Subject: Re: CIMESP-Results Fwd:
From: Louis Dufort (email@example.com)
Date: Thu Nov 03 2005 - 13:24:30 EST
> 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.
Eliot, I cannot understand why you put in the same basket, extra-musical
intention and academic? The base of acousmatic art is to put the listener
into an immersion mode, make him feel, think, make him travel in the piece
just like in cinema art. Some piece may be more abstract, some have a more
plastician approach or some are more narrative, but they all play to some
extend with your sense of perception. Is it academic wanting the audience
to connect to our music and learning perception process to achieve those
When I talked specifically about the Berezan piece into more analytical
manners (polyphony, orchestration etc) this is because since this list
regroup mostly composers it's just a way to be a bit more specific. I can
make a comparison with wine tasting. Nobody can force you to understand why
you like a wine or not, but the professional wine tester can put words on
the quality of the "cÚpages" the blend of the composition etc... His
experienced is not better than the normal wine lovers he just can put word
on it. IT'S NOT ACADEMIC IT PASSION!
For me, EA composers that want to show their skill is a new concept for me.
I cannot think of a more low profile artist than the EA composer. Concert
in the dark, nobody see you, and since the audience are normally not use to
hear this kind of music there is no way they can understand the "skills"
behind a ea piece. Where in contrary people that make live improv, the "non
academic real musician", where most of the time it is basically a showcase
of one can do with an instrument using all the existing technics and how
fast he can go, this is to me showing off their skill. Or composers behind
laptops doing stupid gesture to control a filter, this is deeply annoying.
So maybe Eliot you are the academic one, because you do understand the
coding of EA music and I'm with you here. That's probably why I rarely
listen to EA for the same reason that you pointed out. But again, as I'm
always in the search of novelty, I am sometimes happily surprise ( the ratio
of nice surprises is about the same for all the other art forms). We cannot
simply discredit EA or call it academic because it does not bring any
revolution, for now. It is true that EA could use a couple of drastic
protagonist to push it to a new level. Has I said earlier, we are in a
classical period and if it stays in that period for to long it will in fact
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