Re: [microsound] Why are noises popular

[Manannan Mac Lir <macdara@xxxxxxxxx>]

I think one of the first instances of a glitch employed as an aesthtetic
element in a musical composition could be Steve Reichs Its Gonna Rain
where you've got a recording of a preacher on a tape reel where its
slowly slipping further and further out of sync with the original loop.
Steve Reich, Terry Riley and Lamonte(?) Young were all into loops but the
others in a more continuous fashion. You should definitely check out
Conlon Nancarrow's Player piano studies which kind of transcend any
standard interpretation but would fit in interestingly in your
discussion, also Gyorgy Ligeti's Piano Etudes. All these guys would have
been heavily influenced by African Poly-Rhythms particularly from Ghana
and the Aka pygmies in th Congo. The rhythmic cycles employed are vastly
different from standard western ideas and open up a whole new world of
rhythmic possibilities. Essentially the idea is many separate and
distinct rhthms being played simultaneously where there is no one
dominant pulse or a multiple at different speeds, to me some of the pygmy
music sounds glitched rhythmically anyway, there's way more I dont have a
clue about but it's certainly an avenue, Nancarrow in particular I'd look
out for.

  ----- Original Message -----
  From: "Paulo Mouat"
  To: microsound
  Subject: Re: [microsound] Why are noises popular
  Date: Wed, 5 Mar 2008 13:04:54 -0500


  I think the biggest reason behind the validity of noises in music is
  simply 'why not?'. For the roots of that I would point you towards
  the
  writings of Luigi Russolo, John Cage and Pierre Schaeffer. I'll let
  others more conversant with the glitch aesthetic expand on the
  specific influences.

  //p
  http://www.interdisciplina.org/00.0/

  On Wed, Mar 5, 2008 at 12:40 PM, js-alexander wrote:
  > Hello all, I am writing for a seminar on the glitch aesthetic, and
  I want to
  > explore the reasons "why" noises etc are a valid source material
  for music.
  >
  > My research has pointed me towards who and where glitch began,
  specifically
  > in terms of the digital era (one can trace its legacy far beyond
  the
  > invention of computers), and I am partly inspired by Cascone's
  "aesthetics
  > of failure", with the idea of a post-digital artist. I am
  interested in
  > hearing what others, especially those deeply involved in the
  creation of
  > glitch, have to say on why they compose with the sounds they do?
  Why are
  > you inspired to use such sounds, and why do you think others enjoy
  hearing
  > them and please be as academic/philophical as you like.
  >
  > Cheers.
  >
  >
  > --
  >
  > Johnny.
  >

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