Carla Scaletti interviewed by Giorgos Frangiskos

Electroacoustic music is in a sense more democratic than pop music: You don't need a tremendously expensive studio to compose your music and no huge international record companies are likely to promote your works, so composers from around the world have more equal chances of being heard. Do you find interesting differences in the electroacoustic music composed in different parts of the world?

There are different ‘schools of thought’ producing different sounds, different approaches to time, and different philosophies of public performance. But these schools of thought extend across geographical boundaries. As you point out, we can hear music from all over the world on the Internet.

Ironically, now that more people have an equal chance at being heard, it can be harder to actually get noticed; people are so overloaded with distractions it’s difficult to get anyone’s attention, much less hold their attention for the period of time necessary to discuss and to build upon what has been said and done previously.

During the middle ages, an educated person might have owned one book and they really studied and memorized that book; now we have so many books that we might not even read all of them completely, much less memorize them; we might prefer to get the ideas from the author’s blog or online video instead. A similar thing is happening in music; it is easier to find breadth than depth. This is the perfect scenario for accelerated evolution during a period of rapid change in the environment.

[read the full article - via electromediaworks.gr]

[carlascaletti.com]

[symbolicsound.com]