What I meant was that they are not tied to what might be generally called "western" (or other) music. It was precisely the "Towards a Metamusic" chapter that I was thinking of when I wrote that. Perhaps a better word would have been pan-cultural, given that acultural would be impossible.<div>
<br></div><div>//p</div><div><a href="http://www.interdisciplina.org/00.0">http://www.interdisciplina.org/00.0</a><br><br><div class="gmail_quote">On Sat, Sep 26, 2009 at 8:50 AM, Charles Turner <span dir="ltr"><<a href="mailto:vze26m98@optonline.net">vze26m98@optonline.net</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">On Sep 16, 2009, at 10:06 PM, Paulo Mouat wrote:<br>
<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
My mention of Xenakis<br>
</blockquote><div class="im">
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<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
These works are culture-agnostic<br>
</blockquote>
<br></div>
Not completely sure of what you mean by "culture-agnostic," but IX's essay "Towards a Metamusic," which appeared in the U.S. edition of _Formalized Music_ (1971) and after, is quite concerned with cultural processes and products.<br>
<br>
Also, in the 1950s "comparative musicology" was quite an important area of study, now largely over-taken by ethnomusicology. The comparative outlook held out a notion of universalism: that all the world's musics could be explained/accounted for in one big theory. Viewed from that context, IX and Schaeffer's theories aren't agnostic, but simply participated in the universalizing trends of their time.<br>
<br>
Best, Charles<div><div></div><div class="h5"><br>
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