Subject: Re: On Harvest Moon
From: Ned Bouhalassa (firstname.lastname@example.org)
Date: Sun Sep 25 2005 - 14:01:05 EDT
On 25-Sep-05, at 1:39 PM, email@example.com wrote:
> _ I believe the programation was based on received pieces, so the
> options of
> what to play was decided by the composers that did and did not submit
That points to a problem in terms of getting the word out. I've heard
the same thing at various festivals/competitions, where there was a
lack of representation of a certain active segment of the milieu. Also,
one process does not exclude all others. Program pieces that are sent
in, and _ask_ some un-represented composers to submit works. That's
even done at Ars Electronica! For me, it's about giving the audience a
good idea of what's really going on, and IMO, making an effort to
highlight local composers, _especially_ , but not exclusively, the
generation after the Dhomont students.
> _ The teachers do have things to answer for, to start with ... where
> were they,
> other than those teachers that were involved in the actual
> presentation of the
> symposium most were not actually present. I know life gets in the way
> really. This is not meant to be confrontational, nor is it asking for
> justification , just something I noticed.
It's a vicious circle that re-inforces itself. Less professors'
presence, less interest by the students. You'd be surprised (or maybe
not) at how much influence regular activity by a prof will have on a
class. And I won't even touch on the advantages of having an _active_
composer as a teacher. To regularly go to concerts where your teacher's
works are presented is also a fantastic motivator.
> _ How many people were at the CEC AGM? How many people are members? It
> is a big
> list and is well represented by montreal based artists, where was
> everybody, or
> is the CEC losing (or has it lost) its standing?
Nothing's really changed, IMV, since the mid-90s. That's a whole
> _ I also saw no support from teachers from within the greater Concordia
> community ( especially the sound related teachers ) from
> communications, eart,
> digital image and sound, film, or any other dept. that might draw on
> aspects of sonic art/electroacoustics.
You scratch my back, I'll scratch yours. Start by progarmming a night
of videos from other dpts as part of the festival, and see what
> _ of the students that were present for the concerts most were doing
> so to
> fulfill requirements for the courses they are taking. other than that
> 3 or 4 of us at most.
Still, if that's a fact, there should have been over a hundred every
night, no? Was there? And if it's hard to get first-year students
excited, how many 2nd, 3rd, etc students came to more than one concert?
> _ again with the teachers, I have noticed a void in communications
> between the
> university ea programs. There are probably close to 1000 students
> studying some
> level of ea/sonic art in Montreal at this time, between U of M,
> Conservatory / UQAM / Sherbrooke (not exactley MTL but they had a
> there anyway). Where are the students from other institutions, where
> are the
You scratch my back, I'll scratch yours (Part 2). Hey, almost every
teacher in town is part of Hexagram, the audio group, or whatever the
name of the group is. Why not schedule a meeting/talk at the same time
as the festival, and program some works by the profs? Yeah, it's easy
for me and others to criticize, teachers have more work than ever to
do, but if some changes are not made, there will continue to be
thousands of ea students going on to do everything _but_ ea in their
careers, and there will continue to be mostly empty concerts. Even the
Réseaux concerts have been dwindling over the years... thousands of ea
PS: This, I'm sure is not only about Concordia, BTW.
__ Ned Bouhalassa __
> > http://nedfx.com < <
::::: firstname.lastname@example.org :::::
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