Re: Dig if u will my research paper

[Matthias Grob <matthias@grob.org>]

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?

-- 


          ---> http://Matthias.Grob.org