Talk:Morton Subotnick

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McClary Criticism[edit]

Do people think it would unbalance this article too much to include something about Susan McClary's criticism of Subotnick? I came across his name in reading her influential article "Towards a feminist criticism of music" in Intersections (1990; 10, 2), in which she writes "the elite avant-garde continues uncritically to celebrate Morton Subotnick's new technologically advanced ways of enacting the beast's rape of the blind, handless but grateful female." (pg. 17) I assume this critique did not go uncriticized, but I haven't found it yet. I also haven't found any elaboration of this idea. What do others think? (if you think even having this quote on the talk page is unreasonable, given the visibility on Google searches, I won't be offended if it's removed) Mak (talk) 15:54, 2 October 2011 (UTC)[reply]

My suggestion -- admittedly without digging much -- would be to start a "Reception" or "Critical reception" paragraph, and include McClary's critique along with maybe two or three others that are representative of the entire spectrum. McClary is a well-respected but controversial voice -- the pieces she wrote about 20 years ago seem to be the most extreme (at least of what I've read) but there's no question of her importance to contemporary musicology, particularly the branch studying gender and sexuality (which, without passing judgment, is quite active indeed). Antandrus (talk) 16:17, 2 October 2011 (UTC)[reply]

The quote is glib and forceful but what is she saying? What beast? Is it about Subotnick's "Last Dream of the Beast" or "Passages of the Beast"? Or is the beast more general, perhaps the beast of classic electronica...? And what female? Is it a critique of the classic story of the Beauty and the Beast? I don't see the encyclopedic value of the quote, especially without edifying context. This article is supposed to be worded in a neutral tone, in accordance with WP:NPOV, and WP:BLP applies here, too, so we must be extra careful. Such fiery criticism from McClary must have a very strong basis for inclusion. Binksternet (talk) 16:34, 2 October 2011 (UTC)[reply]

Yeah, I've tried to find a place where she wrote more fully on the topic, but I can't, so I think it makes more sense to leave it out. Thanks for your input. Mak (talk) 20:30, 3 October 2011 (UTC)[reply]

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Hanging sentence[edit]

Third para under "Silver Apples of the Moons" says, "In 1969 Subotnick was invited be part of a team of artists to move to Los Angeles to plan a new school of the." If anybody can complete this sentence, that would be nice. Opus131 (talk) 06:46, 23 March 2012 (UTC)[reply]

Unclear statement[edit]

The paragraph about the Buchla synthesiser has an incomplete phrase; it states that the Buchla "was both more flexible and easier to use". Than what? Presumably the Moog, as this was the main rival to any other synth design, but this should be made clear. (I think Britain's Peter Zinovieff had created his own synth design by then, or would within a year.) -- 188.28.101.88 (talk) 06:16, 2 September 2012 (UTC)[reply]

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