Re: Le matériau Sonore, hidden place


Subject: Re: Le matériau Sonore, hidden place
From: Antti Sakari Saario (a.saario@lancaster.ac.uk)
Date: Tue Sep 13 2005 - 05:30:29 EDT


Thanks for your mail Louis. I strongly agree with your views on the
general lack of sensitivity to sonic material used in compositions.

My own rather pessimistic few is that surround technology will not help
'us' in general to get closer to sound as if it ain't working in stereo
it will not magically work in surround by some default. It is a bit
like putting a lot of ketchup on bad pasta (admittedly some tomato
sauces are superior to others though, but still). My guess is that we
will be bombarded with tons of surround works with a lot of musical
'ideas' but no more sensitivity to sonic nuances will be portrayed by
the 'average' composer celebrated by the masses who are used to
listening to effectively mono-music/sound in stereo.

Immersion can be good if you have something worthwhile to immerse your
self in. Again my dark side tells me that we will be immersing
ourselves with 3-D ultra-bass surround advertising and other
non-nutritional sonic and visual material pumped into our lives by the
mass media. Yumm, I like surround already but I kind of feel all
strange and bloated...

Thanks for listening.

Antti

On 13 Sep 2005, at 03:49, Louis Dufort wrote:

> I've been buying a lot electronica (minimal, IDM, microsound,
> electronic
> experimental) music in the last few years and one thing that's strike
> me
> most, is the lack of interest for the sound. The musical ideas are
> sometime
> great, but I do miss (and this is mainly why I don't buy as much
> anymore)
> the sculpting of the sound, it's organic unity, it's texture, it's
> malleability. I'm just trying to understand why those sound artist are
> missing out on this?
>
> Could it be mainly due to the fact that the "electronica" music scene
> is
> much more aware of the Electronic Music tradition that the French music
> concrčte?
>
> About 2 years ago I started to get into instrumental modern music
> (musique
> contemporaine) and I found that those guys are much more pushing the
> limits
> of sound material than any experimental electronic artist, me include.
>
> Is the computer, and it's unlimited software and possibilities just
> made us
> forgot about the essential? The instrumental composer are stuck with
> their
> acoustic century instruments, but still have to found ways to make it
> sound
> different and since tonality is no longer the main drive, they really
> have
> to search some nice combination to make it happening.
>
> Is electroacoustic music is in it's golden age? What would be the next
> step? Is the surround format could have any part in the renewing of
> our
> sound pallet bringing more intimacy with the sound and by the same way
> bring
> more sound immersion?
>
> louis
>
>
>
>
>
>
>
>
>
Dr Antti Sakari Saario
Lecturer and Director of Studies in Music Technology
LICA- Lancaster Institute for Contemporary Arts
Lancaster University
LA1 4YW
UK
Tel: +44(0)1524594496
Fax: +44(0)1524 593939



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