[PD] Am I alone?

[Josh Moore]

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 <kh405.7h30ry at 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 <maredmo at 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 <ricardolameiro at 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 <beatthefinalboss at 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 at 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 at iem.at mailing list
>>> UNSUBSCRIBE and account-management ->
>>> http://lists.puredata.info/listinfo/pd-list
>>>
>>
>>
>