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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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