wordage

[Gregory Taylor <gtaylor@xxxxxxxx>]

By virtue of being back to doing RTQE (htttp://www.rtqe.net)
after living abroad for a year, I'm back to wading through the
new release pile as a regular part of my job. Unlike some of
the folks here who program this work germane to the list, I
work a bit farther afield (in fact, I think I'd probably feel like
I was preaching to the choir by doing things more narrowly),
so the *kinds* of new releases that show up vary more widely
than here.

Returning to something like this after a time away (perhaps
especially if the move is anything cross-cultural) often leaves
you with the task of trying to figure out whether seems to
be a perceived difference truly involves the emergence of a
"new thing," or something that one simply didn't notice.

So here's my problem: did writing press releases for microsound
stuff suddenly become as hackneyed as your average New Age
CD overnight, or have I missed it? Considering the formal content
of the work, should I have guessed that I'd see the privileging
of lecture notes from Poststructuralism 101 or the same "this is
totally new" stuff as shows up on PR for bluegrass labels with
only a slight degree of lexical rotation?

It's wearying, and the more so since I like this kind of work.
I suppose that if one could write clearly, there'd be no reason
to make recordings. Yep, it's the beginning of the week, so
the new releases have started to show up....

grump grump,
gregory

P.S. the recent Robert Ashley/Paul de Marinis setting of
John Barton Wolgamot's "In Sarah, Mencken, Christ and
Beethoven There Were Men and Women" on Lovely
Music ain't microsound prolly,  (Ashley's voice, anyway. I
suppose that the synth would count), but whatta listen. Who
says the past can teach us nothing?

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