Re: Lack of clarity regarding the term EA, clarification


Subject: Re: Lack of clarity regarding the term EA, clarification
From: miriam clinton (iriXx) (iriXx@iriXx.org)
Date: Fri Mar 11 2005 - 10:27:25 EST


true. i once played a recording, which could be considered 'acoustic
art', of a soundscape, myself walking around the local park and area.
but it created for me an image, there was purpose in /why/ i collected
particular sounds in particular directions, and as i walked the piece
took on a life of its own.

it was like a film taken in only one shooting, no cuts, no editing.

films with such technique don't need a separate name... why all these names?

mC~

Francis et Inés Dhomont wrote:

> As François Bayle said : the recorded sound (ea) is a "sound image".
> ("Musique acousmatique, propositions...positions", Buchet-Chastel,
> Paris).
>
>
>> I can understand your confusion. You are using the word "sound" in
>> two contexts where they refer to different things, the experience is
>> sometimes part of 'cognitive dissonance'
>> http://www.dmu.ac.uk/~jamesa/learning/dissonance.htm .
>>
>> The sound(1) recorded (by a microphone) as a soundscape is not ea,
>> but the sound(2) played through the loudspeakers is.
>>
>> Best
>>
>> Kevin
>>
>>
>> Original postings appear below with nothing added.
>> +++++++++++++++++++++++++++++++++++++++++++++
>>
>>
>> At 4:12 AM -0500 3/11/05, n_kondon@alcor.concordia.ca wrote:
>>
>>> Today I decided that music could exist without ea (or whatever I'm
>>> talking
>>> about. I was also thinking of dropping the "electro" part of it so
>>> it could
>>> make more sense).
>>> Where the issue gets confusing to me is when people treat recordings
>>> of natural
>>> soundscapes like they're ea. I can understand why, aesthetically.
>>> But there is
>>> nothing electro about the sounds being heard besides the fact that
>>> they're
>>> being recorded.
>>> So it is ea (since it comes form a loudspeaker) but it could also be
>>> ea (since
>>> it falls under that genre of "music", but perhaps it shouldn't since
>>> there is
>>> nothing "electro" about the actual sound).
>>>
>>> This is why I figured that perhaps dumping "electro" from
>>> electroacoustics
>>> might be a good idea for many cases. What does it really matter what
>>> type of
>>> contraption is making the sounds, be it electrical or
>>> non-electrical, living or
>>> non-living... How about "Acoustic Art".
>>>
>>> Getting back to my original statement (Today, I...etc), I believe
>>> music could,
>>> in cases, exist independently of "acoustic art", be it on paper or
>>> the spheres.
>>> But I suspect that we discovered music as a direct result of our
>>> appreciation
>>> of nature's acoustic art.
>>>
>>>
>>> nick
>>>
>>> Quoting Kevin Austin <kevin.austin@videotron.ca>:
>>>
>>>> In October of 1989, Michael Century wrote in his opening remarks to
>>>> the CEC Conference in Banff Alberta:
>>>>
>>>> http://www.music.mcgill.ca/~mcentury/Papers/CritEl.html
>>>>
>>>>
>>>> Electroacoustics is not at all a unified field, and varying views are
>>>> held concerning its relationship with "conventional" music practice.
>>>> One thing is held in common, and that is its material -- the use of
>>>> electricity to make sounds, or (in my view, this must be included) to
>>>> plan, process or symbolically represent sound structures.
>>>>
>>>> This is the basis for one definition which has received a degree of
>>>> circulation and appears to be the definition that Nick is
>>>> referencing. (And for this and four other definitions, see:
>>>>
>>>> http://www.mti.dmu.ac.uk/EARS/Data/node82.html
>>>>
>>>>
>>>> People who have read through the notes for the ea lecture to a the
>>>> FFAR 250 course at Concordia since 1999, (possibly more than 3000
>>>> students in classes alone) will have read:
>>>>
>>>> http://music.concordia.ca/FFAR_Reading_Ea.html
>>>>
>>>> Electroacoustics : is a very general term meaning the use of
>>>> electricity for the creation, processing, manipulation, storage,
>>>> presentation, distribution, perception, analysis, understanding or
>>>> cognition of sound. It is the superset of the field, including both
>>>> live and 'fixed' (as on tape or CD) pieces. Some people consider that
>>>> it has language limits and defines certain 'styles' of work. (Adapted
>>>
>>> > from Michael Century.)
>>> >
>>> > As Michael Century points out, 'ea' becomes a generalized cognitive
>>> > study, rather than a study solely of practice.
>>> >
>>> > I guess we were standing near different parts of the elephant.
>>>
>>>>
>>>>
>>>> Best
>>>>
>>>> Kevin
>>>>
>>>>
>>>> More direct responses to parts of the posting appear below.
>>>>
>>>>
>>>> This part is addressed above.
>>>>
>>>> >First off, the electricity within us can be tranduced to sound, and
>>>> >we all know how this can be done (clap, stomp, scream, etc).
>>>> >Secondly, if you don't consider the energy within us "electricity",
>>>> >then you can still consider the fact that there are times when the
>>>> >artist can already hear the EA composition in his/her head before
>>>> >actually physically hearing it. Hence, EA composition without the
>>>
>>> > >transduction of electricity. If you hear an EA piece in your dream,
>>>
>>>> >is it still EA?
>>>>
>>> > Using the definition I provided in the FFAR notes, yes.
>>> >
>>> >
>>>
>>>> >If you want to stick with the EA= anything that comes from a
>>>> >loudspeaker definition, then I can dig it.
>>>>
>>> > This is one of many I use.
>>> >
>>> >
>>>
>>>> >But, as you know, there is another term EA that would still need
>>>> >defining, the one that is usually dubbed "a genre of music". I have
>>>> >tried in previous posts to spread the notion that perhaps music is a
>>>> >genre of EA instead, and I have tried to provide valid arguments to
>>>> >back this up.
>>>>
>>>> This has also been discussed, and the 'spectrum-based' limitation of
>>>> (this) definition of ea has been shown to have roots is traditional
>>>> western music dating back more than 200 years. It is, IMV, an
>>>> extension of the musical study called instrumentation /
>>>> orchestration.
>>>>
>>>> Berlioz, with no knowledge of Auditory Scene Analysis proposes most
>>>> of the concepts , and through his orchestral practice (and general
>>>> discussions of the art of instrument making -- organology)
>>>> demonstrates a strong intuitive grasp if the principles of
>>>> spectromorphology. (See also Shakespeare's Sonnet 59, If there be
>>>> nothing new, but that which is
>>>
>>> > Hath been before, how are our brains beguiled, (*below).)
>>> >
>>> >
>>>
>>>> >I hope that I have clarified my intentions/position, but I'll keep
>>>> >trying if I have to.
>>>>
>>>> CYour position has been clear to me from the startC>, which is why I
>>>
>>> > have been able to examine it.
>>> >
>>> >
>>>
>>>> >By the way, out of curiosity, If you (Kevin) didn't think I was
>>>> >discussing EA, what did you think I was discussing?
>>>>
>>>> CI cannot conjecture what you were discussingC, except possibly
>>>> Michael
>>>> Century's definition. It occurred to me that you may have been
>>>> strongly influenced by this definition without necessarily knowing
>>>> the source(s). If you are a Concordia student in ea, you may have
>>>> come to some if these points from the Selected Readings in
>>>> Electroacoustics or the FFAR 250 notes, but neither of these are to
>>>> be taken as truth.
>>>
>>> >
>>> >
>>> > ++++++++++++++++++++++++++++++++++++++++++++++++++++++
>>>
>>>>
>>>>
>>>> If there be nothing new, but that which is
>>>> Hath been before, how are our brains beguiled,
>>>> Which, labouring for invention, bear amiss
>>>> The second burden of a former child!
>>>> O, that record could with a backward look,
>>>> Even of five hundred courses of the sun,
>>>> Show me your image in some antique book,
>>>> Since mind at first in character was done!
>>>> That I might see what the old world could say
>>>> To this composed wonder of your frame;
>>>> Whether we are mended, or whether better they,
>>>> Or whether revolution be the same.
>>>> O, sure I am, the wits of former days
>>>
>>> > To subjects worse have given admiring praise.
>>> >
>>
>

-- 
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--Eminem

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