Re: [microsound] blocks 'O text redux

[Javier Areal Vélez <indiscipline2@xxxxxxx>]

I now see that I've been a little absolutist with my use of words like 
'should' and 'must';  I didn't (and I don't) pretend to be affirming an 
ultimate truth, so my choice of terms was clearly a mistake.

I was trying to say that i believe that taking in mind the context where 
your art will be watched/listened is important... ie. a chorus piece to be 
premiered in a reverberant church being different to microsound ringtones, 
which consider limitations of different kinds of cellphones speakers.

the case of massively reproduced music (from records to cds, mp3 and such), 
where you actually cannot know in which condition it will be listened to, 
has in contrast to these cases a HUGE range of indeterminate settings...
i find that really rich and inspiring.
some rather obvious examples i can think of attempts to compose controlling 
some of the parameters of listening are Ryoji Ikeda's matrix for rooms and 
for speakers.
above all this, is the fact that I DO can listen to matrix for rooms in my 
speakers and vice versa, overriding the composers decisition/proposal of 
listening enviroment.




turning to the relation between music and cinema, (I think I was 
misinterpreted in the earlier post, but i don't think that's relevant to the 
discussion), recently I've felt really strong musical aesthethic experiences 
watching Godard.
Particulary with Vivre sa vie: Film en douze tableaux (1962). The notions of 
repetitions of motifs and textures (more or less variated), and contrast 
between similar and dissimilar structures were very present to me.. way more 
than any classical film narrative concepts.
maybe this is a forced lecture of the film ? do you know of any analysis of 
Godard films that takes in mind this musical nature ?




greetings,
javier 


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