Year: 2021
Type: article
Abstract: In its call for contributions to the Fall 2021 issue of Array Journal, the editors asked why the ICMA has so few members who identify as Black, given the considerable debt that the field of computer music owes to musical and technological innovations of Black artists.This article provides a set of responses to the question posed.Virginia Tech invited four Black artists whose work might be considered computer music (this piece puts pressure on borders implied by the term "computer music") to participate in a conversation.Perspectives not often heard within ICMA discourse are shared herein.It is hoped that this conversation will lead to self-reflection on the part of the ICMA membership, and to further conversations, ultimately motivating the ICMA to adopt policies that will make the organization a more inclusive association than it is currently. Eric Lyon:The ICMA is the International Computer Music Association.It was founded in 1974.The organization puts on an annual conference called the International Computer Music Conference (ICMC) that attracts computer musicians from around the world.For its Fall 2021 issue, Array, the journal of the ICMA, put out a call entitled "Diversity, Pluralism, Equity?"After suggesting that in theory the term "computer music" implies inclusivity and pluralism, since computer music is defined by its medium rather than a style or genre and includes any possible sound in its vocabulary, and possibly even democratizes sound and helps to abolish cultural hierarchies, the Array editors observe that in practice these noble utopian goals have not been reached.As they asked in the call that we're responding to here, "are we able to say that our field, e.g., ICMA and its sister organizations, as well as in the wider music academia truly represents the music and the cultures that computers make possible?Despite the debt that Electronica, IDM, laptop music, and live coding owe to Black electronic artists, composers, and producers, for instance, al-1 array2021 array2021 appendix a most none of our ICMA members identify as Black.Why is this?How can we, as a field, take hold of this issue as our own and set about the project of decolonizing and diversifying computer music?"Let's start by hearing your individual reactions to that statement. The Honourable Elizabeth A. Baker:There's a lot of elitism that comes with computer music that really creates a divide between communities that are Black making music with technology, and the academic world, which is a very much white world due to barriers of access.People look down a lot on the things that are used, particularly by Black performers or engineers.That is a huge part of why they're not feeling like they're included.Also, Black folks are doing cool things and getting their stuff out there without the help of white people all the time.It's not really necessary to be a part of the ICMA because they're getting their stuff out there in their own way and people are loving it and vibing with it.Jessie Cox: There's a couple of things in the ICMA call that to me are problematic, which computer music adopts from its larger contexts.I mean, computer music is not isolated from the world; that's one thing that we need to remember.For example, one really problematic idea is that computer music is limitless and that the only restrictions produced are by the imagination.It reminds me of the idea of colorblindness.It forgets racist hierarchy and modes of coloniality.Colonial modes of acting, systems, etc., are not reproduced.That is what this call tries to say but that's, of course, not the case.As we know even algorithms can be racist.That's something that has been highly discussed in the past year.Colorblindness is problematic because it undermines the racism that is already there. Joy Guidry:Three of the biggest things after reading that are accessibility, aesthetics, and money, which goes with the first two things.Starting with the money, as Elizabeth said about Black people, we produce things without white people, and have been successful out there all the time.We don't have to go to these schools, but that's where the money is.Maybe we should make Black coding camps for music.I've started learning how to do this.I've always 2 array2021 array2021 appendix a array2021 array2021 appendix a Jackson: One more thing in terms of the educational opportunities: just knowing that it's possible to get a degree in computer music or similar programs...If you look at the demographics of many institutions, there really is a lack of diversity within graduate programs, especially when it comes to Black representation in computer music and composition programs.There might be one or two Black students, but there's not really a sizable presence, which affects whether one feels welcome or not.Students have to decide if they want to spend years in a program in which they may feel isolated or unwelcome.If a group does not want you, why would you pound the door trying to get in?Guidry: You can put out these statements and invite people, but is the space ready for us?You can even give us a $100,000 fellowship.But we'll need a million dollars from the trauma we're going to have after doing that fellowship.When I was at Peabody, they had Computer Music.But I didn't know what that was.I remember seeing it on the application and I was so confused, and that's all I thought computer music was until I had my Black awakening.But I would listen to this music and see laptop orchestras and think, "There has to be more to it than this."But representation is so important.If you don't see yourself, how can you see yourself there?Put that on the flag.Jackson: Just one more thing.People need to know that these options exist earlier than by the time that they're in college, or grad school, or even high school.For me, I stumbled upon computer music by complete accident.Baker: Part of my thing on tours is, I'll go to elementary schools, middle schools around the country, and let children touch my gear, which seems really scandalous.But you know, a theremin's very safe.They're not going to knock it over, and they make sounds by not touching it.For those kids, it changes their life because it's like, "Oh, we don't just have to play cello, we can do a whole bunch of other stuff."Knowing the possibilities of what art can do, someone that first comes to mind is Solange.She isn't much into computer music but she's taken R&B and made it her own way, in this minimalist style.So many kids make beats on computers and they're told that that's bad.But all of these things and maybe 4 array2021 array2021 appendix a
Source: array. the journal of the ICMA
Authors: Elizabeth A. Baker, Jessie Cox, Joy Guidry, Yvette Janine Jackson, Eric Lyon
Language: English
Subfield: Music
Field: Arts and Humanities
Domain: Social Sciences
SDG: Reduced inequalities
Open Access status: hybrid
OpenAlex ID: W4285320239