Re: sound diffusion/projection fees


Subject: Re: sound diffusion/projection fees
From: Ryan Supak (ryansupak@gmail.com)
Date: Fri Oct 28 2005 - 10:47:59 EDT


That's a good answer; thx. Will check it out.
rs

On 10/28/05, Ian Chuprun <ian@7circles.ca> wrote:
>
>
>
> Ryan Supak wrote:
> > What is diffusion, exactly?
>
> Exactly?
>
> I would like to defer to Scott Wyatt:
>
> "Sound diffusion refers to both an aesthetic and a performance practice
> of further enhancing the spatial components of an electroacoustic music
> composition by electronically delivering musical gestures, phrases, or
> single sounds to different loudspeaker locations surrounding the
> audience space by an additional performer, often referred to as the
> sound diffusor or projectionist. The key distinction here is "live
> performance by a diffusion artist or projectionist" rather than sound
> movement by means of a purely automated system or encoding/decoding
> process."
>
> from: http://cec.concordia.ca/econtact/Diffusion/Investigative.htm
>
>
> and Jonty Harrison:
>
> "Questions about diffusion can be reduced to three main issues: "what",
> "how" and "why"? Whilst it is relatively easy to deal with "what" and
> "how" because they are primarily technical in nature, there is little
> point in doing so without also considering the much more involved and
> difficult question of "why". For it is here that we find the reasons for
> sound diffusion - the real-time, usually manual, control of relative
> levels and spatial deployment during performance - remaining one of the
> most contentious issues in electroacoustic music. Why should this be so?
> Why should it arouse such passion? I offer two theories.
>
> Firstly, diffusion is often seen only as a performance issue - something
> separate from composition. I should like to challenge this assumption
> and assert that within the acousmatic tradition, descended from musique
> concrète, composition and performance are inextricably linked -
> diffusion being, in effect, a continuation of the compositional process.
>
> Secondly, much contemporary music, including electroacoustic music, has
> taken little heed of what Pierre Schaeffer opened up to composers over
> fifty years ago, continuing instead the traditional musical paradigm,
> predicated predominantly on the supposedly "objective truth" of the
> score as documentation of the composer's thought. Being readily
> susceptible to measurement (of pitch, duration, dynamic, etc), notation
> has enabled generations of musicologists and analysts to persuade us
> that musical value resides in architectonic, quantitative criteria,
> which are assumed to be, and can be demonstrated to be, part of a
> conceptual construct which precedes sound. I should like to challenge
> this view of music, offering instead organic, qualitative criteria for
> musical construction, based on the perceptual realities to be found in
> sound material itself - and this is the precise basis of musique
> concrète."
>
> from: http://cec.concordia.ca/econtact/Diffusion/Beast.htm
>
>
> Lastly it is a good idea to visualize a system, so have a look at:
>
> http://music.concordia.ca/Facilities.html#anchor377592
>
> Cheers!
>
> Ian
>
>
>
> >
> > Is it paying somebody to set up the pa/configure the acoustics/etc... to
> > play back a static version of your piece?
> >
> > Or, do they "play" the piece in addition to this?
> >
> > Thanks
> > rs
> >
> > On 10/28/05, Ian Chuprun <ian@7circles.ca <mailto:ian@7circles.ca>>
> wrote:
> >
> > A big thanks to everyone who replied, either here or in private. The
> > replies fell into three groups, listed below.
> >
> > Remember, this was for a 10 minute diffusion (not the diffusionist's own
> > piece), including prep, rehearsal time and the performance. The
> > ranges were:
> >
> > 1. $0-$20 USD
> > 2. $120-$175 USD
> > 3. The going rate for an instrumentalist in that particular place (here
> > in Montreal this means it would be $268).
> >
> > The idea that a diffusionist is equal to an instrumentalist is very
> > interesting. I do not necessarily agree, but at least the pay scale is
> > way better ;-)
> >
> > Thanks again!
> >
> > Ian
> >
> >
> >
> > Thomas Gerwin wrote:
> > > Hi Ian;
> > >
> > > I am doing this regularly in my concert series KLANGWELTEN and in
> > other
> > > concerts too. The fee for the sound diffusion is handled like the fee
> > > for a traditional musician - the "diffusionist" needs to invest
> > the same
> > > amount of work as an instrument player.
> > >
> > > Best,
> > > Thomas
> > >
> > > --
> > > . .. ... inter art project ... .. .
> > >
> > > .. Calvinstr.13 . D-10557 Berlin ..
> > > . Fon +49(0)30 397417-34, Fax -35 .
> > > .. . . mail@thomasgerwin.de <mailto:mail@thomasgerwin.de> . .. ..
> > > . http://www.inter-art-project.de .
> > >
> > >
> > > "Ian Chuprun" <ian@7circles.ca <mailto:ian@7circles.ca>> schrieb:
> > > > Hi,
> > > >
> > > > does anyone have any idea about a reasonable fee to pay for
> > someone
> > > > doing a sound diffusion/projection? If the diffusionist had to
> > diffuse a
> > > > 10 minute piece, (not their own piece), with the prep work,
> > rehearsal
> > > > and the actual diffusion, what would be a reasonable amount to
> > pay for
> > > > the work?
> > > >
> > > > Has anyone here been paid to do a sound diffusion? I cannot
> > seem to find
> > > > anything on this on the web so I guess it might be the
> > beginning of
> > > > something new, but I'm sure there are a few individuals around
> > who were
> > > > paid for this work. Please let me know, either here or in
> > private.
> > > Thanks.
> > > >
> > > > Ian
> > > >
> > > > ian@7circles.ca <mailto:ian@7circles.ca>
> > > >
> > > >
> > > >
> > >
> > >
> >
> >
> >
> >
>
>
>
>



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