Subject: Re: electroacoustics - rap to tap to zap to frap
From: lawrence casserley (firstname.lastname@example.org)
Date: Fri Aug 06 2004 - 16:05:09 EDT
On 6 Aug, 2004, at 22:47, Eliot Handelman wrote:
> computer music has got to constantly ask itself about things only
> possible through computation. By
> definition it must have a developing edge. Ultimately that means
> doing astonishing things in music,
> because the computer, besides its lowly status as "tool," is also a
> machine for creating astonishment.
> That gives a qualitative assessment -- something is computer music not
> because someone wrote an algorithm,
> but because it persues the implications of astonshment through means
> offered by the computer. These means
> are constantly growing and I don't see why they should be typed at the
> lowest possible level of
> abstraction, the algorithm.
In the 19th century, the development of the modern piano opened up an
enormous range of possibilities for composers, so the development of
"piano music" became a significant force in new music of the time.
Since then, the piano has become simply a standard instrument in
western music, implying no particular style or genre, just a routine
workhorse. Is the computer, which created startling new possibilities,
already into this transition phase?
Lawrence Casserley - email@example.com
Lawrence Electronic Operations - www.lcasserley.co.uk
Colourscape Music Festivals - www.colourscape.org.uk
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