hi
I would suggest there are dual process occurring here.
While I agree it is often possible to associate a composition with the
tools that have been used to create; often due to the structural
elements most easily programmed within a language.
However I would suggest that the composer/improvisor/performer is not
always being subverted. In my own practice I often find myself
selecting a tool due to the easy of doing what I want.
scott
On Thu, Nov 26, 2009 at 10:55 PM, Juan Gabriel Alzate Romero
<rukano_at_gmail.com> wrote:
> Hi Kassen,
>
> I've been following the thread with enthusiasm because I'm writing my thesis exactly about this kind of problem.
>
>>
>> I would therefore predict that SC and CK -based pieces would be more "loopy" than CSound ones. Images generated in Fluxus or Impromptu would likely tend to be more alike each other than like ones generated in Processing, I would predict as Impromptu and Fluxus are more alike syntactically.
>
> I think with the time the musician becomes influenced by the tool he uses, as you describe it, the SC or Chuck generated music tends to be loopy (musn't be) because the tool or language makes this kinds of tasks easier. I've got the idea on a festival at the ZKM after 3 days of electronic music from different german studios one could blindly say: this one's with Max, this one's SC, this one is... wow! Something different! And it was indeed somethingdifferent or a mixture of systems that made the flavour of this music somewhat different. I think the environment influences a lot on the musical creativity. After months or years, one stops about thinking in musical actions or repeats but instead one thinks instantly in routines, tasks, triggers... whatever you want and one could feel this aesthetic in the music.
> I'm not saying all the music in Max sounds the same, or all the music in SC, ChucK, Impromptu... etc shares the 'same' aesthetic, that's up to the composer. But usually at the beginning one is limited to the 'easy' things the environment gives you and therefore one uses these more often.
>
> I haven't found much literature on this matter and I'm taking the programming paradigms and syntax as a reference to compare it to the musical results made in each system. If maybe someone has some hints I would be very thankful.
>
> Finally, I think the environmet itself inspires the musician/programmer to make such things... I compare it to a painter having a model... using different techniques and materials, but the face of the model would be the same or at least recognizable (let's say Dali-Gala).
>
> Maybe I'm totally worng, but I would like to elaborate more on this theory and write in my Thesis some questions for future research.
>
> Best,
> Juan
Received on Thu Nov 26 2009 - 23:17:19 GMT