Actually, that comment was meant towards Ricardo not Beatthefinalboss, it's weird reading a mailinglist in gmail. Sorry for the confusion!
On Sat, Jan 29, 2011 at 7:34 PM, Josh Moore <kh405.7h3...@gmail.com> wrote: > 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