Globally Speaking.
AbstractCheaply available high-quality digital recording equipment, and the ubiquity of computer music tools and the Internet make the creation of electroacoustic music in diverse localities, and its dissemination around the globe, extremely easy. This raises important questions about the relationsh...
| Publicado en: | Organised Sound Vol. 13; no. 2; pp. 137 - 141 |
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| Formato: | Artículo |
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Cambridge University Press
Aug2008
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| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| Sumario: | AbstractCheaply available high-quality digital recording equipment, and the ubiquity of computer music tools and the Internet make the creation of electroacoustic music in diverse localities, and its dissemination around the globe, extremely easy. This raises important questions about the relationship of local sound worlds and cultural experience to a potentially global audience. This quandary is examined through the compositions Globalalia(which deals explicitly with speech material from many languages) and Fabulous Paris ? a virtual oratoriowhcih uses speech in different ways to contrast our relationship to the local and personal with our relationship to the mass experience of the globalised mega-city. The problems in relating to both a local and a global audience are considered in relation to the composer's current project recording speech materials in local communities in the North East of England. |
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