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Page 369 ï~~IS MORE THAN THREE DECADES ( REACHING THE PUBLIC Ip Leigh LANDY Instituut voor Muziekwetenschap Universiteit van Amsterdam Spuistr. 134 1012 VB AMSTERDAM NL ABSTRACT: This talk focuses on a number of sut deals with on a daily basis, but often takes for assumption' that groups such as the CMA pay to( music's dispersion. Two hypotheses are presented: the image culture, yet we make too little use of tc 2) Many people have difficulty getting to apprecia their dramaturgy is often left untold. Furthermore, treated: the communications media, our schools, 'pr PREAMBLE: Contemporarv music is suffering fro
Page 370 ï~~OUTSIDE OF MUSIC SCHOOLS/MEDIA: Let's start by briefly looking at computer music: our schools and the communications media. taste. However, it is a rarity in our lower and middle educ contemporary music for that matter is presented at all. Tr virtually never brought in contact with the music of sounds, v electroacoustic music's dispersion. These potential appreciati later age, often accidentally and mostly pretty ill-prepared. Tr this music better known. Also many readers might agree al especially electroacoustic music are often kept at a 'safe 1 di music(ology) departments. Integration with music as a whole I The first proposal in the current text is that comput attempt to figure out ways to stimulate-this music's integ making) into programs from elementary up to university ant these same people could be responsible for the creation of r various types of schools employing 'inside of music' elements We all often complain about the lack of adequate atten and especially on television. As long as electroacoustic mI subject in education, potentially creating - yes, indeed -am I a" a1 a a
Page 371 ï~~some of today's composers who use such tnstrumcnts are th the restrictions electroacoustic composers spent so muchtn This leads to one polemic 0 sugsonuead(hv on musical aims and nothing but... A second suggestion: don't try to employ evcry new when it comes out. Our learning time is not to be underes master your first instrument? Changing instruments every healthijest way build one musical continuity, Furthermore, topping 'old' instruments as being outdated c it is said that analog music is dead, but can our computer rn the loss? Personal experience has demonstrated that for som techniques are still most rewarding. So what'swrnwihu Agreed commerce has little to do with the dissemin digital instruments more than of the music coming out of th A SPECIAL CASE - AUDIO-VISUAL POTENTIAl that could very well do electroacoustic music as much good our schools and on our communications media. It is true th be a plea for, tlf you can beat 'em, join 'em Â~We are in the r Television reigns supreme. For example, a pop number is d Our equivalent to this problem began in the fifties during th concrete and electronic works. Combining tapes withsy 'audio-visual' option. Working in collaboration with special be equally exciting, but is not often explored due to a camp'
Page 372 ï~~enormous diversity of today's music, might have. Still it cai As a great deal of complexity as well as new sounds and soun portion of contemporary computer compositions, a helpingh' The discussion of the missing dramaturgy goes hi musicological subjects: terminology, classification, notation, sonic music. It is often said that certain composers use sir think of the composers who have employed those typicalI said that computer music composers are dealing with related therefore that computer music composition is the sum ofe this is an exaggeration, but it does point to what seems tc musical description today. Only relatively recently have we electroacoustic music; only recently have studies been done a Â~ musical languages. Our lack of musicological norms including a generally this music is one of the reasons why our higher education of people with established (university) posts (i.e. most CM position of continuing todayts important development work i reflection of this, our courses treat computer technical subjeci courses treat the works, themselves? Certainly without thi: dramaturgy of music is a bit idealistic, for it can only be