Subject: Re: art not music
Date: Thu Feb 24 2005 - 11:02:35 EST
> Does EA "exclude" rhythm and harmony? I don't think so. I think EA has
> so many possibilities from which form can be derived that harmony and
> rhythm are now just a subset of the composable sound world.
I see rhythm and harmony as evident in many ea works, yet the handeling of
them is different. They are implicit, not explicit. This whole thread is very
much academic based, not real world and really specific to myself and current
situation, so some of what I say should be taken with a grain of salt.
I would ask your Rick if your "musical" work has ingrained in it a strict
adherence to explict rhythm and harmony. Is the rhythm the backbone that
everything is laid on, does it function so that the harmonic structure comes
back to realign itself with the rhythm after (possibly) straying away from the
tempo, pulse, accentatuion pattern?
Or maybe I should just ask how you come to call your latest work musical?
> On Wed, 23 Feb 2005 19:21:38 -0500, Kevin Austin
> <email@example.com> wrote:
> > This is being cross-posted from <eamt> to both <eamt> and
> > Best
> > Kevin
> > _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
> > >Date: Sun, 20 Feb 2005 14:01:40 -0500
> > >From: firstname.lastname@example.org
> > >Subject: Ea: art, not music
> > >
> > >This topic was broached, yet not actually discussed in any detail.
> > Ok. Here's a golden opportunity.
> > >Obviously this is divisive subject,
> > Not necessarily.
> > >we are in a music program (at Concordia) as it is and many will
> > >simply take that as being the answer to whether or not
> > >electroacoustics is music or art.
> > It is art. Read on.
> > >Some will also say that they are one and the same. THis I don't
> > >believe to be true.
> > They certainly aren't the same.
> > >Music and Art are not the same (IMO) they follow different paths.
> > One being temporal and one being based around (non-timebased) visual
> > perception, with the exception of sculpture.
> > >Music has at its core a language that is not translateable to ea.
> > There may be some possibilities of borrowings, and electroacoustic
> > music is the hybrid of music and electroacoustics.
> > >Ea has at its core, no specific language (or one that is very limited).
> > I think one can draw from the experience of a granite monument where
> > the object can be understood as being that which it is not -- the
> > parts excluded from inclusion.
> > >The fact that ea is sound based is the link between the two, this
> > >leads to the understanding of ea as music.
> > Possibly not. Where the two intersect in sound would be considered
> > electroacoustic music. (This term produced 80,700 hits on Google.)
> > >... (IMO), the understanding of ea as music constrains it to
> > >be time based, which while true does not allow it to function
> > >completely as a seperate art form.
> > There is no problem for me in having multiple time-based art forms.
> > Theater, cinema, mobiles and sculpture are all time-based art forms
> > and one would not be likely to confuse mobiles and music.
> > >If the context of music is taken out of ea
> > But ea is a language, not constrained by the historical
> > considerations related to music.
> > >then ea can function as a much greater entity, an entity that allows
> > >for understanding not simply on a sonic level, it can in the end
> > >function more closely to the visual art domain
> > I feel that this is too broad a use of the term "visual art"s, but
> > would propose that ea functions more closely to abstract visual art,
> > one not dependent upon 'objects' and objectification of objects.
> > The purest abstract art is like the purest electroacoustic art, not
> > beholding to anyone or anything, except itself.
> > Electroacoustics is a language that excludes music and sounds derived
> > from musical traditions. Beats, notes, harmony and melody have no
> > real place in electroacoustics. To find out how to work with beats
> > and metric structures, notes (pitches and pitch classes), harmony and
> > pitch simultaneities in equal temperament, the place to study this is
> > in a music composition class.
> > While it is not too easy to state the internal limits of ea, as noted
> > above, it is pretty straightforward to denote those things that don't
> > fit, and a re-prioritization of those that are common between music,
> > electroacoustic music and electroacoustic art. Similarly, it is
> > possible to delimit those areas that fall outside of ea-art into
> > radiophonic art, soundscaping, audio and installation art.
> > A central premise of ea-art is that of 'timbre and gesture'. Of these
> > two, IMV, gesture is the more central. In general, the identity of a
> > work will not be lost with shifts in timbre and spectral content.
> > Proof of this is that a piece can be played through a wide range of
> > sound systems and remain the same (identifiable) piece, but to flip a
> > gesture (ie, play it backwards), or displace it in relation to other
> > sounds may quickly lead to its loss of identity.
> > Electroacoustic art is about the invention of sounds, sound objects
> > and new, unrealized relationships. The musique concret school got it
> > wrong when they failed to work towards the invention of new sounds
> > rather than the collaging and re-contextualization of existing sounds.
> > >thougths? arguements? anything.
> > >
> > >
> > >--
> > >Andrew McCallum
> > >email@example.com
> Rick Nance
> De Montfort University
> Leicester, UK
-- Andrew McCallum firstname.lastname@example.org
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