Subject: Re: observances, etc.
From: Katharine Norman (K.Norman@gold.ac.uk)
Date: Tue Jul 27 1999 - 11:00:54 EDT
>Nonetheless, could electroacoustic competitions not steal a page from their
>playbook? They could request composers to submit five CDR copies of their
>submissions so that all of the jury members can go through the works
>privately in their own home over an extended period of time
>Why compromise the decision-making process when in some cases a significant
>amount of money (and pride) is on the line?
>Perhaps those with experience in running competitions would like to comment
Yes - I really do think this can work well. I had an experience as a jury
member on an occasion where this did in fact happen - 13 (full!) dats
arriving at my house a few weeks before we met. It was - and is to date -
the only time I have felt I was doing the entrants justice, by sitting down
and listening to entire pieces, cup of cha in hand.
But it was a labour of love - took forever and virtually unpaid. I can
still remember most of those pieces - or at least the many that interested
and impressed me - and I had occasion to programme many of the artists I
heard, sometimes years later (at the jury stage they were anonymous) But I
can't see how anyone in full-time employment (of any kind) can do this
unless significant money is thrown at the event and 'sitting on a jury' is
given sufficient academic credence to get people like myself, in academic
employ, released from other duties.
You know, I'd much rather juries were paid to have time to make good
decisions, and less money went on prizes themselves...
Incidentally, the jury was for ICMC in Aarhus, a few years back, directed
by Wayne Siegel. And I thank him for the wise way he organised the
Dr Katharine Norman
Electronic Music Studios
Goldsmiths College, University of London
London SE14 6NW
+44 (0)171 919 7986 (direct) +44 (0)171 919 7643 (studio)
+44 (0)171 919 7640 (music dept office)
fax (0)171 919 7644 email: K.Norman@gold.ac.uk
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