Q: Given that information travels so fast, and that no one seems to have the time, or the will, to listen, really listen (I talk of young people, at least), do you think there's a place for musique concrète, today?
A: Well, I'd disagree with you. I think there's a lot of listening going on - now that we all have ipods, and easy ways of listening to good (and bad) quality music and other sound-based work as we travel about. Nearly every 'young person' I see on the train is listening to music. But I agree that listening 'skills' - a more critical, analytical listening to sound-based music, and to sound in the environment, are a different thing - I can't comment on whether people listening less, or more badly than previously. Certainly the levels of noise and sonic activity in post-industrial landscapes are high, and noise is definitely a stressor (look at the number of court cases about noisy neighbours etc). I think if anything there's more scope for a bigger intest in musique concrete because a wider range of people are able to record sound easily, and digitally transform it. In addition, there is of course an increased interest in the environment, in ecology etc - and I think a lot of young people are interested in 'saving the planet'. But yes, sound is often last on the list.
Q: Musique concrète (or electronic music) has an obsessive relation with sound and noise, a mere sound can originate a symphony. As a composer, is this what estimulates you the most? To be able to deconstruct and then articulate sound?
A: I enjoy doing that, yes, but most of all I enjoy dealing with sounds that having meaning for me, and I hope for others - though their meanings may be different. Everyone brings personal associations to sound - I like that most of all. When you and I listen to the sound of the sea, we each access different remembered experiences as well as similar associations.
Q: Would you agree that musique concrète's mais departure from classical and harmonic music, is its proximity to realism? Has musique concrète brought realism to music?
A: I'm not sure I understand that one, but I think a lot of electronic music using concrete sounds is quite surreal, it is going 'beyond' realism.
Q: What are the composers that influenced and influence you the most? In what way, if you could explain?
A: Bach is top of the list, which may seem odd, but it's to do with the construction and meticulously balanced counterpoints and melodies - the way he puts things together.
In e/a music I was very influenced by my PhD supervisor, Paul Lansky's interest in voice and text, and that started me off in all kinds of areas to do with voice and sound. But lately I'm not hugely inspired by a lot of electronic music - it is all very similar, at least in the UK. I'm impressed by Hildegard Westerkamp's work, and like many of her more 'documentary' soundscape pieces. I really like some of the noise music from Merzbow and Otomo Yoshide's work - both noise and instrumental.
Q: Is there a future for electronic music?
A: That's a very open question, I'm sure music of all kinds will continue as long as people are around to make it, and want to listen to it.
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