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No, but I contributed....not big deal. My comments
were only my own perspective on creating music. I can only stomach
the math and formulae for creating music for so long before I just need to pick
up my instrument and play freely. I don't have any desire to start a debate, but
you can if you want.
K-
----- Original Message -----
Sent: Thursday, September 21, 2006 4:49
PM
Subject: Re: fractal music (was Re:
keeping loops interesting)
Aren't you the project leader on the CT-TwelveTone Dance
project? :)
Anyway, just like 12-tone technique, it only seems that way
until it becomes synthesized into your technique.
"...letting principle
take hostage of my creativity and compositions..." is a matter of perspective.
Pre-compositional designs and manipulations of basic materials have been the
norm for Western Art music composers for centuries. Josquin des Pres composed
a piece where the formal proportions were meant to be directly analogous to
the proportions of a particular cathedral. Beethoven's notebooks are full of
his various manipulations of basic building-blocks. His rigor provided a model
that was hardly matched by even the adherents to post-WWII serialism. There
are two ways of looking at preconceived designs: limiting or freeing. I
personally often find that self-imposed limitations can often force me to be
*more* creative than when I give myself carte blanche. I often find that carte
blanche results in a lot of self-indulgence at the listener's expense (both in
my own and in others music).
So, anyway, don't wanna start a huge
debate on the merits of such things....but you asked for a concrete
example...so I gave ya one. ;-)
(Incidentally, the compositional system
devised and taught by Joseph Schillinger involved a lot of recursive processes
in the development of a compositions most basic materials as well as
variations/transformations of them. Probably the most well-known student
of Schillinger was George Gershwin whose "Porgy and Bess" is a textbook
example of rigorous application of Schillinger's system. Few would argue that
Porgy and Bess sounds like its composer was a slave to its mathematically
preconceived design....just some food for thought.)
Cheers,
Jon
On 9/21/06, Krispen
Hartung <khartung@cableone.net>
wrote:
Geeeesh, this reminds me of composing my first
12 tone composition, generating my row, matrix of permuations, etc...sheer
hell. For me, there's nothing so miserable as letting principle take hostage
of my creativity and compositions, like being a slave to mathically
preconceived design....essense preceeds being, vs. being proceeds
essense....the anti-thesis of healthy existentialism.
K-
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