Re [-empyre-] microsound as music's digital praxis

[gbach@csulb.edu (Glenn Bach)]

Hey, empyre.  Just a quick note--I've been slammed at work with the start
of the new semester, so I hope to respond to this thread tomorrow morning.

Best,

G.


Stasisfield.com wrote:

 > Personally, I don't see my work as inherently self-reflexive or
 > self-critical, although I believe it is inherently personal; I think I
 > approach my work in a more traditional or direct manner, creating works
 > based on concepts I am currently interested in exploring (air-sound
 > relationships in "aero", fractured narrative tales reflecting on
 > buddhist notions of interconnectedness in "lave"; nostalgia and
 > adaptation in "miles.") and using my work to communicate my conclusions
 > to the audience, while creating sound works which strive to create an
 > immersive atmosphere.
 >
 > I see a very specific cause and effect in my work: I explore an idea, it

 > results in a piece of work. While creating the work, I am only concerned

 > with making something which expresses the ideas behind it, yet in a
 > somewhat personal or codified way so as not to make the results
 > immediately obvious. I hope this at least somewhat answers your
question!


Trace Reddell wrote:

>
> Do others of you on this list think this idea that microsound is deeply
> related to formal thinking as I've described it, particularly in a kind
of
> self-reflexive way? If that makes no sense, would you please comment on
how
> your work embraces its own critique -- or, at the least, how you see a
> praxis of theory/content and form getting mixed up in your compositions
> and/or improvisations?
>
> -=trace
>
>
>
>