No subject

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 <maredmo at gmail.com> wrote:
> "Problem is that nowadays each composition student does an exercise and c=
all
> it a piece... but that is a social problem not of the techniques."
> Greetings Ricardo =A0:)
>
>
> 2011/1/29 Ricardo Lameiro <ricardolameiro at gmail.com>
>>
>> I am a newbie in electronic music (not dance music by the way, electroni=
c
>> 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 the=
m
>> was the Temperament of the scale that was quit different from the 12 equ=
al
>> semitones used later. Also the music was made primarily to be sang and
>> played in church and monasteries were the reverberation was big. After t=
hat
>> came the keyboard instruments and the difficulty of tuning of the same
>> instruments on different key signatures, this lead to a standard of twel=
ve
>> equal semitones that allow "interchangeability" of keys. Some years late=
r
>> came the continuous modulation, after that the dodecaphonic series and a=
fter
>> 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 playe=
r,
>> 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 sens=
es
>> 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 exer=
cise
>> and call it a piece... but that is a social problem not of the technique=
s.
>>
>> sorry for the rant
>> bye
>>
>> 2011/1/30 <beatthefinalboss at gmail.com>
>>>
>>> > I even read the=A0Pd/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 ;)
>>>
>>> _______________________________________________
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>>
>>
>>
>> --
>> Fagote / Contrafagote
>> Bassoon / Contra-bassoon
>> http://myspace.com/ricardolameiro
>>
>> _______________________________________________
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>
>