RE: [microsound] practice comes before theory...

[Christopher Sorg <csorg@xxxxxxxxxxxx>]

> on 09/02/2002 09:03 AM, anechoic at kim@xxxxxxxxxxxxxxxxx wrote:
>
> > so I guess western educational systems have it all backwards?
>
> So theory is often used in the music school to inform practice.
> Depending on
> who your teacher it is, it can get really fascist and oppressive.
> I've spent
> much of the last year of my life unlearning the sensibilities I
> picked up in
> school. Especially in regards to putting practice in front of theoretical
> construct...
>
> Garry

First off, Western should be capitalized ;)

I'm not sure I understand the original post, but it's my understanding and
experience that the Western educational system, at the least the one applied
in the U.S., is one of indoctrination to create a work force.  Hence the
heavy emphasis on science and math, and the almost total lack of
encouragement in the social sciences, art and music.  U.S. history is taught
completely from a nationalist perspective, world history in support of the
Western linear narrative of progress.  Art and music programs are typically
the first to suffer from funding cuts, while sports are encouraged and
rarely disappear from even the most financially challenged school districts.
Of course, this is my experience in a Midwestern school ten years hence, but
it hasn't changed much in the Ohio, Illinois, nor, I suspect, anywhere else
between the two coasts.

Now if you're talking about music, well, my personal opinion would be that
children are lucky to have any type of musical exposure/training/performance
aside from MTV and the radio.  That's just from the educational perspective,
not including the kind of peer pressure running against a musical interest.
Does the phrase "theatre fag" ring a bell?

So, good luck to those few who survive to study the arts in higher
education, whatever theory (or lack thereof) you decide to worship.  Even
so, recent articles in Musicworks magazine (issue #80) suggest truly
disturbing regressive trends with women's involvement in composition studies
and the recognition of women's contributions to music.  The article "Where
are the women composition students?" states that "Women don't stand a chance
[in composition].  There are no women composition professors--and I wouldn't
want to be a lecturer [who can] get laid off at any moment."  I personally
do know of one composition professor, but the article is still on point that
they are very few and far between.  Linda Catlin Smith's article on music
historiography points out the complete marginalization of female composers
in even the most recent historical writings on music.  I certainly don't see
that being particularly different with academic or non-academic electronic
music.  Pauline Oliveros, Maryanne Amacher, Elaine Lillios, Peaches and Mira
Calix are the only women I can even think of off the top of my head.  I
know, I know there are a *few* more...

Regardless, we shouldn't be under any illusion that things have changed and
become more liberal and accepting in the U.S., either in academia or
otherwise.  Never mind that the generally conservative trend has only been
encouraged by September 11th.  Of course, I do have high hopes for the
widespread use of computers, as it does create new cultures of comprehension
and understanding, but of course, that is also a class-structured option.
Troubles abound and boundaries must continue to be pushed.

Until John Cage is a household name...fight the power!  Perhaps Mr. Cage
disinfectant cleaner, or Cage toilet paper (empty rolls, of course), or John
Cage cereal with nails and screws...

....what about "Stockhausen Stuffing instead of potatoes"?...
__________________________________________
Christopher Sorg
Multimedia Artist and Instructor
The School of the Art Institute of Chicago
http://csorg.cjb.net
csorg@xxxxxxxxx
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