Subject: Re: CIMESP-Results Fwd:
From: Eliot Handelman (email@example.com)
Date: Wed Nov 02 2005 - 22:44:38 EST
Louis Dufort wrote:
>I must disagree here. I'm happy to find that EA has finally arrived in a
>classical period. The surprises does not come necessarily from new sounds
>palette, re-inventing of the form or structure but more from "what does it
>say", "where the composer brings me". In this case the David Berezan
>excerpt was to me very compelling. Yes I knew those sounds, yes we know
>that going form FFF to pppp in a second is a well known effect but the
>phrasing is very well done, nice polyphonic texture, very good
>orchestration, nice rhythmical evolution and all this converged to a very
>nice sound immersion experienced that can be call music.
I agree with you, but that's just what makes the music academic to my
mind. The "artistic statement"
presents the existence of a language evolved in order to demonstrate the
skill of the composer. The music
exists as if the composer is asking for some social standing in
recognition of his skill. It's a closed-shop
modernist type mentality.
>This being said, this more "acousmatic" esthetic seems to gain more and more
>popularity amongst EA composer but your right, there is some redundancy (i.e
>GRM resonnance plug-in...) but I guess it's just like many composer of the
>19th century that did big romantic orchestral works but only few on them
People were also much harder on music then than now. There was a gang at
la Scala who used
to cheer "bravo donizetti" when some lesser composer's work seemed too
derivative. We would
never think of saying "Bravo Gobeils" today when x (who is not Gobeil)
diffuses his piece. Why is that?
Because the atmosphere of the international EA style is not
revolutionary -- it's about politesse.
You're not concluding, I assume, that "they all used cadences," so we
in EA should always use "slam-ding cutoffs"
(about 3 min into this piece)? Why is this gesture so indispensable? Is
one not a bit shame-faced, or is
some irony (doubtful) intended?
>The cool thing about art that find itself in a more classical period is that
>some composers, maybe like you Eliot, get bored and offer some new exciting
I may be ready in another 8 years.
What we need is some total crazy master of this whole area. We probably
cant't get one yet, because there
are too many components -- the problem of getting sound, the problem of
autonmously generated music,
of interactive real-time, the problem of a framework in which all this
We may be rushing to the day when the one-composer-one piece thesis no
longer holds. Andy Milburn
and Tom Hajdu did very impressive work back in the late 80s and I wonder
why there haven't been
any such teams in EA. We may need more than one composer per work a la
Is there resistance against this idea? I think there must be. Yet this
is just not the moment to be spouting "mastery,"
and this is just the language that all these pieces seem to be speaking
-- the evocation of "skill" and such.
Whoi cares? Can't you just hire out, a la Jeff Koons or Spielberg? In
the visual arts, skill means virtually
nothing. Why is this factor num. 1 in EA?
>Bourge festival (2003) did give the big prize to Ambrose Field for his piece
>"A hell of a place to loose a cow" which was very innovative.
I'll listen to it.
>There's hope Eliot!
Of course there is: we're in a transitional period, in which almost
anything can happen. So let it start happening
This archive was generated by hypermail 2b27 : Sat Dec 22 2007 - 01:46:14 EST