Subject: Re: future of music essays
From: Kevin Austin (firstname.lastname@example.org)
Date: Tue Apr 19 2005 - 10:46:07 EDT
Living in Faculty of Fine Arts where in many areas 'technical'
matters are taught by technicians and aesthetic matters are debated
by professors, I am well aware of this view of art.
At 11:05 AM +0100 4/19/05, Richard Wentk wrote:
>At 03:02 19/04/2005, you wrote:
>The notes played and the sound produced matters, but it's simplistic
>to assume that the social structures and relationships that surround
>them aren't just as important and influential.
My view of electroacoustic studies is that it is built directly upon
the discipline of the mind, the inner and the outer ear.
A few cases in point. I spent five 1 1/2 hours classes examining
about 15 minutes of Kontakte -- and most of this time was spent on
four sections of less than one minute in duration.
It would be easy to spend 7 1/2 hours examining "the social
structures and relationships that surround" [these sections],
possibly starting from the fundamental concepts of identity and
boundaries, kinds of meta-principles of structure and relationship,
as they start from the bases of neurological organization of stimulus
and how perception works, but the examination of these fragments of
Kontakte was doing exactly that.
Perhaps for the (social and artistic) critic, the "social structures
and relationships" surrounding Kontakte are most suited to exploring
and explaining their perceptual propensities, and KS hisself appears
to devote much of writing to these matters. And he comes from a
venerable tradition ... note the writings of Wagner.
In my experience, each individual will find ways to balance the
'sonic <> perceptual <> sociological' in finding their own way. My
current interest in the opium wars was rekindled by watching the
opera "Monkey King subdues the White-Bone Demon".
The character of Wu-Kong reveals many things about humans, foibles,
belief, deception and perception, and many of the aspects of the
Monkey King explored in this series of children's (sic) books are
seen in the treachery, beliefs and perceptions of the (perhaps)
deadliest war(s) in human history -- the Taiping Rebellion (more than
For a more 'complete' understanding of Kontakte, I found that I could
not limit myself to a study of the social structures and
relationships that evolved after World War I and led to the desire
for 'formalized' musical knowledge, but had to more fully absorb the
wider implications of quantum mechanics (as this is implicit in the
rhythm <> pitch continuum of the piece), and that a (direct?)
consequence of this may be found in Curtis Roads' postulation of the
nine time scales of music (in MicroSound, Chapter One).
But, my experience is that this is all based upon perception and the
organization(s) of perception, and we all seek our own poisons or
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