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Re: [microsound] Why are noises popular
- To: microsound <microsound@xxxxxxxxxxxxx>
- Subject: Re: [microsound] Why are noises popular
- From: Paulo Mouat <paulo.mouat@xxxxxxxxx>
- Date: Thu, 06 Mar 2008 12:18:51 -0500
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My point is simply that those composers weren't working in the 'glitch
as aesthetic' mindset, which I think was unclear and perhaps even
misleading in your post. Am I a glitch musician if I sample the
popping sound in audio equipment and compose a serial piece? Is Lou
Reed one because of 'Metal Machine Music'?
//p
http://www.interdisciplina.org/00.0/
On Thu, Mar 6, 2008 at 10:25 AM, Manannan Mac Lir <macdara@xxxxxxxxx> wrote:
> But does there not need to be a knowledge or at least response to the
> 'glitch' so as it then becomes an element and not simply a glitch, thus
> intentionally or unintentionally imposing some form of order on it and
> not simply being a glitch, in an improvisatory situation at least where
> there are more elements at play where does the boundary between a
> carefully constructed work disintegrating and a 'glitch' occur? Does
> failure itself not inevitably end up as part of the process regardless? I
> agree with you about the previous references being misleading because of
> their fundamentally compositional basis but then should you not go to the
> likes of Thelonious Monk as a possible starter and trace the phenomena
> from there because of the implementation of necessarily chance elements
> in an overall stable(initially) environment that is necessarily
> time-dependant also? Although again it is being employed very
> deliberately and not as a glitch I suspect once you are even aware of the
> possibility of a glitch occurring it necessarily renders a 'chance'
> operation impossible . So where can the ideal 'glitch' come from if there
> is an aesthetic? Does the acknowledgement of its existence not
> necessarily render it an arbitrary element on some level if it occurs?
> Again I'm just postulating.
>
> ----- Original Message -----
> From: "Paulo Mouat"
> To: microsound
> Subject: Re: [microsound] Why are noises popular
>
> Date: Wed, 5 Mar 2008 21:01:10 -0500
>
>
> 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 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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