Re: [microsound] re: microsound as pop music

[Brian Redfern <bredfern@xxxxxxxxxxx>]

Actually I went through a whole period where these guys WERE music, being
that I din't listen to anything but 'Trane, from the first time hearing
love supreme. I don't know how a person can be a real microsounder if they
haven't listened to 'Trane's Intersteller Space, or Sun Ra's Disco 2000,
to me Sun Ra really invented modern electronic dance music, cause he was
the first to meld a big band dance orchestra with a moog synthsizer. I
don't hear anyone mention Sun Ra on this list, but really I think he's
even more important than the European experimentalists, not to put them
down, but Sun Ra really was something else, the way he molded ancient
philosophy from Kemet with modern technology from Moog and techniques from
everything from ancient Dahomian drums to Duke Ellingtonia, one can't
forget the fact that Sun Ra was doing "out" music when Coltrane was still
playing standards with Miles. I love Mingus, Monk, Miles, Don Cherry,
Ornette Coleman, but Sun Ra influenced all of them, its to the point that
I feel I need to write a book to set the record straight, true Staukhausen
did use electronics and I actually do enjoy guys like him and John Cage,
but I think they get too much credit, Sun Ra deserves the ultimate credit.

On Wed, 17 Jul 2002, Beni Borja wrote:

> My question is : Where Albert Ayler, Charles Mingus and Jonh Coltrane stand
> in this little white world of you folks??? Pop or "serious"??
> 
>  Beni
> 
> 
> ----- Original Message -----
> From: "iamno bojackson" <iamnobojackson@xxxxxxxxxxx>
> To: <microsound@xxxxxxxxxxxxx>
> Sent: Wednesday, July 17, 2002 8:10 AM
> Subject: [microsound] re: microsound as pop music
> 
> 
> > i think the easiest defintion of pop music is any music found on a clear
> > channel owned radio station or a viacom owned music television station.
> if
> > there's advertising associated, it's pop.  the tried and true test of pop
> is
> > whether it sells.
> >
> > pop = popular - ular.  so i'd say pop music is what the majority listens
> to.
> > pop is the majority-rules course of evolution. it samples from all the
> > different capillary music minorities and distills it into something
> > neccessarily tiny (pop isn't a 40 minute tape loop of crackle pop hiss.
> > it's 1-3 minutes of hook and filler appropriately placed to hold
> attention)
> > and easily digestible ("you'd heard it but you hadn't heard it before")
> and
> > sets it afloat among many other similar tinys from other capillaries.
> > tinies.
> >
> > the distinction between pop and academic music has something to do with
> > intent.  pop's main goal is to entertain (in order to make money), while
> > academic music seems primarily concerned with exploring the unexplored and
> > teaching about what comes up in that search. the categories "academic" and
> > "pop" are by no means exclusive.   microsound could lie in either category
> > (or both or there could be a pop subset within academic microsound) but i
> > suspect it would primarily sit in academic because most
> clearchannel/viacom
> > consumers don't know that microsound exists.   alternatively:  kim cascone
> > is not on mtv.
> >
> > pop and academic music both evolve and so both are driven by new.
> > academicnew is new for new's sake, while popnew seems to be new only so
> much
> > that it entertains.  both are new on the scale/scope they're operating.
> pop
> > does later what academic did first.  this makes sense, as it takes time
> for
> > the academic discoveries to be absorbed by pop and this time is the delay
> > between academicnew and popnew.
> >
> > pop is a compression scheme.
> > pop is grey, medium, 52%.
> > don't fear the pop. love the pop.
> >
> > like (maybe) everything, this email needs a lot more sometimes', maybes,
> > perhaps', and possiblys and seems'
> >
> >
> >
> >
> >
> >
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