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Re: [idm] detatched:inst. vs older ways

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2000-04-18 22:55Rich Baker Re: [idm] detatched:inst. vs older ways
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2000-04-18 22:55Rich Baker> To: kurt <supine@bway.net>, <idm@hyperreal.org> > From: zim200@is7.nyu.edu (zachary) > S
From:
Rich Baker
To:
Date:
Tue, 18 Apr 2000 15:55:50 -0700 (PDT)
Subject:
Re: [idm] detatched:inst. vs older ways
permalink · <20000418225550.25863.qmail@web704.mail.yahoo.com>
quoted 39 lines To: kurt <supine@bway.net>, <idm@hyperreal.org>> To: kurt <supine@bway.net>, <idm@hyperreal.org> > From: zim200@is7.nyu.edu (zachary) > Subject: Re: [idm] detatched:inst. vs vocal > Message-Id: <v02140b00b5225b236194@[128.122.93.168]> > > >One period of music that I think is very > interesting and one could > >probably learn >a lot from occurred in the very > early 20th century, when > >composers who had >come up on late-Romantic music > (arguably the most > >intensely emotional >music) began transforming > themselves into radical > >modernists. In most cases, >the composers didn't > shift over night, and > >there are a lot of strange and >interesting pieces > that lie somewhere in > >between. (Oh, stuff like Schoenberg's >first > Chamber Symphony). > > word. i think we can parallel this discussion to the > early 20th century, > and see ourselves on a similar plane of development > presently with IDM. i > think that while schoenberg suspended a tonal center > and while the > futurists/varese/cage began seeing ANY sound as > musical, eventually, these > ideas evolved to include atonal/noisy sections of > pieces... we eventually > used a similar (if not the same) aesthetic to > construct more "accessible" > music... from musique concrete, people started > fucking around in the studio > (look at the beach boys for christ's sake!), and > they were making really > pretty music! (not to say that reich isn't cool, but > i'd rather hear "pet > sounds" than "come out"!)
quoted 11 lines anyway, i think that IDM (for the most part, anyway)> anyway, i think that IDM (for the most part, anyway) > might be in that > schoenberg/futurist stage. sure, there are a lot of > people using consonant > melodies, etc., but i feel like the sheer amount of > posts about this thread > might mean some feel IDM can be more organic? maybe? > for those of us who > feel detached, maybe we feel the music will progress > to encompass a human > element?
I agree with much of this. I really like the ideas that Reich, Cage, Riley etc. came up with, but their sounds really bug me (although early Reich material like 'Come Out' has a sampled grit that Glass lacks imho). Much of their repetition pieces trip away and build the musical structure into something different sounding by the middle of it. But I can't get past the sounds that make it feel too acedemic (visions of all the poured concrete universities they were building at the time), where I don't have that problem with modern electronics. I would say that IDM (as one of it's aspects) has built on these structures and created more human music. I think that experiments with all the different tonal scales and automatic methods of writing killed classical music (If anyone follows modern composers pls post their names [tho I guess a figure like Gorecki is popular and respected and is classical). Stravinsky's 'Sacre De Printemps' (one of the highlights of 20th C music) causing a riot when it was first produced proves that people were actually following this music. Now everybody's going to see Beethoven's greatest hits. Interesting how completely things have changed. Music used to be made by "Composers", now Aphex can make noisy, melodic, challenging, ambient music etc. etc. without any pressure to follow trends (or patrons). Definitely technology helping humans imo. One way things will go in the future is people pulling off longer works (not just making them). But at exactly the same time IDM will also be about shorter works (someone will [or already has] produced an album of 45 1 min noisy bits [don't know if Thurston Moore's counts]). Music seems to be evolving all at the same time with the different genres all flourishing (or not) independantly. There is no pressure to contribute to the radio genre because the radio is all about money and advertising. But it gives aspiring composers any range of music to contribute to, (or something not done before that cuts across all genres). I guess there was pressure in the past for people of a community to compose music for that specific community. Now kids in Mongolia can create Hip Hop. :) Peace Rich __________________________________________________ Do You Yahoo!? Send online invitations with Yahoo! Invites. http://invites.yahoo.com --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org