Re: [microsound] "Academic" computer music?

[Bill Jarboe <billjarboe@xxxxxxxxxxxxx>]

 Hi, 

  The reason I mentioned those people is that they 'teach' techniques ,
viewpoints , aesthetics  that have had an effect on my perception of what
computer music is. I'm not thinking of academic as someone holding tenure or
having a phD.

> At 5:29 PM -0800 3/6/03, ph!L @ c e n t i b e l wrote:
> 
>> Some of the composers Bill mentioned, like Pauline Oliveros, aren't
>> exactly what I think of as computer music, since I don't think
>> computers are used much, if at all.

  In this case it isn't a matter of the actual compositions , more a matter
of something called 'deep listening' somehow being possible or making a
difference and the fact that the person sometimes utilizes computers.

 on 3/6/03 8:17 PM, Richard Zvonar at zvonar@xxxxxxxxxx wrote:
> 
> Similarly, I'd never consider Xenakis an academic composer - he's
> pretty much sui generis.  Subotnick, too, is pretty much his own man
> despite a long-standing "day gig" at CalArts.

  When I was quite young Subotnik was about the only electronic music I
could find in the library. Again , more than the sound of the compositions
it had the 'air' or mystique of something solid , established, almost an
institution. Enough people considered it important , well thought out to
present respectably , write about intelligently.

  I'm thinking of people who teach something perhaps adventurous or
different, have the ability to help people realize their compositional goals
and have helped me to define my ideas of what education actually is and what
is possible.

  Xenakis because people with music degrees talked about him; someone who
developed applications and teaching methods; someone who overcame obstacles.

   

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