Subject: Dripping Sounds Fwd:
From: Kevin Austin (firstname.lastname@example.org)
Date: Mon May 23 2005 - 10:00:00 EDT
The complete article is in The Guardian ...
>Be it Handel or splashes on bowls down a mine shaft, composers shape
>sounds and invest them with meaning
>Monday May 23, 2005
>You might, at first, find it hard to call it music. Water dripping
>down a deep shaft in the countryside and striking resonant bowls
>that, as they fill and overspill, modulate in tone and then drip
>into other bowls below, the sound they make being caught by a huge
>acoustic tube leading to a large brass horn 20ft above ground level.
>Or what about the digitally captured sounds recorded by a
>navigational buoy out in the Atlantic: the howling wind, the heaving
>swell, the percussive rain, relayed back by microphones to
>loudspeakers and an audience in Cornwall's National Maritime Museum?
>To be sure, these aren't tunes you can hum. But Score for a Hole in
>the Ground, by former Pogue Jem Finer, and Singing Ringing Buoy, by
>composer Craig Vear, have been shortlisted for the PRS Foundation's
>New Music Award, as has Terry Mann's The Bells of Paradise - a piece
>that is attempting to record every cathedral bell in the UK as well
>as the traffic and people noise that surrounds them. This new prize,
>the first of its kind and a hefty one at £50,000, is at last, as the
>Turner prize has done for art, helping to put new music, and ideas
>of what music is, on the cultural radar.
>For one Telegraph critic, dismayed at the lack of "real" composers
>or musicians on the shortlist, these offerings are just not on. In a
>knicker-twisted diatribe at the shortlist last week, he wondered
>where the actual music "per se" was in all of this and accused the
>judges of thinking of music as a subset of contemporary art.
>· Mark Espiner is co-artistic director of Sound and Fury theatre
>company and a music journalist
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