Since the early years of electro acoustic music great self-awareness is found among the field’s composers who often and willingly have communicated historical chronology, thoughts about analysis, aesthetic directions and rivalries. This we find both in relation to the historical studios (Schaeffer’s work in Paris, the studio in Cologne and in the studio EMS in Stockholm) and in relation to today’s discussions of EAM and Sound Art. The extended rhetoric about the music and the production of it is a useful tool in our discussions of musical development and analysis, but can in some cases lead to the disappearing of the aesthetic work and contemplation. In the paper I will illustrate this by presenting an analysis of the rhetoric at the electronic music studio
EMS, Stockholm: It’s aesthetic and scientific context and its function in a political context. I will discuss what impact this displacement of focus from the sounding work to the contextualization of the work has had on the production, comprehension and reception of aesthetic works produced in the
hybrid-studio at EMS. This discussion, I believe, is not only of relevance to historical issues, but is also to be considered in the discussions of today’s communication of EAM and Sound Art.
|Translated title of the contribution||At kommunikere EAM: Æstetik versus retorik|
|Publication date||Aug 2010|
|Number of pages||6|
|Publication status||Published - Aug 2010|