(see post below)
As I said later in my post with "Many of the mentioned artists have done
good things for allowing music that we enjoy to exist, but not directly," I
meant that these artists are definitely responsible for allowing music such
as autechre, et al to be produced. Their work in academic and other fields
is astonishing, but I don't think they have much direct influence in the
majority of IDM.
What I mean by that, is I don't think autechre listened to any of them. I
doubt many electronic musicians we discuss on the list spent any time
listening to any of this body of classical work, at least not until they
were much further into producing electronic music.
Obviously, we'd have to ask the artists, but that's what I'm on
about. When I started playing around with production, I hadn't listened to
any "avant garde" classical work, and from the artists I've spoken to,
neither had they. To me, that's not much influence. Simply because
similar tools were available doesn't mean I'm influenced by these composers.
It's like saying someone HAS to be influenced by big name sax players, just
because they were pioneers for the tools/instruments. Sure they made
finding and using the tool easier, but that's an industry influence, not
musical.
cheers,
/derek
At 06:22 PM 7/6/2001 -0500, you wrote:
quoted 48 lines On Fri, 6 Jul 2001, EggyToast wrote:
>On Fri, 6 Jul 2001, EggyToast wrote:
>
> > Most of the connections exist via association, not via influence.
> >
> > The majority of "complex electronic music" that is discussed on this list
> > has little-to-no influence derived from anything in the classical world,
> > barring, perhaps, a scale or the circle fifths or something.
>
>If I understand you correctly, I nearly completely disagree with you.
>Perhaps, and I emphasize, *perhaps* no composers mentioned on this list
>have listened to any serialist or minimalist composers (the recent Steve
>Reich remix album already disputes your claim) and have stealthfully
>avoided Schoenberg, Schaeffer, Cage, Stockhausen, Xenakis and Boulez (just
>the big ones). I'd already have to stretch pretty far to believe that
>such an umbrella has been ducked under, but okay, I'll try it. However,
>there is no doubt in my mind that their contributions to the study of
>sound and the body of knowledge they created put us squarely where we are
>today. The statistical analysis of sound leads to the idea of sampling,
>modular synthesis (from IRCAM and elsewhere), stochastic composition, I
>can't think of one area that the academic forefathers didn't touch. The
>only difference and distance between "us" and them is that the tools are
>now readily available and widespread, and every other home has a machine
>powerful enough to harness those tools. The tools came pretty directly
>from the academic camps, though. Try to name one that didn't. The only
>one I can think of was FM synthesis (a commercial venture and patent, I
>believe).
>
>Or try asking yourself, what kind of music would Autechre be playing right
>now without Max/MSP (via IRCAM) and the Nord Modular? It's actually quite
>amazing that we have such the variety we have in the IDM "genre",
>considering how the tools are nearly exactly the same. Kind of like
>painting, I guess.
>
>Well, I'm not exactly sure what tangent I've gotten on to at this
>point...there isn't anything wrong with recognizing influence, as long as
>you can move past it. Perhaps saying "it isn't them" helps certain people
>move along and create without anxiety. Then again, how important is the
>creator(s) of the guitar, or the piano or computer to the creation of the
>music? Sure you can make a solid arguement for the aformentioned for
>their contributions to the technology of music as well as their
>compositions, but we usually don't praise that nearly as much. How
>important are the tools? Would we even have IDM without them?
>
>_________________________
>Christopher Sorg
>Multimedia Artist/Teacher
>http://csorg.cjb.net
>csorg@enteract.com
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