Re: Le matériau Sonore, hidden place


Subject: Re: Le matériau Sonore, hidden place
From: Morgan Sutherland (skiptracer@gmail.com)
Date: Tue Sep 13 2005 - 11:00:06 EDT


You are all speaking so academically about a majority of people who just
want to make
"phat beats" and "grooves". These people aren't making some sort of concious
decision,
this is what they know to do. They listen to music that sounds interesting
and they call
it "weird" or "unlistenable". People *like* texturally boring music.

I wonder, what do people think of Boards of Canada? Those guys spend weeks
working
on each element of their tracks. Resampling things through vintage stereos
and stuff, yet
I don't find they sound very texturally intresting...
 But I find that even the people who ARE into pushing boundaries still fail
to push the boundaries.
I don't listen to really any music like this however, so I'm speaking from
the dark: my narrow experience.

 On 9/13/05, Adrian Moore <a.j.moore@sheffield.ac.uk> wrote:
>
> >
> >Ear-seducing means something rather different, perhaps.
> >
>
> Sure...and I wonder what makes some sounds more ear-seducing than others?
>
> There's plenty of psychological evidence to support the physicality
> of sounds affecting the emotional state and/or the attribution of
> 'human/personal' character traits. I haven't seen much about the
> quasi-inharmonicity of 'reson' (TM - or is it?) and why it _tends to_
> produce an ear pleasing effect' (especially at lower Q) for example.
>
> >It would be an interesting exercise to work exclusively with cliched
> >standard sounds and see to what extent it's possible to create
> >something worthwhile. But I think the problem comes from cliches
> >being used as a substitute for creativity rather than a starting
> >point for it.
> >
> >>The fact that it often isn't is purely the fault of the listener
> >>who is (perhaps - and amongst other things) fx-spotting instead of
> >>listening to a different stream of data.
> >
> >This assumes there's a different stream of data to listen to. :-)
>
> If there wasn't, fx-spottting would become a futile activity and the
> listener would already be in the bar?
> Then again, in a recent all-night 'time-stretch fest', 9 out of 10
> listeners guessed the correct fft size and overlap :)
>
> Leigh Landy's and Rob Weale's 'intention reception' paper
> http://ems05.concordia.ca/abstracts-fr.shtml#t_12 looks like it might
> shed light on/around this area.
>
> also...
>
> Eric Clarke's new book 'ways of listening' supports an ecological
> approach to music perception.
>
> http://www.us.oup.com/us/catalog/general/subject/Music/PsychologyofMusic/?view=usa&ci=0195151941
>
> Best
> Adrian Moore.
>
> --
> Dr. Adrian Moore, Sheffield University, Music Department, 38 Taptonville
> Road
> Sheffield. S10 5BR. UK - [tel] 44 (0)114 2220486 [fax] 44 (0) 114 222 0469
> http://www.adrianmoore.co.uk // Personal
> http://www.sonicartsnetwork.org // Sonic Arts Network
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> http://www.shef.ac.uk/usss // University of Sheffield Sound Studios
>



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