Wiardgroup

hello grant,

a really interesting post.
i believe that the modern times allow people to do their own
style of music, which doesn't have to fit into categories.
lots of people do music for themselves and they don't have
other listeners in their mind, they don't have to make a living
with their music. for me that means 'freedom'. maybe the biggest
achievement of all the electronic instruments is that we can do
complex music at home, with timbres which are impossible on
other instruments, and it doesn't have to sound like crappy
homerecording. this also means that the music is less uniformed,
maybe less understandable and for sure less marketable.
i also believe that there are real masterpieces of electronic
music out there, but there is simply too much music, so nobody
takes notice of it. it also depends on the preferred style of
music to be able to recognize a masterpiece.

the author of the review stated that makers of electronic
music may be arrogant because their concepts are
over-intellectualized. reading such a statement makes me
understand why so many women were burned as witches a long
time ago.

best wishes

ingo




--- grantrichter2001 <grichter@asapnet.net> schrieb: > I found this on
Amazon.com in a reader's review.
> 
> Pretty tough stuff. An interesting observation about the 
> technology being more lively than the users...
> 
> "Although there was a spate of published historical surveys of 
> electronic music during the early-to-mid 1970's, with the 
> exception of Peter Manning's *Electronic & Computer Music*, 
> there have been almost no synoptic overviews of the subject 
> since then. Now comes Joel Chadabe's *Electric Sound*. One 
> must admit that Chadabe's book does fill a void in the historical 
> consideration of electronic music, and, for that reason alone, I 
> wish that I could be more enthusiastic about it. The focus of this 
> extremely overpriced paperbound book, however, is less on the 
> significant achievements of composers of electronic music than 
> it is on the technological means of creating it. One is hard 
> pressed, indeed, to find references to more than a handful of 
> significant compositions. Such an attitude is typical of the 
> Post-Modern mentality (and, yes, there is such a thing, I'm sorry 
> to say), in which artists of all stripes arrogantly offer 
> over-intellectualized concepts and elaborate compositional and 
> performance processes as justification for whatever results they 
> achieve, no matter how nugatory these results may be. Here, 
> one finds an inadvertent confirmation of that most basic critique 
> of electronic music: That it is ultimately the soundtrack to a 
> futuristic, technocratic nightmare in which the technology itself 
> has become more vibrant and alive than those who create and 
> ostensibly manipulate it. If one were to go by this book, then one 
> would be justified in believing that, with perhaps the exception of 
> Stockhausen's works, there have been no masterpieces of 
> electronic music whatsoever. There has, however, been a lot of 
> interesting hardware and software created for it. Could there be 
> a more damning indictment of any artistic field of endeavor?"
> 
> 
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