Re: [microsound] analog|digital or digilog?

[Ian Guthrie Yeager <iyeager@xxxxxxxxxxx>]

Good points. To this I would only add that while something
similar/identical to a microsound aesthetic has perhaps existed in live
performance for quite some time now, I still suspect that low noise floor
digital home recording has contributed to a culture of _recorded_
"microsound" music, music not necessarily intended (or practical) for
performance at all.
 
On a certain level, what you are describing has probably "always" existed,
insomuch as people have considered the tone and timbre of instruments to
be of great importance, which probably roughly coincides with our
existence as a species.  

I'm sure a Shona mbira player in central Zimbabwe is every bit as
concerned with sound as "a thing unto itself" as we are. Maybe ditto for Bach. 

How long have aboriginal digiridoo players been using "repetition in order
to draw attention to the small scale variations in the music?" Many
believe theirs to be the oldest form of ancient music still extant....

Just goes to show that reinventing the wheel kicks ass sometimes!

Yeager 




On Thu, 28 Jun 2001 cramakrishnan@xxxxxxx wrote:
> 
> For example, Roscoe Mitchell, Evan Parker, Charlegmene Palestine,
> Morton Feldman, Alvin Lucier all use repetition in order to draw
> attention to the small scale variations in the music.  Roscoe Mitchell
> even performed a concert where he circular breathed one note for the
> entire duration of the concert, emphasising the involuntary embechure
> fluctuations.
> 
> Mitchell, Parker, Palestine, and Feldman all have examples of
> microsound made with unamplified acoustic instruments; as do Radu
> Malfatti and Burkhard Stangl.
> 
> np: Sandy Bull - Fantasias
> 
> - sekhar
> 
> --
> C. Ramakrishnan        cramakrishnan@xxxxxxx
> 
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Ian Yeager         
igy2k