The Logic Off Topic list

Hi again Bob,

I'm so sorry. I can't find your last email concerning european notation 
anymore, in the jungle of emails that are stored in my computer.

If you still have a copy, please send it again so we can continue the 
discussion.

BTW, it's possible to have any polyrythmic or polymetric structures you want 
in Logic, even if you have to get used to the way it works within this kind 
of software.

Bis bald,
basto

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