Re: Le mat?riau Sonore, hidden place


Subject: Re: Le mat?riau Sonore, hidden place
From: Morgan Sutherland (skiptracer@gmail.com)
Date: Fri Sep 16 2005 - 09:28:19 EDT


I agree with Michael in that as computers get better, timbral music
will, or we should help it become, more complex and... better. It took
hundreds of years to develope the guitar, computers have been around
for 50 years. And they're evolving exponentially (in theory).

What we need most is a better interface for controlling it.
Programming is not as effective as "playing".

On 9/16/05, Richard Wentk <richard@skydancer.com> wrote:
> At 01:50 16/09/2005, you wrote:
> >I'm just trying to make the point that software has many possibilities
> >and that an almost infinite range of sound can be created from any
> >given software. Although, as somebody mentioned, you may get that
> >"Sound Forge" sound in your music, think about a cellist... Having to
> >deal with that "cello sound" in all of their composition. That's not a
> >very good comparison
>
> No it's not, because one of the characteristics of acoustic instruments is
> one that I haven't seen commented on much - an ability to foreground
> performance nuances at the expense of timbre.
>
> There seems to be a process with acoustic instruments where the timbre
> becomes irrelevant once the instrument has been identified. When you listen
> to a piano piece you're not constantly thinking 'That's a piano note - and
> that's another one - and that's a piano chord - and that's an arpeggio...'
> And so it is for all acoustic instrument instruments. What seems to happen
> instead is that the performance nuances come to the fore. So your
> experience becomes focussed on the nuances and that indefinable thing
> called 'expression'.
>
> I'm increasingly starting to wonder if timbral musics are a dead end.
> Timbre on its own doesn't seem enough to make up for this kind of gestural
> nuance, no matter how interesting the timbre may be, or how carefully
> nuanced it is in its own right.
>
> Richard
>
>
>



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