Re: [microsound] the great depression of experimental music?

[Owen Green <o.t.green@xxxxxxxxxxxx>]

Praemedia wrote:

> > Music flourished quite happily prior to becoming
> > archived by either 
> > notation or recording.

> I think this would depend on what idea of 'flourish'
> you had in mind. It existed, thats true, but it didn't
> advance very far until notation. 

If by 'advance' you mean 'become what we know it became'; a fair portion 
of the species managed to get on with music in the intervening centuries 
independant of notation.

<snip>

> That said, without notation and then recording I'm
> fairly certain most if not all of the music I love
> would not have existed nor could it have if building
> that sort of residual history hadn't been part of the
> concern of art (and/or music).

You're probably right, but that in itself doesn't demonstrate its 
necessity, just its contribution.

> > 'History' is embedded in our culture anyway, so
> > music production will 
> > reflect it intrinsicly.
>
> I can't agree there given the difference between
> different types of histories and trnasmissions of
> cultural phenomenons....

Hmm, I don't see that it wasn't taken into account; insofar as our 
current contains our history, and our music production reflects our 
current, ISTM to be inescapable.

> BUT, to remove it from the 'history' debate for a
> moment, here is a possible future....(yep, its
> exagerrated doomsday stuff, but its just to make a
> point)....
>
> 1. People buy 

<snip>

> 7. i suppose there will always by a haxk on a guitar
> on the street corner, 

I think there's a range of activity that takes place between trading 
music and being a 'hack' that the above ignores. Also, it ties access to 
the net to musicians' making money off the net, which I don't think is a 
given, nor the availibility of music software (or software in general) 
to people's ability to make money from it.




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