[music-dsp] a little about myself
jamie at postlude.co.uk
Wed Feb 29 05:46:55 EST 2012
On 29 Feb 2012, at 08:46, Victor wrote:
> In my opinion, the process here is as important as in traditional music disciplines. So I think having a good knowledge of craft is essential for a composer. In the traditinal world, this meant mastering counterpoint and harmony, tonal and post-tonal, as well as being able to think new ways of structuring the material, etc. Here, I think we have an emerging set of crafts, maybe not yet completely defined, but things like synthesis and programming might well be part of it.
'not yet completely defined' is the key phrase for me. The craft of computer music, or indeed live electronic music may well currently require a working knowledge of programming, synthesis, acoustics, production (etc), but this is surely by necessity rather than design.
A tradition of using textual programming languages to produce computer music has evolved because initially this was the only way to do it, and so computer music programming languages have become ubiquitous. I'm personally interested in new tools, interfaces and instruments that allow musicians to compose with (and for) computers without the requirement for years of study in DSP/programming. I guess UPIC, Fairlight and Kyma are earlier systems that hint towards this.
The current Western orchestra, notation and musical language(s) have resulted from 100's years of development. The equivalent for 'computer music' is IMO as yet unknown, and lies somewhere in the future. I'd like to see a situation where musicians can make computer music armed only with musical ideas for sounds and processes, and no programming or DSP knowledge at all, but we're still a long way from that.
Just my 2p.
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