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RE: [microsound] Is microsound boring?
> why do you think xenakis was right?
Given that music is quite subjective in nature and subject to cultural
baggage, I do think he's right. Moreover, I think the quote applies to
music in general and not to only his own pieces.
> but you are right, i should have written "most avantgarde
> *music* fail to communicate/connect".
Well, in my own music and in the music I like to listen, I couldn't care
less about the issue of communication. Why should I bother with what
audiences think/perceive/imagine? That's their concern, not mine.
That's part of the challenge and part of the pleasure. So, that's why I
asked: Why do you think avant-garde wants to communicate something
specific -- something unequivocally defined?
As for connecting, I don't think avant-garde music is composed to
'connect'. It is composed to intimately and personally express visions,
ideas and sensibilities, not to be read as a newspaper or the latest
best-seller romantic novel.
> the structures (or whatever) that the listener hear may or
> may not be the same ones as the composer used when producing
> the piece. but this is nothing new and is true for most
> music styles.
Who said it was new? And if you're aware of it and that it is true for
other styles, why do you contend that avant-garde should be different
and complain that it isn't?
> xenakis? actually i have been listening to him (both music
> and text) on and off since the early 70s.
Does this give you more authority when discussing Xenakis?
> he was a cool guy. but using software to compose music
> requires a great deal of work and most tend to give up
> early and take the easy way out by increasing the element
> of chance
True. Although I fail to see how this would apply to avant-garde music
in general.
> so much that the end result is just boring (most random
> music tend to sound the same).
True. Much like <insert your favourite genre here>-music tends to sound
the same to someone not attuned to it.
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___ Paulo Mouat
|___| http://www.mp3.com/0010minimal
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