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Re: Dig if u will my research paper



U wrote
 "by the way: is there a definition for the diference between
> genre - style - category?"

I looked up genre in the dictionary and in means simply" a style or 
category
of art or literature"
so they are to my mind the same!

"Then again, some may say that you came to this conclusion for being
> involved or even to enter history as academic "discoverer" of the
> genre..."
Ha Ha Ha!!!
Its almost killed me to write this!
The idea that I have done this from an academic slant for self promotion is
amusing to me. Truth is I managed to think of something that I would find
incredibly interesting to write about, and then got so into it that this is
what came out. This is 5-6months hard work, done purely because I found 
this
genre and this discussion forum so interesting.
So people can say what they like!

Plus people like Dr Richard Zvonar have already done so much, I have so 
much
respect for him.

> 
>" did you find where the name Live-Looping comes up first?"
Only that it was yourself and Rick Walker that used it in the first two
emails I received when I started researching this 5-6months ago. It made so
much sense to me that I have used it ever since. Further to that i think 
its
a brilliant title for the genre.

Ohhh and the other reason i have done this is because I have learnt so much
about Live-Looping as a form of music that it has given me hundreds of 
ideas
i wish to explore in my own music. So I am off to the studio to record my
music and in two months I will have my own internet site and yes it will
contain alot about live-looping but in the most tarted up arty form I can
think of. 
It will be nice to represent my musical side to the group next.
Ohh yeah and I have a pair of EDP's which have been calling me for too
long!!!!!!

Cheers
Geoff

 

> 



on 27/5/03 4:18 am, Matthias Grob at matthias@grob.org wrote:

> Wow, here we have a beautiful colection of definition points!
> 
>> - The most common use of Live-Looping is where a player records a
>> phrase that is then fed back to them, this process is then repeated
>> to create a layering effect.
>> - The feedback loop gives the player the opportunity to learn and
>> capitalise upon the subtle nuances of their expression.
>> - One person's personality is being layered as opposed to many
>> personalities being combined.
>> - The relationship between the looping device and the musician also
>> allows for a large amount of improvisation. The player is
>> unrestricted from having to communicate their intentions to other
>> ensemble members.
>> - Live-Looping provides the user with the opportunity to take chaos
>> and achieve order from it. When a series of random events are
>> selected and then repeated they cease to be random events because
>> they then can be learnt and order can be perceived. t
>> - Meaning is created from repetition. In this way Looping can also
>> be said to display detail or magnify a situation.
> 
> some more strong statements:
> 
>> Once the medium of Live-Looping ceases to have an identity i.e.
>> ceases to be recognisable as a process then in a sense the
>> uniqueness of it as a compositional aid ceases and it becomes a
>> device that can be used to emulate other forms of composition.
>> 
>> With the popularity of DJ culture having peaked we may see a resurgence 
>in
>> the importance of live generated material as opposed to pre recorded 
>live
>> manipulated material. We are seeing an increasing convergence between
>> electronic music and that which is made by conventional instruments.
>> 
>> Live-Loopers to access the sound worlds of dance music and popular song
>> structure with an ease that simply wasn't possible with tape. It is 
>perhaps
>> most significant when these new capabilities are used to take the 
>essence of
>> a music genre (e.g. Lafosse's innovative take on turntablism) rather 
>than
>> the simple emulation of the sound world of other genres via different 
>means.
>> 
>> Live-Looping is also creating a new emerging form of interaction between
>> musicians. Live-Loopers are beginning to synchronise their devices 
>together
>> so that they can improvise together into a looped form that maintains a
>> consistent timing relationship. This creates a new kind of interaction.
>> 
> 
> The most amazing one, just in this moment:
> 
>> I believe that there is a strong case for Live-Looping to exist as a
>> musical genre and for history to relate its unfolding story. On
>> listening to a large range of music produced by the process of
>> Live-Looping I have found that pieces from contrasting musical
>> genres have remarkably similar qualities.
>> I think it is fair to say that in some respects these works seem to be 
>more
>> related to each other than the music of the genre each artist has been
>> positioned in.
> 
> 
> Thank you, Geoff!
> 
> 
> I like your subjective judgement from "overall listening experience".
> After we tried so hard to find logical solutions, it seems so
> obvious, since its music...
> Then again, some may say that you came to this conclusion for being
> involved or even to enter history as academic "discoverer" of the
> genre...
> 
> Anyway, your text certainly eases our unsecurity and increases the
> value of our all work!
> 
> by the way: is there a definition for the diference between
> genre - style - category?
> 
> did you find where the name Live-Looping comes up first?
> 
> 
> 
> 
>> This is a genre characterised by paradoxes, a performer plays their
>> instrument live but their relationship to the dissemination of their
>> instrument is different to that of the conventional player. By recording
>> themselves, they are in a sense involving both themselves and the 
>audience
>> in the processes of both the studio and the live environment. An
>> instrumentalist is effectively recording their performance and 
>disseminating
>> this recorded performance, as it happens. A live performance is 
>typically
>> characterised by the fact that musical events are created and then lost.
>> This is paradoxically the opposite of the situation in Live-Looping, 
>where
>> the moment is captured and replayed as part of the performance.
> 
> Sorry, I dont see paradox and opposite here. Isnt the "studio" part
> simply an addition?