A Musicology of Ea/Cm

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
public. ?

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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