Subject: Re: copyright and translation
From: KEVIN AUSTIN (KAUSTIN@vax2.concordia.ca)
Date: Sat Jan 30 1999 - 07:40:17 EST
Dennis kindly replied, and added
>But then, you're getting at something here, aren't you? What might that be
The environment is one related to the development of a field of study
related to ea/cm which would resemble 'music analysis' for traditional music.
It is my experience that the weakness in the development of a field of
analytic (or even descriptive) study for ea, continues to be the lack of,
and availability of a common repertoire for examples.
If one wishes (eg) to cite examples of how early ea composers approached
the issue of morphing (as for example in Gesang, or Omaggio), the pieces
need to be available, and there needs to be some graphic and sonic way of
'showing' what happens, and what is being talked about.
An event time line can reflect when something happens, a spectragram
(along with other tools) will often allow much finer visual resolution,
but publishers' permissions are (?) required before being able to present
Trevor Wishart got around this by using his own material in "On Sonic
Art". For my classes, I would like to be able to produce (and re-produce)
timelines and spectrograms of many pieces, to show the various ways
composers approach ea/cm composition.
(I recently prepared a spectrogram of Ionisation of Varese, and it allows
a detailed discussion of sound families, and channelization without
reference to the score. To make this available would require the
permission of SONY and Varese's publisher.)
Traditional 'musicology' developed (and develops) because there is wide
access to such materials. I'm looking to find legal ways to open up the
parallel study of ea/cm.
(In the re-issue of the Electro-Clips CD IMED 9004, Jean-Francois made
tiny spectrographic versions of the 3-minute pieces available in the
booklet -- a real tease -- three minutes in 7.5 cm, my current resolution
is about 45 seconds in 25 cm. The Varese required 4 pages.)
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