Some interesting search results:
Interview -- Nite Jewel | Guttersnipe - A
magazine for discerning tastes
NJ: There’s this myth of authenticity in music that somebody somehow
communicates a part of themselves, which is just total bullshit.
Everybody is just communicating this "façade" in music and of course it’s
personal, because it’s their take on the idea of being a performer,
which is always going to involve facade. So, for me, it’s the most
personal thing in the world, and the music cloaks me in a nice sound,
and that’s part of a "façade", so it’s all connected really.
The topic of authenticity in music has been a lively one, especially
(for some reason) in the 1980s and 1990s. The topic was usually
defined by disputes about whether a musical performance of, say, Bach,
could be authentic if it was performed with instruments that were
unknown to the composer. Might it be the case that to really hear
Bach's B Minor Mass one has to hear it on instruments modeled on those
employed by the great German Baroque era composer? I believe
Peter Kivey has a good book on authenticity in the arts, especially
music. I think that the majority of philosophers who have
considered this question concluded that authentic Bach does not require
using only Baroque era instruments.
We've talked a lot about this notion of authenticity in music: that
music should be played as cloase as possible to the composer's original
piece and that a musician should be able to write and perform orignial
work. This reminded me of East Villiage Opera Company, a group from New
York that reinvents opera into punk rock music. Even though it's not
original it gives opera a completely differnt context and sound. I
don't think that music should have to be played exactally as the
composer originally intened because it removes the musician from the
piece. Musicians should be able to put their own spin on what they hear
and still be able to call it authentic. East Village Opera Company is
original and valid because even though they don't produce new music,
they still give it their own unique vision.
Articles about Los Angeles Baroque Orchestra - Los
Old music isn't what it used to be. The ubiquity of period instrument
ensembles--playing instruments restored or newly made to the standard
prevailing at the time of the music for which they are used--has
shifted the focus of authenticity in music of pre-modern eras from
fussy issues of embellishment to more sensual matters of sound. And
that means more immediate ear appeal for listeners and performers alike.
Wendy Carlos: Biography from Answers.com
Switched-On Bach (1968) was an early album demonstrating
the use of the synthesizer as a genuine musical instrument. As an early
user of Robert Moog 's first commercially available synthesizer
modules (Moog assembled these as custom installations that differed
greatly from user to user), Walter Carlos helped pioneer the
technology, which was significantly more difficult to use than it is
today. Multitrack recording techniques played a critical
role in the time-consuming process of creating this album.
Switched-On Bach was the last project in his four-year-long
collaboration with Benjamin Folkman and won gold records for both
Carlos and Folkman. The album then became one of the first classical
LPs to sell 500,000 copies, and (eventually) to go platinum .
Theremin Vox - An Interview with Bob Moog
-- For me, Wendy Carlos is the greatest electronic musician
of our time. I am especially fond of her albums Sonic
Seasonings and Beauty in the Beast .
-- For the same reason that a dog licks his balls. Do you
know why a dog licks his balls? The answer is: because he can.
-- Of course. Technology has an unlimited supply of
surprises for us.
-- Jean-Jacques Perrey and Gershon Kingsley both bought
modular synthesizers from my company. They worked together in midtown
Manhattan. They were both good musicians, but Perrey liked to splice
tape, and Kingsley liked to play the keyboard. I don't know if Dick
Hyman actually owned one of our modular synthesizers. When he made the
record "MOOG", he used a synthesizer belonging to Walter Sear in New
York City. Sear helped Hyman set up the synthesizer, and Hyman then
played the keyboard. That's what many musicians did, back then. Sear
was also a good musician, a professional tuba player and composer. He
made an album called "The Copper Plated Integrated Circuit".
-- I don't think so. But nobody else imagined it either.
-- Digital is very precise. It is always the same. It is
always in tune. But Analog is warmer and fatter, and more human, I
-- It depends on who you ask. If you ask me, I think that
most of my customers are "real musicians".
-- No, I don't think that's unbelievable. I understand
exactly why that is so. It is so because dirty, imprecise sound is more
complex, and therefore more interesting to listen to. In technical
terms, there is nothing dirtier than an electric guitar played through
a distortion box, but everybody likes that sound because it's warm and