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Re: [microsound] microsound as pop music

first things first: excuse my english, it's a barrier in expressing very
important issues in a language which is not yours, anyway...

as far as i'm concerned, it seems that all this thread about microsound vs
pop, pop vs academic or whatever is missing the point in a way.

at the risk to be (considered) banal, i'm quoting duke ellington here:
"there are just two kinds of music: good music and bad music". i mean that
the analogy "difficult = good" and "easy = bad" doesn't apply here.
personally i listen to a lot of very different musics (and i do like - some
- pop music as well i like musique concete) and i think that composition,
in its purest act, is the way "to place a precise sound event in time and
space". and the way you do it has got its result and efficacy in both
(so-called) popular and cultured musics.
what about xtc and some beach boys music? esquivel? raymond scott? perrey &
kingsley? "revolution 9" (and much other stuff) by beatles? "lumpy gravy"
by zappa? ennio morricone? "bodily functions" by herbert? is it pop music
or what? doesn't it all retain a deepness and a study on composition and
assemblage of sounds which belong to (so-called) cultured/academic music?
and if IT IS pop music (and we like it), who cares?

i.e. take the latest opiate cd "while you were sleeping": it is microsound
for sure, but it definitely has a pop appeal too. could have it been better
without any recognizable melody thrown in?

a good point of reference could be "file under popular" bu chris cutler, it
has been written almost 20 years ago, it accurate and still fresh. or many
articles on the "rer records quarterly" for that matter.

oaky, just my 2 cents, sorry for ranting...
ciao :: nicola

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{ { d i s c o g r a p h y } }

z_e_l_l_e | nth | line (aug 2001)
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