Fwd: from Eliot who used a different email address

Subject: Fwd: from Eliot who used a different email address
From: Kevin Austin (kevin.austin@videotron.ca)
Date: Tue Feb 01 2005 - 19:33:04 EST

Well, not quite, but I did go and listen to a the Bruckner 3, 4, 7
and 8 on an eight-channel system ... sort of.

It was more that so many of the aspects of the presentation were
monstrous. I listened to it about 5 or 6 times so as to make sure
that my ears weren't 'missing' anything.

And a careful listening to the coughs and choir warm-up noises at the
start reveals the conductor saying to the choir that while they are
not really ready to do the piece, they should try their very best on
this take.

Some parts (sopranos) were doubled and tripled, some were off mic ...
and the concept of presenting a 40-speaker system in a room with a
very ugly 2 second reverb time does no one a service.

William Osborne alludes to "aural literacy" for computer-musicians,
and my experience here was that this visual artist was able to get
some kind of an idea and execute it really very poorly, and be
praised for this kind of ... er ... work. The empresses new clothes

I do not come to this as a 'novice' or without a couple of decades of
multi-speaker experience, but the real 'monster' aspect of this in my
view was that it will have turned away many hundreds of people who
could have had a "real" multi-speaker experience had there been more
aural competence in the project.

A point-source presentation of point-source sounds lies at the
intersection of the excellence of musicianship and excellence of
technical skill. But, it was in the long run a conceptual work by a
visual artist ... more of a nice concept than a fruitful realization,
in my view.



>Date: Tue, 1 Feb 2005 13:15:59 -0500 (EST)
>Subject: Re: [WAVE_LIST@UNT.EDU] The Engineer Composer - LONG!!
>From: eliot@colba.net
>To: cec-conference@concordia.ca
>Kevin wrote:
> > (Did you hear the "Forty Voice Motet" monstrosity?)
>Monstrosity in the sense that you were overwhelmed and went back home
>to rexamine everything you thought you knew about music -- a
>practice, so I learned last night, of Lenny -- or rather did you stamp
>your feet because it contradicts, in its actuality, beauty and
>potency, your Theorie?
>-- eliot

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