[Af_List] help with seminal sound piece?

[Luke Munn]

There's been a couple enquiries to the list about this piece, as well
as Alvin Lucier's "I am sitting...". While most people are very
familiar with these pieces, I and many others wouldn't have a good
basis of knowledge about other classic/seminal/important works in
audio culture, especially historic ones - something akin to a
beginners reading/listening list.

So would be interested to know what peoples top 10 'must listen' picks
would be for important audio pieces....



On Fri, Jul 25, 2008 at 12:07 PM, Damian Stewart <damian at frey.co.nz> wrote:
> Michael Upton wrote:
>>
>> Looks like the AF list is swallowing my replies, but there have been a few
>> recordings of 4'33" made.  If you set up mics and leave them running then
>> there definitely is a point, isn't there?  I thought Cage was trying to set
>> up a context in which anything you hear during that time is the music?
>
> i've always found 4:33 fascinating because of the implications of
> performance theatre. it's very important that the pianist/performer comes in
> and sits down for the required 4:33. the actual sounds that occur during the
> period are only made special like you say at that moment, in that context,
> but only for that live audience, i think. just listening to the CD i doubt
> there's not going to be anything particularly special about those 4:33 of
> sound, recorded from that place; i'm sure it sounds just like any other 4:33
> of field recordings.
>
> (in fact there's a project that Eno writes about at some stage which was to
> do just this - record 3:30 of field audio and listen to it repeatedly, as
> though it was a pop song. supposedly your brain starts finding all these
> connections and you start anticipating particular moments, the way you
> anticipate the chorus in a pop song you've heard many times..)
>
> but i'm old fashioned, i think that music is about the sounds and much less
> about the social context or the relationships (sorry, Relationships)
> implied.. with 4:33, like with a lot of conceptual art, if you get the
> concept, after the shock or novelty value has worn off there's really no
> point in actually going through the motions of physically doing it.
>
> d
> --
> damian stewart | +31 6 5902 5782 |  damian at frey.co.nz
> frey | live art with machines | http://www.frey.co.nz
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