« Return to Thread: Paul Lansky pulls the plug
I agree with this idea. More, one need only spend 9 or so years in the conservatory to realize that the compositional paradigm is still based on the mythos of the composer imparting something otherworldly to us via some 19th century German-Romantic concept of nature and reality (in the Platonic sense.) In other words, it is to a large degree complete nonsense.James Harkins-2 wrote:On Aug 4, 2008, at 8:29 PM, kernel wrote:
I think some of this is a function of not thinking through the social
aspects of performance or audition spaces. Academia doesn't encourage
this kind of thinking because of the fetishization of the musical
product. I think the "concert hall" model, where the "composer" has
something "important" to say, and the audience goes to this
preordained, sacred space in order to listen very carefully to that
important thing, is a dying model (if it isn't dead already).
Writing for acoustic instruments adds a social dimension to
musicmaking that isn't present in the usual computer music solipsism,
but if the music is meant to be heard only on the concert stage (or
primarily), then it doesn't really deal with concert hall-itis.
hjh
« Return to Thread: Paul Lansky pulls the plug
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