Re: Ned

Subject: Re: Ned
Date: Thu Apr 15 1999 - 06:27:58 EDT

Simon continued ...

>But then this general characterising of 'styles' is one of those
>old chestnuts... [which tastes better with IPA]

Maybe the terms are a little rough, but there do (to my ears) appear to be
a number of 'styles' (types? genres? categories? schools? streams? lines?
threads?) in ea, and there tends to be various kinds of geographical and
sociological / philosophical clustering. This may be related to the
effects and access to specific types of education, technology and funding.
[This is in no to imply that only one 'school' existed in one place at one

Our recent series of Latin American concerts, with a large number of
works from Mexico, Columbia, Argentina and Brazil (among others), and
some eight curators from the USA from the States, IMV, reflected certain
kinds of national / regional / philosophical proclivities, interests and
concerns. (Again, possibly closely related to the available technology,
education and funding conditions.)

This is well known to university level advisors where the question of
"Where should I go to study [such and such]?" The listing on a person's
cv of the names Babbitt, Davidovsky and Columbia, once provided a profile
and orientation guide. Similarly, the names of Mills College and
Rosenboom provided a sense of a different orientation.

Here in Montreal, there is a difference between having McGill,
Pennycoook, Piche and Settel, from Universite de Montreal, Deschenes,
Dhomont and Normandeau.

(Many composers in Montreal from the 50s through the 70s went to Paris to
study, and the 'acousmatic' tradition settled in at the Universite de
Montreal for some 15 years. McGill's early orientation was largely guided
by the technology invented by Hugh LeCaine, and the orientations provided
through Istvan Anhalt, who invited Stockhausen to Montreal in 1957, and
worked briefly at Columbia, and Paul Pedersen who had worked at the
University of Toronto, closely with Le Caine and his inventions.)



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