Support for the CEC
Dear Robert, Shannon and Micheline,
I am about to leave my office to catch a flight to New York within the next 20 minutes, yet just received a request to say a few words about the CEC and send them on to you. Normally I would put this off to the next available moment, yet I sense this request hoped for some kind of response from me now. Based upon the respect I have for the CEC, I offer a few brief comments to meet whatever deadline you are facing - while also trying to make my flight. Please understand that the brevity of my comments do not reflect a lack of respect or a reduced sense of importance that the role the CEC plays within the field of electroacoustic music and new music in general.
The CEC seems to me to be a very unique entity that has played the role of focused information dissemination, dialogue promotion, and contact coordination for anyone interested in any aspect of electroacoustic music. While the community is centered around and focused on Canadian activity, it has become a significant entity for the worldwide electroacoustic community. Through the CEC eContact! and CECdiscuss, composers, performers, musicologists, visual artists, performing artists and the like become connected for information and idea exchange. This has been a very healthy and enlightened approach that is unusual. Professional organizations within the US and elsewhere have looked at the CEC as a different organizational approach that seems to have worked quite well - one which will hopefully continue to receive the necessary support.
My apologies, as I must run to the airport...
Scott A. Wyatt, Director University of Illinois Experimental Music Studios Professor of Composition School of Music 1114 W. Nevada St. Urbana, IL 61801
past president, SEAMUS the Society for Electro-Acoustic Music in the United States 1989-1996