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Re: [microsound] Re: outsider artists
Dear Microsound,
I was thinking (sometimes not a bad idea) about the term
'experimental' in the profession of music making. It appears that most
music is experimental to a large degree. Taking for example the case
study of a person playing an electric piano in a lounge band , and
whose primary motivation lies in making largish sums of money on a
predictable basis. The experimenting might occur in regards to the song
choices, whether or nor not the band members talk to the audience
between songs , choices of tempos and dynamics. Even if those variables
are decided upon ; to the extent that they are no longer 'experimental'
.. there are still the choices of which amplifier to use , positioning
of speakers , which rooms are most suited to the bands interests ; and
even with those details settled into a somewhat predictable routine;
there is still the matter regarding one's place in society , how
seriously the person takes the job of performing in public.
In the matters of classical musicians: from my limited experience I
have known most of them to be experimenters ; even those who remain old
and might appear stodgy. Take for example the violinist who decides
whether to use eudoxas or that other brand with the belle epoch
lettering I can never remember the name of; whether to concentrate to a
greater degree on the gravitation of the bow arm , whether to make
contact with the pernambucum wood above or below the last joint of the
fore finger. In a controlled environment it is quite possible to
experience such small changes in terms of aesthetic improvement or
detriment . Even oboists might decide whether or not to make their own
reeds. Even if the decision is to use manufactured reeds; there might
be matters of sinus pressure and modifications of technique in order to
maintain one's health. I've listened to discussions by french horn
players concerning whether there are some who are good at mostly low
notes , others at high, or whether that is a senseless theory and all
players of the instrument can play the entire range. The act of
accepting such theories or discarding them and taking one's career on
faith might be a risky form of experimentation requiring courage.
There are exceptions . A viola player might not have to be too picky
about the tone of the high notes and settle on a particular set of
strings , amount of rosin on the bow and just stay that way , get
married , wear the same or identical black and white formal attire to
concerts , wake up in morning and put on the same slippers. In the
event of ( I'm picturing a male human) his wife leaving on an extended
business trip and him having to take care of the baby and perhaps
decide whether disposable diapers are better than cloth ; these
decisions or experiments could easily be quickly turned over to a nanny
or paid health professionals. There are also certain types of church
musicians who probably avoid nearly all forms of experimentation. In a
small evangelical church there is always the possibility that the
pastor might change , the interior might be remodeled. Such factors can
keep a person on one's toes. There is the case; just for the sake of
argument; of a large , say; anglican cathedral ; which even if they
(meaning the cathedral staff) have an interest in diverse , risky or
ephemeral types of music making , probably have outsiders come and go ;
making a minimum impact in terms related to administrative politics, or
contract people on a temporary basis. Such policies might leave he
principal music director free; so to speak , once the longevity of the
organ, room acoustics etc. are figured out after about 10 minutes of
fiddling around are discovered; to go on not experimenting almost
indefinitely.
In the cases of our viola player and church musician , however I am
suspicious that there might be a certain daring in not changing any
parameters ; that there are probably points in times where those
individuals evaluate there careers and wonder to themselves "am I
really getting away with it?". There is a certain experiment in playing
members of society insofar as conforming to widely publicized and
possibly abstract notions of what is acceptable in music making.
On Fri, 27 May 2005, Jorge Blank wrote:
*snip*
I suggest that rather than try and be different,
artists try to do something normal, whatever that is
for them. Or try and do what is normal for someone
else. Unless your technique is amazing, it probably
wont work out. Whatever you choose you are left with
something incredibly yours, whether or not you like it
is another question.
*snip*
On May 28, 2005, at 1:56 AM, Exegene wrote:
i would suggest that the artist simply create what is, or will be once
created. Inserting matters of normalcy and difference into an an
internal debate on artistic validity and creative satisfaction, that
is, into a process where normalcy and difference don't arise naturally
is including elements that don't belong. Art's motivation and goal
become corrupted, and is prevented from reaching its penultimate point
when it burdens under the yoke of unvirtuous masters.
--
Dear Patron Saint,
your lips are lopsided
www.devo.com/exegene
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