{"id":11300,"date":"2020-12-10T00:06:34","date_gmt":"2020-12-10T05:06:34","guid":{"rendered":"http:\/\/blog.uvm.edu\/aivakhiv\/?p=11300"},"modified":"2020-12-10T00:23:28","modified_gmt":"2020-12-10T05:23:28","slug":"buddscape","status":"publish","type":"post","link":"https:\/\/blog.uvm.edu\/aivakhiv\/2020\/12\/10\/buddscape\/","title":{"rendered":"Buddscape"},"content":{"rendered":"\n

Harold Budd’s passing yesterday<\/a> (from coronavirus complications) has inspired me to create a multichannel chamber of his music, which you can enter into and wander around in by clicking on the tabs below. Try them all at once, or mix channels at your leisure. <\/p>\n\n\n\n

His music, perhaps more than anyone’s, lends itself to this kind of multi-mirrored<\/a>, kaleidoscopic simultaneity. If I could set up 32 speakers around a large hall to play 16 different pieces of his at the same time (rather like John Cage did with his Roaratorio<\/a>, or Yannis Xenakis with his cavernous<\/a> electronic compositions), I would. The result, in Budd’s case, would be a kind of soft, velvet-textured, yet massive kaleidoscope of ambient spaciousness. A soundscape suitable for a long wander, which is how I imagine his current (postpartum) voyage to be. RIP. <\/p>\n\n\n\n

Click on the links below at your mixing-board leisure.<\/p>\n\n\n\n\n\n\n\n

(On second thought: that’s a lot of streaming, which, as Laura Marks et al argue<\/a>, burns up a lot of fossil fuel these days. Best not to make this a habit.)<\/p>\n\n\n\n

\n