Subject: Re: (Fwd) Thaemlitz RE: Prix Ars Electronic 99 (Computer Music)
From: Ian Chuprun (firstname.lastname@example.org)
Date: Fri Jul 09 1999 - 20:20:20 EDT
I liked Terre's contribution to the discussion, but I cant help thinking that
there is trouble with the words we are arguing about.
Side stepping the PAE issue, using Terre's comments (not the only post to
cecdiscuss which makes these kind of comments mind you):
> now with Digital Musics' emphasis
> on marketplace electronica, my electroacoustic entries are prone to
> dismissal as purely 'academic'.
I cant help wondering what 'purely academic ' is supposed to mean. Were
Ussachevesky's Sonic Contours or Piece for Tape Recorder purely academic? What
about K Stockhausen's Studie II? Looking back at Edgard Varese, is the Poeme
Electronique purely academic? What about the the early Columbia-Princeton works?
What about the later works? And if so, which Academy?
I'd really like to hear a piece of music which is purely academic, and then
maybe I could participate in this discussion with a degree of understanding.
Anyone got a suggestion?
> case and point, my 1999 honorable mention was for a MIDI (totally
> non-electroacoustic) piece which is not the type of thing i would prefer
> to be acknowledged for by PAE.
Since when is a MIDI piece _NOT_ electroacoustic? Without having to dredge up
that difficult to pin down definition of ea, I find it impossible to put ea on
one side of the fence and have MIDI sitting on the other. Does MIDI here mean
instrument patches used live? Is electroacoustics being used to mean a piece for
tape? Is this why they are presented as opposites?
> if i were to submit an electroacoustic work it would get 'lost with all of
> that other electroacoustic stuff that all
> sounds the same.'
Ive heard this before too, but it is usually from people who wont spend two
seconds figuring out the differences. I find it hard to think that an improvised
electronics work sounds anything like a tape and instrument piece, and works
made exclusively in the studio rarely sound much like live dsp. Sampler pieces
usually sound different from sound sculpture pieces, and how in the world could
a radiophonic work be mistaken for live instrument and computer? I find it hard
to lump all of these aspects together and say they sound the same.
Maybe if someone suggested some sound clips from the web, a discussion could
start centered on a broader base of common knowledge.
A propos de la: / Regarding the:
Communaute electroacoustique canadienne (CEC)
Canadian Electroacoustic Community (CEC)
A propos de l': / Regarding the:
Université Concordia University
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