Re: [microsound] Intellectual Property

[Dale Lloyd <dkl37@xxxxxxxx>]

I agree on both accounts with a lean toward keeping the process somewhat
under wraps, as a composer. As a listener, I can understand why one would
want to know some of the concepts, etc. Liner notes can draw me toward a
release.But I also know how annoying it can be to play music for someone
and all they can think about is how it was done (what equipment, etc,
blah blah). So I understand Kim not answering my question about his
Pulsar Studies awhile back. ;^)  I usually don't really care about how a
piece was created but in some cases, I'm intrigued enough to want to
know; not to apply the info toward my own work but to learn more as a
person interested in the sonic world in general. I'm a huge fan of sound.
Yeah, I know...."a big blow hard." Hardy har.

On Tue, 3 Oct 2000 11:36:47 -0400 Michal <mis@xxxxxxxxxxxx> writes:
> On Tue, 03 Oct 2000, alex@xxxxxxxx wrote:
> 
> 
> > > although I am more than willing to share some ideas on an 
> abstract
> > > level I tend to be rather guarded when it comes to the 
> details...I
> > > like knowing the general concept of an artists work and guessing 
> as to
> > > how it was implemented...
> > 
> > Well there is value in that, but personally I get frustrated with
> > conceptual art where I am not provided with the concepts, and feel
> > similarly about experimental music (which may also be conceptual 
> art).
> > 
> 
> What happened to the old and good ability to analyse music (or art in
> general)???
> 
> 
> > 
> > I wasn't trying to suggest that laptop performances are inherently 
> bad,
> > just that I, selfishly, want to see more of what is going on..  
> Did the
> > audience see their screens?  If not, do you think they'd have 
> benefited
> > equally from your experience?  As a programmer and generative 
> musician I
> > live in processes throughout the day.  I find it almost unbearable 
> to be
> > denied access to them in leisure.
> > 
> > I like to know whether a musician is using software they have 
> written
> > themselves, how they are interacting with it, how much is 'live'.. 
>  These
> > things dramatically change the way I experience a performance, how 
> I
> > relate to it as a human.
> 
> Have you ever seen a "magic" show?  How much would you appreciate it 
> if you
> knew all the tricks the illusionist is doing?  You know that he's 
> tricking you
> but you're not always sure how.  I think that a composer/performer 
> is that kind
> of a magician.  Creativity is one thing but the secret of your craft 
> is
> another.  On another hand, not all experimental music is 
> written/performed for
> musicians only.  I know a bunch of people who like to listen to 
> experimental
> music and they have no idea about music making or use of computers 
> in music. 
> So they don't give a s**t about what programs and in what way they 
> guy is using
> or what kind of playing technique or whatever.  All they want to 
> hear is good
> music.  
> 
> Also, I don't quite get this mid-20th century idea about a composer 
> having to
> talk about his music for 40 minutes before the concert (or on
> radio/university/younamit to make his "concept" well understood.  
> Yes, it is
> important to be aware of certain cultural, perhaps
> political,industrial,philosophical,[...fill in other ideas...] 
> situation in the
> world/country/state/city/street/individual in order to better 
> understand the
> work but (IMHO) this will be transparent enough throughout a number 
> of works. 
> And as an ensemble they will shed some light on various aspects of 
> the
> "process".  When I know know in advance what "technique" or 
> "process" a
> particular composer is using I usually have a listen to 1-3 of his 
> pieces and
> that is more than enough...  unless of course those piece are 
> substantially
> different or don't use quite the same process (or if the ideas are 
> treaded
> _musically_ rather than processed....)....
> 
> 
> I think I got carried away... a bit...
> 
> 
> MiS
> 
> BTW.  I admit that I am not familiar with Oval's music.  But I do 
> hope that his
> process is not really a process....
> 
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx
> For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
> website: http://www.microsound.org
> 

http://overheard.homestead.com/lloyd.html  
http://overheard.homestead.com/zenT.html

________________________________________________________________
YOU'RE PAYING TOO MUCH FOR THE INTERNET!
Juno now offers FREE Internet Access!
Try it today - there's no risk!  For your FREE software, visit:
http://dl.www.juno.com/get/tagj.