From: Barry Truax (email@example.com)
Date: Tue Feb 23 1999 - 19:56:39 EST
A little while ago, Daniel Leduc asked the other Canadian members of
the list about the value of an electroacoustic composer joining the
Canadian Music Centre (CMC), and although some opinions on both sides
were raised, I'd like to add a few more comments from someone who's been
working with the CMC for about 20 years.
Some of us have worked quite hard over this time to get "equal status"
for electroacoustic composers within the Centre, and some progress has
been made. One thing was changing the admission procedure to the
verification of "professional status" within the community, as opposed to
the jurying procedure before where bias against style or genre seemed to
take place. As a result, many more ea composers were admitted.
Secondly, a DAT archive was started in most regions - I don't know the
current status of that, but it has provided fairly good coverage in BC.
Lastly, the most difficult aspect is to effect the mental shift to the
personnel in the CMC promoting ea music as readily and equally as
instrumental music. This part depends on members of the community working
with their local centre, not always independently of it. In BC this has
been easier because of the concentration of composers in Vancouver and
the openness of the local Regional Director. For instance, on our new
regionally produced CD there are several electroacoustic pieces.
So, you can complain about their biases or you can try to work with
them. For better or worse the CMC remains the best funded resource that
Canadian composers have to promote their music - but to make the
relationship work we have to meet them at least half way.
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