Charles Amirkhanian Collection ➔ Composer-to-Composer Festival: Public Panels: Music Criticism and Computer Music (August 20, 1988), 3 of 3

Analog Audio

Event Type
Lectures and Panel Discussions
C Amirkhanian
Program Series
Composer-to-Composer Festival
Program Length
270 min
3 of 3
| broadcast
| 1988-08-20 | created
The third set of public panel discussions during the 1988 Composer to Composer Festival, on August 20, 1988 in Telluride Colorado. The panels cover topics about music criticism and computer music.

The recording begins in mid-conversation with with the critics and composers talking about objective versus subjective language in criticism and the lack of “tone” in music criticism.

They also discuss the impacts of a bad review on an artist or institution, the ethics of writing a dishonest review, the power of simple descriptions in criticism, and the power of multiple critical voices in a community.

They continue to take questions from the audience about various subjects including community responsibility, whether composers should travel, how much personal bias enters into criticism, and more personal stories about reporting on music.

After a short gap, the recording continues with the panel on Computer Music with John Lifton, Chris Meyer, Barbara Peterson, Laurie Spiegel, and Paul DeMarinis.

The composers and writers begin by talking about the issues with electronic sampling.

They then move on to talk about the role of Midi technologies at the time (1988), algorithmic processes in composition, the difficulties of process and the final product, and the “proper” way to consume computer music.

They then discuss whether software is a “tool” or an “instrument” and the philosophical implications of both, different programming languages used to compose music, and copyright issues for music without scores.

The recording ends abruptly.
Current Events
Electro-Acoustic / Electronic
Music critics
Music--Criticism and interpretation
Computer music
Sampling (Sound)
Electronic music recording
Copyright -- Music
Digitized with support from the National Recording Preservation Foundation, The Copland Fund, and the Association for Recorded Sound Collections.