RE: Le matriau Sonore, hidden place

Subject: RE: Le matriau Sonore, hidden place
From: Isabel Pires (
Date: Tue Sep 13 2005 - 03:03:11 EDT


I think that you have reason when you say that the “electronica” missing the essential, perhaps the “electronica” never has had this "essential sense of sound", is not only an unlimited software questions, I think that this is esthetic problem too (and a learning/knowledge problem in some cases).
In the electroacoustic music (now I talk on the “traditional” sense of this) we need to search not only some nice combinations of sound, but we need composing this sounds. An instrumental composer compose with sounds, he should chose the “right sound” on his sound pallet, the electroacustic composer can (and should – in my opinion) compose the sounds to make a really interesting music.


 --- On Mon 09/12, Louis Dufort < > wrote:
From: Louis Dufort [mailto:]
Date: Mon, 12 Sep 2005 22:49:28 -0400
Subject: Le mat=?ISO-8859-1?B?6Q==?=riau Sonore, hidden place

I've been buying a lot electronica (minimal, IDM, microsound, electronic<br>experimental) music in the last few years and one thing that's strike me<br>most, is the lack of interest for the sound. The musical ideas are sometime<br>great, but I do miss (and this is mainly why I don't buy as much anymore)<br>the sculpting of the sound, it's organic unity, it's texture, it's<br>malleability. I'm just trying to understand why those sound artist are<br>missing out on this?<br><br>Could it be mainly due to the fact that the "electronica" music scene is<br>much more aware of the Electronic Music tradition that the French music<br>concrète? <br><br>About 2 years ago I started to get into instrumental modern music (musique<br>contemporaine) and I found that those guys are much more pushing the limits<br>of sound material than any experimental electronic artist, me include.<br><br>Is the computer, and it's unlimited software and possibilities just made us<br>forgot about the
essential? The instrumental composer are stuck with their<br>acoustic century instruments, but still have to found ways to make it sound<br>different and since tonality is no longer the main drive, they really have<br>to search some nice combination to make it happening.<br><br>Is electroacoustic music is in it's golden age? What would be the next<br>step? Is the surround format could have any part in the renewing of our<br>sound pallet bringing more intimacy with the sound and by the same way bring<br>more sound immersion?<br><br>louis<br><br><br><br><br><br><br><br><br>

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