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Re: [microsound] Why are noises popular



Except that none of the examples given is purposefully 'glitch':
Reich's piece is just the seminal phase pattern composition, where he
explored music as a gradual process, and in fact intended the slippage
to act like a continuous transition, going over all possible rhythmic
combinations; Nancarrow explores complex relationships using strict
forms, in a blur impossible to recreate with human players; Ligeti has
a touch of the organic in an otherwise 'mechanical' aesthetic, arising
from his fascination with mechanisms, exploring metric irregularity
(in fact, a better example of breakdown in Ligeti would be his 'Poeme
pour 100 metronomes'--there's a video on YouTube if you're not
familiar with the work). I would hardly call any of these, all very
deliberate and carefully constructed pieces, an exploration of the
'aesthetics of failure'... Just like saying that Xenakis' 'Concret PH'
is the first instance of clicks and cuts :).

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

On Wed, Mar 5, 2008 at 8:00 PM, Manannan Mac Lir <macdara@xxxxxxxxx> wrote:
> 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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