EMU allsorts
Do you recall Mark Carroll speaking about the diversity of student pursuits within EMU? He contrasted us with the homogenous violin students. Yegads man, Mark was right! Those violinists are missing out!
It's one of the things I like about EMU, we learn the tools, but the application of these tools is our own business. A long long time ago I started a performance degree, and realised that becoming a singer (or instrumentalist) largely means playing covers. You study to learn the repertoire that applies to your instrument or voice type and try to emulate the great masters in your field. It's something like beautiful, intricate, incredibly difficult audio paint by numbers. (And tben you listen to a CD of someone truely great, and cry both for the beauty of their craft, and the mediocrity of your own.)
Enough of that, thing is - EMU isn't like this. Last week's forum was a case in point. We listened to three vastly different styles of music, all original - and took it in our stride. EMU mightn't have a big wing span, but some part of it (arse?) is mighty wide. hmmm
Maybe it's because of this wideness, left to create whatever we choose, we create things of meaning to us.
Henry Reed's piece was both dedicated to and inpsired by his grandfather. Henry did a great job of explaining just enough of the maths behind his work to give us some appreciation of his method. I liked the balance he had between randomness and his own artistic judgement.
I really enjoyed the sounds and their juxtaposition. It was a great piece - I found it emotionally evocative (my Grandfather was also in WW2) and wanted lots of time and space to take it in - wonder what the piece would sound like with silence as one of the sounds in the mix, and also some longer times for the sounds?
Matthew Mazzone's works were ultra smooth and repititious, in good honest ambient, minimalist style. Have heard some of his work before, Matt's sound is slick and pro. I don't understand dance music at all and don't know the right words to categorise Matt's music. Reminded me of someone once talking about how in dance music, the layering of instruments is like Baroque music - neo polyphony. Get down!
Daniel. Spectacular band man. Great recording. Being a singer, I focus on the vocal track and usually wish it was up higher, but that's just personal preference. The recording was so CLEAN. (My hubby is an old headbanger and has a collection of old metal vinyls so I've
listened to a bit over the years.) Daniel's recording was top class for the genre. How tight are metal bands? Tempo changes, meter changes all perfectly managed. More bass, as someone said, would be good too. Daniel, you go tiger!
The Pieces
Reed, Henry Lucky presented at University of Adelaide 17 August 2006
Mazzone, Matthew presented at University of Adelaide 17 August 2006
Enemy of ? If When you say you are in Heaven, you mean Gates of Hell presented at University of Adelaide 17 August 2006
It's one of the things I like about EMU, we learn the tools, but the application of these tools is our own business. A long long time ago I started a performance degree, and realised that becoming a singer (or instrumentalist) largely means playing covers. You study to learn the repertoire that applies to your instrument or voice type and try to emulate the great masters in your field. It's something like beautiful, intricate, incredibly difficult audio paint by numbers. (And tben you listen to a CD of someone truely great, and cry both for the beauty of their craft, and the mediocrity of your own.)
Enough of that, thing is - EMU isn't like this. Last week's forum was a case in point. We listened to three vastly different styles of music, all original - and took it in our stride. EMU mightn't have a big wing span, but some part of it (arse?) is mighty wide. hmmm
Maybe it's because of this wideness, left to create whatever we choose, we create things of meaning to us.
Henry Reed's piece was both dedicated to and inpsired by his grandfather. Henry did a great job of explaining just enough of the maths behind his work to give us some appreciation of his method. I liked the balance he had between randomness and his own artistic judgement.
I really enjoyed the sounds and their juxtaposition. It was a great piece - I found it emotionally evocative (my Grandfather was also in WW2) and wanted lots of time and space to take it in - wonder what the piece would sound like with silence as one of the sounds in the mix, and also some longer times for the sounds?Matthew Mazzone's works were ultra smooth and repititious, in good honest ambient, minimalist style. Have heard some of his work before, Matt's sound is slick and pro. I don't understand dance music at all and don't know the right words to categorise Matt's music. Reminded me of someone once talking about how in dance music, the layering of instruments is like Baroque music - neo polyphony. Get down!
Daniel. Spectacular band man. Great recording. Being a singer, I focus on the vocal track and usually wish it was up higher, but that's just personal preference. The recording was so CLEAN. (My hubby is an old headbanger and has a collection of old metal vinyls so I've
listened to a bit over the years.) Daniel's recording was top class for the genre. How tight are metal bands? Tempo changes, meter changes all perfectly managed. More bass, as someone said, would be good too. Daniel, you go tiger!The Pieces
Reed, Henry Lucky presented at University of Adelaide 17 August 2006
Mazzone, Matthew presented at University of Adelaide 17 August 2006
Enemy of ? If When you say you are in Heaven, you mean Gates of Hell presented at University of Adelaide 17 August 2006
posted by aajodie at 2:36 PM
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