The Logic Off Topic list

I have to think about you message, there's a lot of information to spent a few hours with. I'm not opposed of artificial ways to produce music ( that,s why I use Logic). But my fear goes to the way of eliminating the human process of expression. And how can you for instance immitate a singer or a violinist. Besides this Stockhausen is working with metromome-beats like 56.25; what purpose does this serve? More will come.

Bob

-----Oorspronkelijk bericht-----
Van: BastoBerlin@... <BastoBerlin@...>
Aan: logic-ot@egroups.com <logic-ot@egroups.com>
Datum: vrijdag 4 augustus 2000 16:22
Onderwerp: [L-OT] European notation


>In einer eMail vom 03.08.00 21:05:07 (MEZ) - Mitteleurop. Sommerzeit schreibt 
>bhelsloot@...:
>
><< You're right about that Basto, the tools you'll use will influence your 
>musical development. Question here is: what's the best way? The things you 
>put in a program is always what you can do yourself, I only wander if you 
>should take so much trouble when every musician (performer) will do the most 
>complicated things without asking. >>
>
>... Most of the things you put in a program are things that the programmer is 
>able to _imagine_ and not necessary to do.... I mean here in terms of musical 
>performance and interpretation.
>Or what do you mean exactly?
>
>We talked about polymetric structures... I'll take a simple example... 
>L'Histoire du Soldat from Stravinsky... a piece a music that _because of our 
>notation system and the fact that it'll mostly be played under one conductor_ 
>gives really big problems to realize with satisfaction. Some parts of it have 
>quite complex polymetric structures. You can discover them when you analyse 
>the score... they are not written in a explicit way because the conductor is 
>only able to conduct - for technical and conventionnal reasons - just one 
>metric structure at the time. I would arg that concerning this particular 
>metric dimension of this music, programming a computer to in order to play it 
>will give you satisfaction to a degree you will not be able to rearch with 
>human beings. On the other side, in the case of Stravinsky, real performers 
>will take the advantage when it comes to timbres, attacks and musical 
>phrasing in general.
>
>We could imagine music having musical relevance and a high degree of temporal 
>complexity in terms of differents temporal process running at the same time. 
>What kind of solution would you propose in order to realise it, in realtime 
>or offtime?
>
>... Stockhausen.... I have a high degre of respect to Ligeti's music, not so 
>high when it comes to Stockhausen... anyway, he made a lot of very 
>interesting experiences.... like the piece Gruppen with three conductors 
>trying to coordonate three different groups of musicians playing at different 
>tempos and time signatures... a nightmare to realize.
>
>Accepting that it can exist not only technical but also artistic things where 
>the human being need the help of a artificial companion should not be so 
>difficult. Don't you think so?
>
>basto
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