Subject: A Musicology of Ea/Cm
From: KEVIN AUSTIN (KAUSTIN@vax2.concordia.ca)
Date: Sun Oct 10 1999 - 07:26:32 EDT
Some recent (private) discussions have brought up the topic of a
'musicology' of ea/cm, which raises the question as to whether there is a
line in (present) music technology between R/D and the aesthetic which
comes along with it. It may be a matter of 'profile' of the definition,
rather than a single polarity.
What will be the 'new musicology' of ea/cm. ? Does it have historical
precedents? Can it be removed / separated from technological
Is there a history of ea/cm that can be removed from the development(s)
of the technology. And there is the impact of Photoshop Music on the
While Beethoven benefited from the engineering developments that built
better bridges (because pianos could be made larger and louder), the
technology was developed for quite a different field and applied by
artisans (instrument manufacturers) to improve their product.
The varispeed tape recorder, the sinetone bank, multi-track, DX-7, and
digital delay lines (and their application in software) were directly
applicable by composers, and were frequently the results of composer's
requests (eg the MOOG sequencer 'commissioned' by Joel Chadabe).
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