- 225 -Enders, Bernd / Stange-Elbe, Joachim (Hrsg.): Global Village - Global Brain - Global Music 
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“The only straight electronic work I’ve ever done was for a nonesuch record. It’s a piece called Synapse, and it was done as a prelude to Valentine. The only time I allow it to be done as a concert piece is in relationship to Valentine.”6

6
Interview with Druckman in Gagne, Cole and Caras, Tracy, Soundpieces: Interviews with American Composers. Metuchen, NJ: Scarecrow Press, 1982.

Of course, there are also the cases where the technology is used for functions other than making sound or visuals for the audience in a direct manner – things like notation and recording.

Need Basis

Some composers find that they need certain aspects of the array of advanced musical technology. They may or may not find changes in technology exciting, but they do find that without certain tools their work is either impossible or extremely time consuming and tedious. In some ways John Cage can serve as an example of this type of acceptance. His computer program based on the I Ching that provided chance based answers to whatever compositional questions he was asking at the moment is a specific instance. When confronted with the need to determine numerous parameters for a piece of music he was composing he would turn to the program. For other aspects of the composing process he might well forego any utilization of new tools.

Techno-Guerrillas

A fourth sub-category has been dubbed “techno-guerrillas” because these musicians embrace certain technologies, but only after, and sometimes long after, those technologies were “the latest thing”. For example, there is the case of Red Asphalt Nomad. Jeff Zilm, a member of the group, explains:

“Red Asphalt Nomad is a Texas-based CB Radio group ...Since 1990, we’ve been experimenting with alternative distribution by transceiving weekly ‘programs’ on CB Channel 23, a channel open to anyone monitoring it ...it’s the same old story really. After one segment of society discards a product or technology, another segment is able to make use of it and redefine it, often the new user can make the tool work against its former purpose. For example, vinyl record albums now challenge notions of copyright and artist production by functioning as source material ...”

Zilm then notes how the group announces the upcoming performance, determines the broadcast range radius, and organizes other parameters of the ‘composition’. In performance, members of the group drive their cars in the broadcast area while playing their part of the music on CB Channel 23. Zilm describes the result:

“During that time we instigate discourse, augmented by a noise mix made from tape loops, transistor radios, police scanners, and small musical instruments. We can create a pretty compelling aural landscape ...In the citizen’s band sound tends to get clipped, voices get clipped, ideas get clipped; in the end what you have is a syncopated text – urgent and insurgent.7

7
Zilm, Jeff. “Nomad Radio” in Radiotext(e). Neil Strauss, editor. New York: Semiotext(e), 1993.


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- 225 -Enders, Bernd / Stange-Elbe, Joachim (Hrsg.): Global Village - Global Brain - Global Music