Next, and perhaps final, contest round. This time a really, really big take for the winner. As asked in the first contest…Care to have the ears kissed by some engaging music? I can tell you from my own hours spent with the music offered here, this is a really nice opportunity. Cathnor Records label honch Richard Pinnell has kindly offered the opportunity for one person to nab each title in Cathnor’s current catalog (as of 9/15/2009), including the now-out-of-print sight, from MIMEO, and all of the 3″ ‘vignette’ releases. One individual will be the winner of the following:
Hervé Boghossian, John Tilbury, Mark Wastell — Archi.Texture Vol.1 (cath001)
Will Guthrie — Body and limbs still look to light (cath002)
Graham Halliwell, Tomas Korber — The Large Glass (cath003)
MIMEO — sight (cath004)
Rhodri Davies, David Lacey, Dennis McNulty — Poor Trade (cath005)
Phil Durrant, Lee Patterson, Paul Vogel — Buoy (cath006)
Lucio Capece, Julia Eckhardt, Christian Kesten, Radu Malfatti, Toshimaru Nakamura, Taku Sugimoto — Wedding Ceremony (cath007)
Adam Sonderberg — Say No (cv001)
Mark Wastell — After Hours (cv002)
Burkhard Beins, Michael Thieke, Luca Venitucci — Roman Tics (cv003)
ENTRY: Email your answer to bagatellen (address can be found via the contact link (above right)). Do not post the answer in the comments section. Those who correctly answer the question below will enter a pool from which one name will be drawn. That individual will receive a copy of each Cathnor disc for free, postpaid.
Deadline: 8:00 pm (EST) Friday, 02 October 2009.
Here you go:
In his book, "The Soundscape: Our Sonic Environment and the Tuning of the World," (1974) R. Murray Schafer employs a term "...to refer to the split between an original sound and its electroacoustic reproduction."
Schafer adds, "Original sounds are tied to the mechanisms that produce them. Electroacoustically reproduced sounds are copies and they may be restated at other times or places." And further: "Indeed, the overkill of hi-fi gadgetry not only contributes generously to the lo-fi problem, but it creates a synthetic soundscape in which sounds are becoming increasingly unnatural while machine-made substitutes are providing the operative signals directing modern life."
This phenomenon is more true even today, though some might argue (myself included) that it has made -- when knowingly applied, and with a measure of discipline -- for more engaging music.
What word did Schafer coin in discussing the above?
To those to which the answer is everyday knowledge: heavy props. Everyone else: happy hunting!