Subject: Re: A Musicology of Ea/Cm
From: KEVIN AUSTIN (KAUSTIN@vax2.concordia.ca)
Date: Thu Oct 14 1999 - 05:55:59 EDT
Leigh continued ...
>Triangulation is a term taken from action research models calling for
>evaluation from others than, say, composers and performers in s musical
In ea/cm, would this mean researchers, teachers, students, the public,
arts critics, social commentators ... (are these a 'third' leg)?
>The computer music remark concerns the use of computer as (co-)composer as
>well as sound provider. Electroacoustic music deals with the second which
>may include the first, but not necessarily of course.
Hmmmmm.... it seems to me, that this model may have been applicable in the
days when 'computers' (and I take this to mean digital computers -- and
maybe it should be specified that the reference is not to analog
computers / aka synthesizers) could not be carries around.
A digital sampler is a computer (an extended version of the possibilities
of tape manipulation in many ways -- see the early GRM and Le Caine
vari-speed machines). In a situation such as a LFO->S/H=>VCO, the
(analog) patch (algorithm) is a co-composer.
Maybe a characteristic of ea/cm is that the sound (work) does not exist
independently of its technology / creation (unlike the Art of Fugue which
exists independently of sound).
Once again, that odd (undefined) word "music" keeps accompanying
'electroacoustic'. Does the thesis propose 'music' as one of the
parameters of an ea/cm-ology?
Almost went down to freezing last night. The north-west winds bring
arctic chills to the yellowed leaves.
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