To all involved in this discussion, the last few responses were great. :) It was a bit harsh to some, and I figured as much but it's also a very real question. Beatthefinalboss and a couple others hit the nail on the head, and that's partially what I meant in my long rant.
>From the things I've read and seen I understood that eventually the techniques pioneered by Max/Miller/Vercoe/etc have always found their way into popular music. The comment about braindance as well was also noted, and I enjoy that music. It was originally Brian Transeau that got me interested about Csound and what it was early on. I didn't like it then and needed a few more years of sound design experience, but it's wonderful now with csound~ as an external in maxforlive and all of the tools Csound has now. I just think in many ways there is too much emphasis on experimenting. A better way to say this is I tend to like Debussy more than I like Schoenberg, Stockhausen, or Cage. There are simply lots of aspects of 20th century contemporary academic music that are just strange to me. I also agree with the statement on Kraftwerk. They took what was there and made it marketable. Same goes for bands like Skinny Puppy and Nine Inch Nails in contrast to stuff like Throbbing Gristle and Einsturzende Neubaten. (though they've toned down lately) If you go on youtube and search up The Beatles and Yoko Ono you may find this video where Yoko Ono is telling the beatles to play randomly on their instruments to create noise music while she shrieks and makes weird noises. The Beatles are capable of making excellent music, but this was really bad. It was more a philosophical question/rant than anything really. Experimental music in the sense of drones and so on is quite new in the scene, not historically though since many other tribal cultures had it too and perhaps that's partially where it comes from. On Sat, Jan 29, 2011 at 7:07 PM, Mario <mare...@gmail.com> wrote: > "Problem is that nowadays each composition student does an exercise and call > it a piece... but that is a social problem not of the techniques." > Greetings Ricardo :) > > > 2011/1/29 Ricardo Lameiro <ricardolame...@gmail.com> >> >> I am a newbie in electronic music (not dance music by the way, electronic >> in the broad sense) but i am also a "classic" musician, teacher, I also >> played in traditional music groups etc... background aside here goes the >> idea. >> >> A long time ago, in the renaissance and before, a third and a sixth were >> considered a dissonant interval. Consonants where only the forth, fifth and >> octave... this could be caused by a lot of different aspects, one of them >> was the Temperament of the scale that was quit different from the 12 equal >> semitones used later. Also the music was made primarily to be sang and >> played in church and monasteries were the reverberation was big. After that >> came the keyboard instruments and the difficulty of tuning of the same >> instruments on different key signatures, this lead to a standard of twelve >> equal semitones that allow "interchangeability" of keys. Some years later >> came the continuous modulation, after that the dodecaphonic series and after >> that integral serialism and electronic instruments etc etc etc. >> Each of this changes were highly disregarded by the broad public being >> used later on for more "commercial music". >> >> What i want to say is that, you may not like some type of music,I dont >> like techno, even the pseudo good techno, on a bar, or at my music player, >> however it has its space on a disco. Each music has its time, its >> progression. Time its the best filter, maybe 90 % of the music created >> nowadays will not be heard in 200 years, but when the music touches senses >> it will endure. there where hundreds of baroque and classical composers at >> their time, however you only know a handful of them.... sometimes we as a >> society need time to assimilate change. Maybe a chainsaw is more musical >> than a violin, it all depends how the music is made, how the musical >> discourse and flow goes. apart of the music, there will be always place for >> "etudes". Problem is that nowadays each composition student does an exercise >> and call it a piece... but that is a social problem not of the techniques. >> >> sorry for the rant >> bye >> >> 2011/1/30 <beatthefinalb...@gmail.com> >>> >>> > I even read the Pd/Max/Csound/Chuck mailing lists too but I choose to >>> > make actual music with those tools. >>> >>> How do you define "Actual Music"? Some of us happen to define >>> "chainsaw in cave 6 feet down" as music ;) >>> >>> _______________________________________________ >>> Pd-list@iem.at mailing list >>> UNSUBSCRIBE and account-management -> >>> http://lists.puredata.info/listinfo/pd-list >> >> >> >> -- >> Fagote / Contrafagote >> Bassoon / Contra-bassoon >> http://myspace.com/ricardolameiro >> >> _______________________________________________ >> Pd-list@iem.at mailing list >> UNSUBSCRIBE and account-management -> >> http://lists.puredata.info/listinfo/pd-list >> > > _______________________________________________ Pd-list@iem.at mailing list UNSUBSCRIBE and account-management -> http://lists.puredata.info/listinfo/pd-list
