Subject: Re: Mixing it...
From: Douglas Doherty (DouglasJPDoherty@compuserve.com)
Date: Thu May 13 1999 - 03:32:55 EDT
> >Robert Dow wrote (in short) :
> >1) same technology to produce similar results (provided ;-)
> >2) same technology to produce different results
> >2b) similar (interactions with) technology to produce dissimilar results
> >3) different technologies to produce similar results
>> 4) different technologies to produce different results (supposing ;-)
>Or even shorter - the aesthetic content of a music need not be bound
>to a particular technology.
>General, yes, but IM[nv]HO (nv = 'not very' - well, you know what we Scots
>are like :-) -- woops, another generalisation ...) useful as it at least
>emphasises the aesthetic bit and does away with any rather unhealthy
>obsessions with technology.
Robert re-iterates my point in a less dramatic way perhaps; the use of the
same technology does not in any way pre-suppose any kind of aesthetic link
between DJ culture and "electro-acoustic music" culture. In my work I talk
to many in various areas of popular music and there are such fundamental
differences that the gap appears to me unbridgable. If we wish for
aesthetic closeness look at areas of jazz where players hardly use any
technology - they will recognise e-a music more readily than DJ
>So much 'cross-genre' music fails because it never really gets to grips
with what it is trying to cross. Once students understand what
>'electroacoustic music' 'computer music' et al. are, then they can begin
to work across boudaries in a much more informed way.
> Mathew Adkins
I had a postgraduate student at Newcastle doing our Music Technology
course, and following an option in electro-acoustic composition. The
modules are largely directed study, rather than heavily taught. Her
background was in engineering though her general musical competence, and
her singing which was her practical study, were of a very high standard.
She was into opera and dance music(!). She had enormous difficulty, and
never did really come to grips with what electro-acoustic music was about.
What strategies have have you used to try and bridge this gap Matthew?
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