it's a matter of taste and context and that's it,
really. when i listen to music i don't try and put
it into some kind of conceptual framework unless
the artist is making that intention so clearly
outlined that it can't be helped. and furthermore,
i think that we'll find that just as contemporary
classical composers (schoenberg, stravinsky, et al)
had tried to take the music where their predecessors
had not, and people like arvo part, john tavener,
henryk gorecki, were trying to advance the music
into even less frequently charted waters, very soon
people will get bored with john cage and pauline
oliveros and those types, and start adjusting
conceptual ideas en masse (i'm not asserting that no
headway has been made as to founding new concepts,
i'm just saying that the dominant, landmark
achievement
type things)... this is primarily because i think
most listeners (myself included) find cage and
oliveros
music extremely boring to listen to, and fail to read
much into the rigorous and perhaps overly cerebral
'concepts'. this is really going somewhere, i think,
let's see if it really is, yes, hmmm,,, uhh !
you have to give props where they're due, the
forebears
of new techniques invent the pallette with which their
followers will paint their masterpieces.
glitch music came around, and we'll just say that oval
or someone of that ilk (maybe even paul lansky, but
that's arguable) could be called the modern progenitor
of that music-- he (they, then, i guess) devised
certain techniques previously unknown to most
listeners
and so his music sounded fresh and exciting and
inspired a lot of other people to think similarly
about
where their music ought to go, so those techniques
became popularized and appeared everywhere from the
smallest byline in the wire to nsync's song 'pop' and
now people say they're jaded with glitch and it's over
and blah blah blah when in fact it only just started
a little under a decade ago and sure, the honeymoon is
over but we don't a divorce yet. there's plenty of
good music coming out of the glitch movement, from
dntel's album (which happens to be in my top 5 out of
the last ten years) to the notwist to a billion other
things that would be too much trouble to get into in
a post already this muddled.
imagine if people had given up on the guitar so
easily.
the world would be less a lot of brilliant music
because a few people suggested the notion that maybe
you couldn't do anything else with those six strings,
or that they sounded 'tired'... i think that when
people get sick of sounds quickly like that it's a
real
sign of just exactly how fast society/development/
technology is moving. if you look at the ascendance
of these things on a curve, it's really well a very
slight almost unnoticable upward grade from millions
of years ago to the nineteenth century with only a few
exceptions/advancements, then you get to the
industrial
revolution and all that garbage and then you get to
the latter of half of the last century and it's like,
'holy fuck! slow down, people, we're fucking vertical
and we're probably gonna hit a glass ceiling really
soon, you saw willy wonka, right?'
uhh... hmmm..., anyway.
gregory
--- kurt <supine@bway.net> wrote:
quoted 23 lines I wonder if it's possible that it will ever...it's
> I wonder if it's possible that it will ever...it's
> an idea that had
> an astonishing freshness to it a few years back.
>
> once the idea had been identified, it was used by a
> lot of musicians,
> sometimes well, sometimes not. unexpectedly, the
> sounds of digital
> audio fucking up became increasingly familiar, until
> they no longer
> represented cheeky conceptual innovation or Cage-ian
> openess, but a
> new status quo with a palette of sounds as familiar
> and tired as any
> set of pre-sets on a commercial synth. (Perhaps I
> exaggerate.)
>
> I don't think the sounds will go away, nor do I
> think it's a bad idea
> to exploit accidents and so forth. but i think these
> sounds and
> strategies are receding as being of primary
> interest.
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