Re: [Re: [Prix Ars Electronic 99 (Computer Music)]]


Subject: Re: [Re: [Prix Ars Electronic 99 (Computer Music)]]
From: Martín (maralefu@usa.net)
Date: Sat Jul 03 1999 - 12:42:54 EDT


Thank you Kevin for your response. As always, you
show that you are a sensitive person regarding what
is happening in the international ea/cm community.
I am also thankful to Barry Truax for the message
he sent me privately.

I would only like to say that I am prepared for those
eventual questions. I can tell you something in advance:
a statistical detail of the prized pieces by Argentina-residents
composers in the last editions of the Bourges competitions
can affirm what I said. 95% of those prized pieces belong
to lackeys of Francisco Kropfl.

Another important thing: I am copying the statements of
Jon Appleton about the role of Kropfl in the Argentinian
electroacoustic scene:

>From: Jon H. Appleton
>
>Dear Martin,
>
>Regarding Kröpfl as a former Nazi commander, perhaps I was wrong.
>All Nazis were fascists but not all fascists were Nazis. (I do not
>know if Kröpfl was a member of the National Socialist German Worker's
>Party). Kröpfl is certainly an electro-acoustic music fascist because
>he has aspired to being a dictator with regard to the practice of
>electro- acoustic music in Argentina. With regard to other composers
>like you, Ricardo Dal Farra, José Ramón Maranzano and Ariel Martínez he >has
exercised oppressive artistic control, belligerent cultural
>arrogance and stringent socio-economic control which has made it a >struggle
for all composers who do not recognize his dictatorial
>stature.
>
>Please publish a history of electro-acoustic music in Argentina in ARRAY.
>
>Jon Appleton

  
Is it necessary to add anything else? I would say that it's not
just my perception...

With my best regards,
Martin Fumarola

KEVIN AUSTIN <KAUSTIN@vax2.concordia.ca> wrote:
Martin wrote:

>Who can help us? to whom can we address a complaint
>letter? will it change anything?

I would propose that the answer to the second question is
to write to the organizers, directors, national
representatives, and 'founding members' with your comments
and perceptions, and asking for the courtesy of a reply.

You may care to also send copies of your letter to such
journals as CMJ and OS. You could forward copies of such a
letter the UNESCO Music Councils etc, but you need to be
prepared to answer the questions about whether this is just
your perception, or whether you can demonstrate that your
comments are accurate.

Regarding your third question, it has been my experience
that the question may not be valid, without the second part
being addressed: that being, What do you wish to see in its
place and how would it be done?

Wishing you success in resolving this issue for yourself and
others who feel the same way,

Best

Kevin
kaustin@vax2.concordia.ca

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