RE: traduction/translation


Subject: RE: traduction/translation
From: John Young (jyoung@dmu.ac.uk)
Date: Wed Oct 26 2005 - 10:43:13 EDT


Schaeffer did acknowledge that in 'ordinary' listening sound is often
treated as a conduit to the source and that reduced listening is something
that goes against conditioning, which would take into account the role of
listening as a component in normal mechanisms of survival. Although focused
listening has a more sympathetic ring to it, it's perhaps not quite right
even in English, in terms of Schaeffer's idea in that it could, for example,
imply listening for the stream of a specific sound event amongst others, ie
focusing on tracing the sound of approaching footsteps in order to determine
their proximity, source person, potential threat etc.
So the idea of reduced listening is a focus on the sound as an object in its
own right, not a focus on the event that causes it. In the anglophone world
at least, I think where the term has met with resistance in the sense that
colloquially the notion of reduction goes against the liberal aesthetic that
many in EA music by nature adopt, such as Trevor Wishart who has looked for
source recogntion as an important substrate of meaning in EA music.

Also, Chris Leon wrote:
I just read a text by Michel Chion in which he says:
  "When we identify the pitch of a tone or figure out an interval
between two notes, we are doing reduced listening; for pitch is an
inherent characteristic of sound independent of the sound's cuse or the
comprehension of its meaning."

 ... which is fascinating because it points to the fact that reduced
listening is fluid something we can be drawn into by teh skill of te
composer, not a necessary condition for understanding EA music (ie we can
identify the pitch of a tone out of many of its other attributes - it might
be the pitch of taxi brakes). But don't let's get convinced that the only
way into a 'musical' experience or, worse, a musical expression through
sound is via the reductive focus. After all, the focus on pitch and
duration is the old orgument of those reductionists who would see the
notation-bound elements of music, pitch and duration, as being the true
vehicle of the right and proper in music. And EA music is light years from
that!

J

Dr John Young
Reader in Music Technology
Music, Technology and Innovation
De Montfort University
Leicester LE1 9BH
United Kingdom
Tel: +44 (0116) 207-8220
Fax: +44 (0116) 257-7199

http://www.mti.dmu.ac.uk/~jyoung/

> ----------
> From: Ian Chuprun
> Reply To: cec-conference@concordia.ca
> Sent: Wednesday, October 26, 2005 14:32 PM
> To: cec-conference@concordia.ca
> Subject: Re: traduction/translation
>
> Hi Chantale,
>
> From my brief attendance at the recent EMS05 conference I gathered that
> Joel Chadabe had translated écoute réduite to 'focussed listening',
> 'reduced' being more of a direct translation and focussed being closer
> to what he thinks Schaeffer was on about. This translation seemed to be
> met with approval from a number of conference participants as I
> overheard them agreeing with Joel, Daniel Teruggi of the GRM, amongst
> them.
>
> If one of the conference participants who heard Joel's presentation is
> reading this then maybe they could add more to this thread.
>
> Ian
>
>
> Chantale Laplante wrote:
> > Quelqu'un -quelqu'une saurait-il
> > la traduction en anglais
> > de
> > écoute réduite
> > (Anyone could suggest a translation?)
> >
> >
> >
> > Thanks
> >
> > Chantale Laplante
> >
> >
> >
> >
> >
> >
> >
>
>
>
>



This archive was generated by hypermail 2b27 : Sat Dec 22 2007 - 01:46:13 EST