Hmmm, well if we're going to take it down to "letters", then I'd have to
agree with you that there is a finite number of basic mechanical movements
that can generate a sound. In fact, there is probably less than ten. Of
course, with the exception of the voltage-controlled oscillation of a
speaker, most of these letters were "discovered" hundreds, even thousands of
years ago. Such "letters" may be:
-2 or more objects striking
-passage of air through a channel
-vibration of a string
-vibration of a solid object (including a reed, daxophone, or tibeten bell)
-scraping
-compression - type waves in an object or string.
-oscillation of a speaker cone
Am I heading in the right direction here?
Matt
please forgive any typos in the last 2 emails. I'm up way past my bedtime.
>From: Don Joyce <djATwebbnet.com>
>EXACTLY! What I'm talking about is inventing new musical "letters", not
>inventing new music out of the ones we have. The fact is music WAS
>inventing new musical "letters" up until about mid 20th Century. New
>"letters" to compose with constantly kept appearing in music's total
>alphabet. Now we have reached the end of the final musical alphabet! Scary,
>isn't it? Well, not really, as any writer stuck with just 26 letters of a
>forever complete alphabet will tell you.
>
>DJ
>Negativland
>
>
>
>
>
> >rabbit's right.
> >
> >english uses an alphabet of only 26 letters, and yet ...
> >
> >see what i mean?
> >
> >
> >> >I can't prove a negative. Simply give me a "brand new" sonic element
>in
> >>>music, or a procedure to make it, and I will tell you where and when it
>has
> >>>occured in music BEFORE now as a precedent in the history of music.
>This
> >>>ridiculous argument is all about musical precedent... what music might
> >>>consist of that has not been part of music before. I contend there are
>NO
> >>>sonic precedents left to be achieved by modern music.
> >>
> >>It occurs to me that you are having us all on with this "music is dead"
> >>business. It is exatly the same po-mo argument critics have been making
> >>for the last 20 years about why ART is dead.
> >>
> >>Am I blowing your cover? The argument that the addition of new kinds of
> >>sounds integrated into music is the detertmining factor for whether or
> >>not music itself is new presupposes that the goal of music practice has
> >>been the addition of new kinds of sounds. What about the directions the
> >>rest of the post-1964 art world has taken? Works that embody a question
> >>about the role of music, or which consider new forms that can be
> >>considered music, for example, do not require "new" sounds to be
> >>integrtaed. Music went along through centuries of development without
> >>"new" kinds of sounds (toot, whistle, plunk, boom) without anyone
> >>complaining about "new" noises.
> >>
> >>I'm teaching this kind of stuff at a University now, so it's all in my
> >>mind at the moment, but for those who might care, I refer to Crowther,
> >>Paul, 1990 "Postmodernism in the Visual Arts: A question of ends" in R.
> >>Boyne and A Rattansi, eds. _Postmodernism and Society_, New York: St.
> >>Martin's, 1990. 237-59
> >>
> >>This essay pretty much puts the "Art is Dead" controversy to rest and
> >>probably applies to "Music is Dead" as well.
> >>
> >>Anyone wants me to get into ridiculous explicit details, I will; I'm
>that
> >>kind of guy.
> >>
> >>Naked Rabbit P.O. Box 36673 LA CA 90036 ||||| http://www.nakedrabbit.com
> >>
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> >
> >Lloyd Dunn
> >The Tape-beatles -- P.O. Box 3326 -- Iowa City IA 52244 -- USA
> >
> >http://pwp.detritus.net/
> >
> >- - - - - - - - - - -
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