Re: [microsound] Re: feild music / not field recordings vs. Godzilla

[Doctrine Insectvas <doctsect@xxxxxxxxxxx>]

funny cause now we're all getting to that old scenerio "intention vs. 
execution of intent". -or more simply put- The IDEA of MUSIC as opposed to 
just music (what ever that is...??).

I'm not sure if the english vernacular can realy break down the theory of 
"pleasure" without some sort of marketing behind it to draw a familiarity 
from. And that kinda stinks if you think about it.. Cause essentialy that's 
usualy what most field recordings & alot of MAX plug-in users currently rely 
on to harvest a listener.  A direction. Even if it's a white inlay card with 
a 1pt dot on it, the presentation is saying something to the invisible 
audience.

Now, whether that audience is equiped to render a responce to something that 
non-descript is not up to me but I say. But if I did say somthing, it would 
be, "the more one has to describe for the audience what they are hearing, 
the least necessary that work becomes, and the least able that piece will be 
to find the concept of universiality." I mean isn't a recording-field 
similar to just a walk around your nearest lake or standing up against a 
wall in your closet simply listening?????....are brains can record yes/no?

(..about to watch those who use E-PRIME just cring at me...)
Univeriality is something that really "ISN'T" when it comes to things artsy 
or even arts-n-craftsy. Instinctualy I'm not sure if any creature holds a 
similar need for sound design "AS" a design without it relying on the 
concept of "music". I mean if you think about it, whether by accumulated 
chance mechanisms via a sound patch and calculated filters -or- by the 
ramdom(teehee) accurance of a MAX plug-in some basic explanation from the 
artist tends to always follow. Otherwise I think labels like LINE & trente 
oiseaux prolly wouldn't be so respected and adheared to. Not to say that the 
world of non-field-field recordings and/or sound-art lacks without these 
definitions from the artists (via their liner notes) but maybe the liner 
notes are more like taking on the persona of a conductor. Even still, at any 
symphonic concert most people watch the conductor more then they'll pay 
close attension to the brass sections's anguished faces as they blow their 
horns.

To create a form a music without a focus point of direction or trijectory is 
nothing short of just recordable inactivity. In theory it seems brilliant.. 
but words on paper about sound in your ears generaly negates a need to 
exprerience that sound. Therefore it could only stand to reason that 
univerisality in regards to no-field-field recordings should be pretty much 
a given. I mean,, giggle.. how many people do any of us know that could be 
content with just using their own ears as a speaker/recorder? I can say that 
I've tried.. but I still throw in that raster-noton disc to unwind before 
bed... :)

I guess all I'm saying is, Yes music has evaporated, changed, & even become 
silent.. but without the artitic intent behind the compositions truly what 
would music then be?

Essentialy sound is universal -yes, but! once arranged or classified or 
quantified into a linear scafold or a magnetic strip, or capitualted into 
the liner notes via the "recorder"(person,place,or thing).. a "song is 
formed/destroyed", thus inevitably killing any legitamate sence of 
universiality. So again, intention is erraticated by the execution of this 
idea.

just a freeflowing thought...

Cordell / DOCTSECT



> i have felt this way for along time, i think my biggest problem with alot 
> of
> early work and with alot of 20th century composers is that some of the
> theory behind the compositions are groundbreaking, and amazing but when it
> comes to listen-ablity its not very functional,, i know that listen-ablity
> lies within opinion but to be realistic.
>
> i disagree with the idea that chance compositions cant be listenable or
> appeal to a larger audience of listeners.
> alot of it has to the medium you are working with, and the way it is
> presnted - both in theory and broadcast/performance. if a you record the
> sounds of water pipes creaking for 60mins and release it as deeplistening
> piece with an explanation in the liner notes your intentions  i feel you
> could appeal to a wide audience,, classical music lovers, new age music
> lovers, etc.... but if you record students learning how to play wind
> instruments, and present it with the same liner notes your audience drops
> dramatically, to say only avant garde fans and the like...


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