be Conlon Nancarrow (Mexico). Is
>>> this 'mexican', American (of the USA), western, or international.
>>
>>
>> Err...I was referring to ea/cm, not to instrumental music ... of the
>> sort that Nancarrow created.
>
>
>
>
> Before KS did Kontakte, were the sounds / formal principles german? or
> do they become german because it was KS who used them?
>
> I would propose for consideration the "Englishness" of Elgar whose
> language was that of extended Brahms and orchestral sensibilities were
> teutonic, (even acknowledged as such by Strauss), but the Pomp and
> Circumstance (or the Cello Concerto) speak with a particularly curious
> english dialect.
>
> What would give Kontakte (and its numerous non-germanic followers)
> 'german-ness"?
>
>
>>> Stockhausen -- do the early Studies sound 'german' for any reason
>>> other than the technology existed in Germany at the time. I have
>>> always heard a great deal of Morton Feldman and Earle Brown in these
>>> pieces; Gesang has german text while using a melange of the
>>> internationalism of serial / total serialization / post serial
>>> (austrian / french).
>>
>>
>> You're right, but there are plenty more examples such as Kontakte
>> that later established Stockhausen's credentials and the German-ness
>> of his style.
>
>
>
>
>>> To modify the european sense of a 'national style', does 17th
>>> century Polish music sound so different from italo/german of the
>>> same time?
>>
>>
>> Again, I was referring to ea/cm only.
>
>
> The concept of national identity expressed through art could be
> understood as a historical model, of which the question regarding ea
> is a 20th century extension. I feel that it is important not to orphan
> the concept from its context and precedents.
>
> Is there something notably American about Paul Lansky's "Chatter"
> series, which I find strongly reminiscent of (forebear!) Kraftwerk,
> with granular technology. Does granular technology have a particularly
> 'national' origin / signature?
>
> Also in these works, one may trace the return (sic) of neo-tonality,
> and the central role of pitch as an organizational principle -- but
> this is also true of Dripsody.
>
>
>
>
> Best
> Kevin
>
>
>
>

-- 
Lose yourself in the music, the moment, you own it, 
you better never let it go,
You only get one shot, do not miss your chance to blow 
this opportunity comes once in a lifetime.

-- Eminem: from 8 Mile

www.iriXx.org www.copyleftmedia.org.uk



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