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Re: [microsound] input + software = output



, > >the interaction, to hear stuff on BIG speakers, etc., but what else?

i vehemently agree. the models for electronic music performance... seem mostly to derive from either the rock >concert or the Conservatory: >

AH, YES...well, you could lay down semantics, is a concert a selection of music, or a selection of music performed?
is ltj bukem live, or in attendance?


the beginning of "electronic" music was a matter of PRESENTING music live more likely than PERFORMING music live. schaeffer's phonograph music, then all the tape music, or music for tape, to follow.

i have difficulty deciding, for instance, when i am playing back wave files with live eq, or playing systems music "live", is it an installation with performance elements, or performance.
if i am on the radio mixing 4 cds and 2 turntables, of MY music, or my music & elements like sound efx, spoken word, environmental, breaks, etc., is it a radio concert, or radio installation, dependindg upon how impassive i'm mixing? hands on, or levels equal?
random repeat or tk one to the end?


over a decade ago, i was performing in a 6 week/6 concert pgm in the meet the composer series (note to james & andy: we called our concert "meat the composer"). roscoe mitchell's concert was the first in the series. his concert consisted of 2 parts. one part was music on tape that he had multi-tracked using his serge modular system, the other part was a solo saxophone performance. i found both almost equally compelling, but, as it was new to me, the "electronic" piece was more interesting.
the following year, another composer famous for his video operas, simply played back his video, single channel but on multiple monitors, with the pretense of doing live mixing. actually, simply riding the faders. i was less than impressed, as i was very familiar with the piece.
so, perhaps familiarity has something to do with how we enjoy these phoned-in "performances".




                sony mao

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