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That's a fair enough comment, I could do quite a lot more to sweeten the sound, too (it's just a simple sine oscillator atm, as I was concentrating on the score building process.<br><br>The idea is one of the central things in a lot of these styles, sometimes it's placed above the actual realization of the piece. Although it is nice to craft as much of your sound as possible. <br><br><div>> Subject: RE: [PD] Pd "monosymphonia"<br>> From: rolfm@dds.nl<br>> To: jbturgid@hotmail.com<br>> Date: Thu, 30 Jun 2011 00:05:17 +0200<br>> <br>> On Tue, 2011-06-28 at 22:01 +0100, Andrew Faraday wrote: <br>> > That was one thing I wasn't sure about, although it does help with the<br>> > kind of 'passive listening' part, something like Cage or Glass, where<br>> > there is a huge amount of repetition and the value of the piece is<br>> > discovered over time, almost as a meditative process. It's not for<br>> > everyone, but it does lend itself to computer music<br>> > <br>> <br>> from Cage i don't know about repetative music/scores, <br>> but a.o. terry riley and steve reich did a lot with repetition and<br>> shifting patterns.<br>> i still love to listen to some of these old pieces like 'rainbows in<br>> curved air' (riley) or 'drumming' (reich).<br>> there's also composition nr.7 (1961) of La Monte Young: to play B&F# for<br>> a "long time". in certain circumstances with a number of participating<br>> musicians/voices this can be a wunderfull experience.<br>> <br>> maybe you know all this already.<br>> <br>> so to cut it short:<br>> for me your present soundscape is not yet interesting enough,<br>> where the patch cq the concept can be a good starting point.<br>> <br>> c'est tout.<br>> <br>> rolf<br>> <br>> <br>> <br>> <br>> <br></div> </div></body>
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