The musical and technological dialectics of the body (draft)


More raw thoughts.

– why a keyboard? why not a keyboard? why this chair and not that one?
– why the piano? why not the piano? is the piano dying?
– are electronics killing us or saving us, as musicians, as sound designers? as people?
– is the piano being engulfed into electronics? this is simple: yes.
– but wait: is the synthesizer the new piano? not so fast. there’s little in the way of tradition – synthesizers are new, and not as in service to royal courts and the like as pianos and orchestras were in their respective early-to-mid years.
– further, many people are more ignorant of how synthesizers work than they’d sometimes care to admit. contrast this with the requisite knowledge of your average “serious” piano player – not just techniques that end up being stored in the body, but practices (frequently that were figuratively or literally in service to colonialism and to no small part, imperialism), techniques, and at least some knowledge of the mechanics of the piano itself, as a machine of metal, wood, felt and last but certainly not least in this pantheon of early consumption-as-destruction, ivory.
– this ignorance of synthesizers is not necessarily a bad thing, although the machines themselves are arguably every bit as destructive as pianos were, and are. (virtually all synthesizers are a type of contemporary machine, even analog synthesizers – and in the case of many digital and hybridized synthesizers, computers that are dedicated to a specific set of tasks.)
– past this, the relative ignorance of how synthesis works on the part of many players, as well as ignorance of the math that drives them, at least has the benefit of not tethering musicians to the machinations of programming, of dsp, of circuit design, of all the underlying traditions that have emerged from, and remain in service to, Empire in general, and all too often, the wars of said Empire in specific.
– however, ignorance is not bliss, nor is it liberation. using tools without understanding them provides its own set of dangers, frequently foisted on users of said technologies.
– in contrast, the people who make said tools are exploited, pure and simple. it’s not just “that’s a problem” as so many apologetic hand-wringers and “green tech” advocates are quick to assert, but it’s raw oppression every bit as much as cutting down forests to make condos, or extracting diamonds to sell marriage vows, and so on.
– don’t necessarily count yourself out of all this if you exclusively play electric or even acoustic instruments, either. i trust this speaks for itself.

Much respect to @codemesh for being part of my sorting all this out.