Re: "small" audiences


Subject: Re: "small" audiences
From: Annette Vande Gorne (musiques.recherches@skynet.be)
Date: Wed Aug 11 1999 - 12:59:25 EDT


Musiques & Recherches édite, avec l'aide de l'INA-grm et de Jean-François
Denis, un répertoire des musiques électroacoustiques éditées sur CD
"commerciaux", c'est à dire en vente et diffusion publique. En janvier 98, la
troisième édition représentait l'écoute réalisée de quelques 3000 œuvres (tous
genres), sur 750 CD. En janvier 2000, nous publierons la quatrième édition,
qui concernera sans doute plus de 1000 CD différents. Il existe donc des
éditeurs courageux (plus ou moins 190 sont recensés), et un public pour
acheter et écouter nos musiques. Le CD reste effectivement, en attendant le
DVD multipiste (ou Godot…), le meilleurs support de diffusion, actuellement.
Annette Vande Gorne.

Anomalous Records Eric wrote:

> Regarding the recording side of things, who is actually getting a record
> contract anyway? Even most of the people outside of academia doing
> experimental electronic works are largely self releasing things. Which
> means that largely what is available and can be heard repeatedly are the
> composers with the most contacts and charm, the best grant and letter
> writers. While this does this not account for everything by any means, one
> does see a slight imbalance here as a lot of great work remains unissued.
> Consider the period during the 60's which is documented in Hugh Davies
> book. Maybe one composition on each page made it to a record. Thirty
> years later, the amount of things being produced has only increased. If
> someone spends more time making than worrying about getting their things
> out, than it's likely their material will go largely unheard. There are
> few labels out there looking to put out electronic artists (and I'm
> speaking of the non-beat variety here, because I don't know the other side
> so well). Some other interesting omissions to point out (as far as being
> able to obtain the recordings at the present time) would be such 'classics'
> as Xenakis' "Persepolis", Cage's own recordings of his electronic music,
> practically any musique concrete aside from Pierre Schaeffer, the
> influential Richard Maxfield, anything by Gordon Mumma, Trevor Wishart's
> "Journey Into Space" and "Machines", etc, etc only to name a few historical
> examples, let alone what currently produced jems we are not even aware of.
>
> Despite all this, there is a lot of wonderful material available, and more
> readily so than in the past. This material stand the potential to reach
> more people (although just as likely to collect dust in a warehouse or some
> completist's collection, and the reduction to two channels via 44.1k
> sampling rate is still more promising than lossy compression, mono audio
> files downloaded from the web to be played by by cheap build in monitor
> speakers.
>
> Eric Lanzillotta
> <eric@anomalousrecords.com>
>
> Anomalous Records
> P.O. Box 22195, Seattle, WA 98122-0195, USA
> telephone: (206) 328-9339 fax: (206) 328-9408
> <http://www.anomalousrecords.com/> or <http://209.221.136.101>
> <http://www.anomalousrecords.com/Streamline/>



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