Re: Source, Observances, etc


Subject: Re: Source, Observances, etc
From: Anna Rubin (anna.rubin@oberlin.edu)
Date: Sat Jul 31 1999 - 22:47:35 EDT


To the author of below: I love your comment and want to use it as a
thought-provoking passage in an introductory tech course. Your full name?
Best, Anna Rubin
>
 In the early days of musique concrète, to use the remnants of
> an organ destroyed by the bombings was an act of love towards a certain
past,
> and also the tacit acceptation that such a past was no longer possible.
IMV,
> musique concrète gradually evolved from an art of making music to an art
of
> listening to sounds. At a time when the whole world can be destroyed by
the
> pressing of a button, everyday things are as important as 'works of art'.
To
> perceive the 'sound organization' behind sonic objets trouvés is to turn
> listening into an 'art'. To be able to listen to any sound whatsoever for
the
> sake of the analogic, causal and conventional relationships it engenders,
and to
> be able to switch --- anarchically? --- from one kind of relationship to
another
> is an exercise that prepares one not only for the creation of new musics,
but to
> make the experience of sounds, images and life in unexpected and more
meaningful
> ways.
>
> Is this terribly obscure, or somewhat irrelevant?
>
> Best wihes,
> carlos
>
>

Anna Rubin, Dept. of Composition, Bibbins 213
Conservatory of Music, Oberlin College
Oberlin, OH 44074 (440) 775-6155



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