Re: [microsound] responding to Greg, peripheral musing

[Ian Guthrie Yeager <iyeager@xxxxxxxxxxx>]

Well, I think that the inherently painstaking process that earlier
composers had to deal with forced them by default to put more thought into
the content and form of what they were doing, particularly in the absence
of "non-destructive editing". 

I read a review by composer Warren Burt of the Immersion Festival in
Australia (http:://www.omroep.nl/nps/radio/supplement/99/0726/review.html)
recently, a festival in which Parmegiani took part, where Parmegiani noted
in his talk that (this is Burt's paraphrase of the translation, since
Bernie P was talkin' that Francais jive) "the precision of digital sound
editing can occasionally lead to unproductive obsession, and that one has
to be open, even in this most perfect of mediums, to imperfection when it
occurs."
 
Greg, you might think about transforming your guilt into a new way of
thinking about this entire process....as a 23 year old, I know what it
means to be part of the short attention span nation, a frame of mind not
particularly conducive to the meticulous requirements of finely-detailed
electronic constructions(but not bad for sprawling gestural imrov, you
motherfuckers....maybe it's time to drag my ass to Tokyo) Perhaps one of
the uses, ultimately, for these strange musical pursuits is to actually
mold ourselves ("composer, compose thyself"), extend our powers of
concentration, hearing, perception, etc. 

Cage said that music is only useful if it improves out powers of audition. 

As we push ourselves ever further into the cumulous clouds of obscure
musical interests, losing our ability to function in a normal dinner-party
type situation, we need some return for our efforts.
 
In all seriousness, though, the problem Greg describes is one of the
reasons why I prefer to use dedicated, non-computer equipment. I'd rather
be surrounded by 1,000 cheap gadgets, effects, toys, guitars, and metalic
and wooden objects with contact mics at this stage of the game. It's more
fun, more engaging to watch, more spontaneous, and easier on the eyes. I
like electronic music that combines the idea of playing in a band with
being an electronic musician. Hmm....I think this is fodder for a
manifesto! 

I'll cut it short (heh) hear.

Peace out y'all....

p.s. Mouse on Mars' "Autoditacker" is a great Fuckin' album! Call me Mr
Normal, I guess.



On Fri, 1 Dec 2000, Greg wrote:

> 
> All I know is that listening to Ferrari, or Parmegiani or whoever makes me
> feel really really guilty. Cause they sat there for six months with tape and
> a knife putting together a single piece in a really composed and well
> thought out way... and now I can do all that with my pc in the course of a
> few hours and not even come close to the technical precision these guys do.
> 
> 
> > I'm right now sitting and listening to Luc Ferrari's "La tete et queue du
> > dragon" from the Vintage volts comp cd....the extremely high level of
> > organisation as well as the incredible quality of the sounds themselves
> > make for some really extraordinary listening. I definitely recomend it to
> > anyone interested in revisiting some musique concrete from 59/60. Amazing
> > how well it's aged, something we should all take pains to keep in mind as
> > we work on our own music.
> > Does anyone have any info about Ferrari's specific methods and sound
> > sources, or any anecdotal info about this piece in particular?
> > Does anyone know of any good books that deal with this important moment in
> > music history? There seems to be a real dearth of written info out there
> > about this stuff....sure, I've visited all the Ferrari/concrete/grm sites,
> > but I'd like more info.
> 
> 
> 
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