Subject: Re: French Touch
From: Kevin Austin (firstname.lastname@example.org)
Date: Thu Oct 27 2005 - 23:33:08 EDT
You are correct, as ea at Concordia is not electroacoustic music
composition, it is electroacoustic studies.
The second assignment for the third year class was to create a
plunderphonic from the Ravel's Bolero, simply through editing (and
copy / paste). The first assignment had been to edit consonants from
some speech and create a 45 sec to 2 minute piece only with editing.
If "reduced listening" is a process of the removal of semantic layers
from sound, this is part of the first assignment done by first year
students, the (infamous) "sss" assignment. In one sense, it brings
into the question of the "sound object" existing as and 'entity',
rather than being something whose identity is created through
limiting parametric variables.
When the students have done the IPA transcription and removed all of
the /s/'s, the collection of sounds demonstrates that there is no
single "object" called /s/, but rather a set of parameters. There is
inherent in this assignment the concept of "families of sounds", and
that of (the processes) of 'transformation'. The model proposed is
that the "sound object" (as such) doesn't exist outside of the
process(es) of perception and identification. This is another way
that I have found Schaeffer's ideas to differ from my experience.
At 11:53 -0400 2005/10/27, Louis Dufort wrote:
>At the Conservatoire de musique de Montréal and University of
>Montréal, 1 full course are given around Shcaeffer sound perception
>to undergraduate student. For me, the notion of the sound object
>develop by Schaeffer is the very basic of electroacoustic music
>Electroacoustic appeared when electronic music got mixed with music concrète.
I hear by anecdote that 'electroacoustic' was used in England in the
early 1950s, notably in the BBC Radiophonic Workshop.
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