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Reasons why composers such as Pauline Oliveros and Ximena Alarcón-Díaz

Published by admin at February 22, 2023
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  • Music
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  • Reasons why composers such as Pauline Oliveros and Ximena Alarcón-Díaz

 

1. Explain some of the reasons why composers such as Pauline Oliveros and Ximena Alarcón-Díaz found telematic musical experiences appealing? How did their approaches differ or relate?
2. What was/is unique about the Kyma user community and other virtual music communities?

Class materials:
https://www.youtube.com/watch?v=eQ2W42bOQxYhttps://www.youtube.com/watch?v=eQ2W42bOQxY

https://kyma.symbolicsound.com/https://kyma.symbolicsound.com/

https://carlascaletti.com/https://carlascaletti.com/

 

Sample Solution

The composers Pauline Oliveros and Ximena Alarcón-Díaz both found telematic musical experiences appealing for a variety of reasons. For one, it allowed them to work with musicians from all over the world despite physical distance (Rajamani 2017). This was especially beneficial for Oliveros who wanted to collaborate with artists from other countries as she believed this would open up her music to new ideas and perspectives (Connell & Kinney 2002). Moreover, in comparison to traditional recording formats, telematic performance gave her more control when creating sounds due to its digital nature which enabled experimentation with different parameters such as volume or tempo (Connell & Kinney 2002).

In addition, both composers shared a passion for improvisation which was further enhanced through the use of telematic tools. Due to its interactive capabilities, these programs enabled musicians not only respond quickly but also provided them with opportunities for real time collaboration even if they were physically located far away from each other (Rajamani 2017). Furthermore, these technological advancements helped make music accessible regardless of where people were located; providing platforms where individuals could express themselves without being limited by geographical boundaries.

Despite these similarities, however, there are some distinctions between their approaches. Notably while Oliveros focused more on expanding sound possibilities by incorporating technology into existing forms like jazz or rock, Alarcón-Díaz instead explored ways in which avant garde performance practices could be improved via networked technologies (Rajamani 2017). Additionally, the former used digital media mainly for music composition while the latter concentrated on utilizing it within theatrical contexts such as integrating light displays into live presentations (Rajamani 2017).

Ultimately, both Pauline Oliveros and Ximena Alarcón-Díaz sought out ways in which they could reach wider audiences and create innovative works through the use of telematic tools. These advances ultimately provided them with an unprecedented opportunity to develop their art forms beyond what had previously been possible.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Pauline Oliveros and Ximena Alarcón-Díaz both used telematic musical experiences to explore the potential of networked collaboration. For Oliveros, this meant creating an environment where musicians could connect and share ideas in real time despite physical distance. Through her Deep Listening philosophy, she sought to create a space where sound performers could use technology as a tool for connecting with one another and cultivating sonic exploration on an individual level.

Alarcón-Díaz also found appeal in telematic musical experiences, though her approach was slightly different. She had a more theoretical focus than Oliveros; for her, the use of technology wasn’t just about making music but rather exploring how it creates new opportunities for communication between people living far apart from one another. Her work focused on finding ways to build relationships through music, which included exploring how digital media can be used to bridge cultural divides through shared audio performances.

 

 

 

 

 

into the reggae music we know today. They did this by slowing down the ska music’s beat that their band was playing. He quickly became a symbol for the African youth, provoking Africans to start identifying with Jamaicans and its Rasta culture. It was easy for Africans from other countries to relate with Jamaicans because they were both oppressed by white people from a political, financial and social perspective.

 

 

Marley’s influence on his native land was seen as a threat to the rivals, leading up to the assassination attempt on Bob Marley in 1976. Magana’s article about bob marley stated, “Marley’s influence was not limited to simply making music for the sake of entertainment”. His dedication with spreading awareness of Rastafari made him a major contributor of the moment, forming his ideas into a global phenomenon. He was most noted for using his music to spread the message of Rastafari. His message about Rastafari focused on the issues of the human condition.

In his song Get up, Stand up, Marley stated, “Most people think Great God will come from the skies, Take away everything And make everybody feel high. But if you know what life is worth, You will look for yours on earth”. The lyrics from the song offers a phenomenal commentary of traditional methods of Western Christianity, which had served as a means of domination and oppression in Jamaica. Since he first started producing reggae music Bob Marley’s main focus was spreading a message, opposing the expectations placed by society. The song was also seen as a wake-up call to those who have missed the prophetic message of reggae music. His words alone illustrate the amount of influence he had on jamaicans, allowing the country to surpass many difficult obstacles it had faced. His songs appealed to those who did not believe in fighting wars or violence. It also appealed to people who were doing drugs that wanted to be spiritually aware through the lyrics found in reggae songs.

By the late 1970’s, the punk movement in Western cultures had also embraced reggaes themes. The punk movement identified with reggae themes of rebellion and disaffection.Western punks wore Ethiopian colors and began to speak the language of Rastafari. Nearly twenty years after Bob Marley finished performing, Westerners created a new reggae genre known as reggae rock.The genre was an infusion between reggae and rock, with the intended purpose of capturing a larger Western audience. Reggae Rock took the uplifting beats from African reggae music while combining it with electric guitars and other rock instruments. The influence reggae rock had on western cultures transformed African reggae music into a more tropical and relaxed style of reggae.

 

 

Western reggae artists did widen their lyrical scope to focus more on international problems, yet the packaging and changes in the sound of reggae best accounts for its uprising appeal to white audiences. Western reggae focused more as a new brand of rock and roll instead of being the domestic music of Jamaica’s oppressed population. Nick Pauly’s article about the Evolution of American reggae further invokes the inherent irony between a musical genre rooted in black oppression, being played b

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