[Microsound] [microsound] Max/Msp for Ableton Live
craque at craque.net
Sat Jan 17 21:09:31 EST 2009
I would have to agree here. Even looking at a piece of staff paper you
are automatically assigned to the mechanism of traditional notation
and what follows in terms of harmony and structure. By contrast,
working in max or live, or whatever else sits between you and the
actual creation of music, is as such.
It's one reason I like to work so closely with improvisation, the
voice, and direct sampling of materials: an attempt to capture the
most raw musical experience I can. Herein also lies my argument that
microsound (similar to Kim's ideas recently espoused) doesn't
necessarilly imply computer music.
On Jan 17, 2009, at 12:08, Visa Kuoppala <visa.kuoppala at gmail.com>
> Michal Seta wrote:
>> On Fri, Jan 16, 2009 at 1:39 PM, Visa Kuoppala <visa.kuoppala at gmail.com
>> > wrote:
>>> Also, surely you must notice how a lot of the UI design of Live
>>> directs the
>>> workflow towards pattern based composition (even when working in the
>>> arrangement view)?
>> "Readymade Solutions Require Readymade Problems; For Everything Else
>> There Is PureData." - Mathieu Bouchard
> Well, I really wouldn't buy that rhetoric either. The cliche that
> PD, Max/MSP's and others are tabula rasas is clearly faulty logic.
> PD too is a "readymade" (whatever that means) visual programming
> environment whose internal logic heavily affects the problems you
> set to solve with it and how you plan to solve them. I mean with
> that logic an empty page ready for C-code would be the ultimate
> tabula rasa for composition. In reality it's no more tabula rasa
> than a blank piece of staff-paper.
> Ultimately, though, tabula rasas are both unattainable and even
> undesired for composition work...
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