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Looper's Delight
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Krispen Hartung 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. Yeah, as long you need to do it by hand. With a computer this will give you a complete new way of freedom. I always considered the 12-tone row as being one single example of a rule which is different than the traditional known ones... (which are as well just rules which would slave you to those rules unless you break them ;-) Schönberg used up his own live and that of a lot of other composers to just explore that single rule. If you start algorithmic composition with a computer, you don't need to explore it by writing down notes, find musicians to play it, to be able to judge it. You'd be much faster in modifying the rules to make them more interesting. I never considered the 12-tone row a very interesting rule, though I respect gratefully that Schönberg just invented a new rule to explore new territories. I never understodd why the other composers just took the same rule instead of developing their own. (Stockhausen did, but used the row as basis and keeping the weakest part which is avoiding a (tonal) center by distributing all notes equaly...) The one who realy was filling that rule to all its power was Berg who did it much better than its originator... And I heard kind of funny explorations which actually did have tonal centers though they did completely follow the original law... Stefan -- Stefan Tiedje------------x------- --_____-----------|-------------- --(_|_ ----|\-----|-----()------- -- _|_)----|-----()-------------- ----------()--------www.ccmix.com