Subject: Re: FW: French Touch
From: Kevin Austin (firstname.lastname@example.org)
Date: Fri Oct 28 2005 - 23:56:05 EDT
At 21:29 -0400 2005/10/28, Louis Dufort wrote:
>... but I think there is always a sound object to start of, even
>before we do any sorts of intervention on the sound.
This is a major point where we differ. The proposition is that the
idea of a "sound object" is an intellectual construct, and is not
applicable to every sound in every context. If it is based on
context, then is it not something that follows perception and
>Reduced listening (a sound object is a direct result of reduced
>listening) is a very useful tool for the composer
It can be a marvelous concept, but, IME, is not applicable in all
circumstances. I would propose that it is largely 'language specific'
in a very broad sense. It is particularly applicable in the type of
ea work called "exploration of the object". In this context, once the
"objects" have been worked out, the question(s) or transformation and
relationship come to the front.
(The parallel I find is that once the notes have been counted and the
rows determined in the Webern Symphonie, then the real work begins.
Sadly, in many analyses I have seen, this is where the work ends.
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