Subject: RE: Solo ea
From: Eldad Tsabary (email@example.com)
Date: Wed Feb 09 2005 - 02:11:22 EST
Looks like a very inspiring thread by the number of quick responses.
EA music is indeed solo, not because the composer is the one on the helm
- that has been the case throughout history, at least the actual
composing part has - but because the composer is also the sole
performer. In that way it is no different in essence from Liszt or
Schumann playing their solo piano pieces.
One could possibly claim that it is more likely in this day and age for
composers to stick to solo (ea) work exclusively than for Liszt or
Schumann to stick to solo piano pieces; probably true. Nonetheless, I
tend to trust human nature to eventually find a form of collaboration -
out of need for inspiration and sharing. Be it electroacoustic live
improvisation, jam-sessions, sharing sounds (like Miriam suggested),
techniques and ideas, or actual compositional collaboration (remote or
in person). I am pretty confident (or I wish to believe) that most ea
composers are at some point or another involved in such collaboration.
Personally, perhaps the most unusual collaboration I had was with
composer Robert Cuckson in which he made an actual written score
indicating and describing all required sounds and their organization and
layering and I in turn realized the piece electronically - I was in
essence the performer of his piece (with much interpretational freedom).
Saying that, I have to mention though that an ea piece usually have only
one performer (realizer) - normally the composer; it cannot be performed
by other people. Perhaps, here comes diffusion - a little bit of
performance related freedom. Not enough though comparing to the
expressional freedom of live players.
Eldad Tsabary, Composer
813-5999 Monkland Ave.
Montréal QC H4A 1H1
[mailto:firstname.lastname@example.org] On Behalf Of Kevin Austin
Sent: February 8, 2005 11:21 AM
Subject: Solo ea
In my reading I have noted the lack of commentary on much ea art as
being solo in nature, when compared to traditional musics / (sound
arts). A string quartet requires 4 or 5 people (if the composer is
not one of the performers), and choral / orchestral works call
together many people (at the last stages of the composition >
This could be compared to the ea (sound art) composer where the
assistance occurs before the piece is completed (equipment, hardware
and software), but then almost all phases of composition /
presentation are the responsibility of the single person. (Exceptions
being cases such as the old european model of the composer in the
studio with technicians / assistants.)
To what extent does this "front-loading" of the compositional process
have an effect on what the composer does (or can do)?
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