Re: [microsound] Re: Call for Submissions

[Wakefield <graham@xxxxxxxxxxxxxxxxx>]

Hi,

Fair enough!  Perhaps I read the opening statement 'Somewhere in the
spectrum between Musique Concrete and Phonography' as 'Somewhere in the
field beyond Musique Concrete and Phonography'.  I fully understand the
logic of the passive location recording in phonography, and the benefit of
avoiding preconceived ideas of music. But I think it may be worth unfolding
my comment a little.

I also understand that the field recordist has an activity in location
choice, capture time choice, microphone choice (including peripherals),
microphone placement, and in some cases microphone movement and in-the-field
editing.  While this is already more than just passive, I wondered how
interesting it might be to increase this activity somewhat, whether through
extended physical movement, though interaction with the environment etc, and
these need not be necessarily orchestrated.  There can be a sense of
something being missing in many passive field recordings, particularly in
small group social environments; whilst on the other hand I have heard
several field recordings in which the recordists were sonically present that
had a powerful and intriguing impact.  An example off the top of my head is
Katharine Norman's conversation with Hildegard Westerkamp whilst trampling
through woods near to Vancouver, on the CD accompanying Norman's Sounding
Art.  I don't believe this kind of work really fits into what people
understand by Phonography/Soundscape/Acoustic Ecology etc nor Musique
Concrete.

Best of luck for your compilation,

Graham


On 21/3/05 3:50 pm, "frederic yarm" <yarm@xxxxxxxxxxxxxxxx> wrote:

> 
> From: Wakefield <graham@xxxxxxxxxxxxxxxxx>
>> I don't understand the necessary logic of point 3.  My preference would
>> be to explore the medium exactly in that area.
>> 
>>> #3 One point about the field recording aspect of it is stressing that
>>> the person recording is not part of the recording in orchestrating or
>>> making the sounds, only a passive observer and documenter (obviously,
>>> just being there has an effect albeit hopefully minor).
> 
> The point as written follows the traditional phonography definition of
> what a field recording is.
> 
> The logic behind stipulating this is to avoid the composer's preconceived
> ideas of music if there is someone orchestrating or making the noises
> intentionally for the recording.  The composer's job is to record the
> sounds (passive)  and then transform them into his or her own work
> (active).  This process sets it apart from other types of sound art.
> 
> The initial concept of this compilation stemmed from a conversation
> between the label owner and myself in regards to a compilation I had just
> participated in and felt was a good academic learning experience since it
> was rather removed from what I had ever done whereas for others, it was
> commonplace.  
> 
> Feel free to accept the challenge as the rules of the compilation describe
> it and participate.  Otherwise, there are plenty of good compilations out
> there with calls for submissions that fall out of this category and these
> rules.
> 
> Cheers,
> Frederic
> 
> 
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