Oh okay. If you mean fruitful, creative, musically omnivorous
collaborations between classically-trained musicians and/or composers
alongside musicians from other backgrounds, that's what the Downtown
NY scene has been like for at least the past 30 years or so. The
fully-notated music coming out of this scene has been described as
"Totalism" or "Metametric music," and Kyle Gann has had some great
blog posts about the movement's early days.
See here:
<http://www.artsjournal.com/postclassic/2006/01/
totalism_as_a_new_rhythmic_par.html>
<http://www.artsjournal.com/postclassic/2006/01/
metametric_mysteries_cleared_u.html>
<http://www.artsjournal.com/postclassic/2006/01/
metametrics_origins.html>
<http://www.artsjournal.com/postclassic/2006/01/
metametrics_origins_2.html>
<http://www.artsjournal.com/postclassic/2006/01/nested_32_addendum.html>
And there's the composers federation of which I am part, Pulse, which
is dedicated to causing musical collisions:
<http://pulsecomposers.typepad.com/>
- Darcy
-----
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY
On 30 Jan 2006, at 1:47 AM, Noel Stoutenburg wrote:
Darcy James Argue wrote:
Well, FWIW, the orchestra+pop-rock collaborations you mention
...<snippage>...
Not sure what, exactly, you're driving at here, though -- these
orchestral crossover projects are rarely musically satisfying for
anyone. (And, I mean, The Eagles?? Meat Loaf????)
I mean only to make my observation that as I have pursued my own
musical interests, I have seen more evidence of collaboration
between musicians of different genres in other parts of the world
than I have found in the U.S. I don't think it's the musicians
fault; I think it's the result of the music business infrastructure
that insists on pigeonholing every group.
ns
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