Subject: Re: observances
From: KEVIN AUSTIN (KAUSTIN@vax2.concordia.ca)
Date: Sat Jul 17 1999 - 10:14:37 EDT
Thank you very much
>From: Naut Humon <firstname.lastname@example.org>
for your astute
>Lets continue the helpful dialogue even though some
>of you out there may have become weary of this topic.
The posted article (very useful, again thanks), presents an uncommonly
complete model for the selection process, criteria and group thinking.
A particular area of interest for me has been the historical
consideration of the resources required and used in the production. A
topic that I have seen no significant collected data on (in the area of
It is clear that "opera" calls upon, not only vast amounts of immediate
resource allocation, but also large quantities of 'contextual' resources,
eg the clarinetist who has played her instrument for 27 years and
practices every day.
"Academic" ea/cm composers work, in my view, largely in the (traditional)
domain of the composer of small chamber pieces. The ea/cm composer who
works alone, or in a team, in their own studio, acquired through their
own labor (academic, artistic or other), is not in the same place as the
ea/cm/digital artist who has large amounts of infrastructural and
Historicaly, Stockhausen springs to mind, having assistants, technical
support, and the infrastructure of a large radio studio. He never had to
pull out the ol' soldering iron and fix that patch cord before going on.
Bourges, it would appear to me, has dealt largely with composers who have
relatively small 'resource' bases. Sadly, it seems to me, the word
'academic' has been introduced into a discussion regarding available
Is part of this issue a question of access to resources as well? Just
some longer term ponderings perhaps.
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